【🚨】JENNIE 个人首张录音室专辑『Ruby』助阵合作阵容公开，共收录15首歌曲，全碟3月7日正式发行！• Dua Lipa • Childish Gambino • Kali Uchis • Doechii • FKJ • Dominic Fike
Ruby
The 1st Studio Album
Album packaging contains JENNIE Only Audio, Never-Before-Seen Photos, & Premium Inclusions
Ruby is the first full-length studio album from artist, entrepreneur, and global superstar JENNIE, released in collaboration with ODDATELIER & Columbia Records.
The carefully curated 15-song offering explores a variety of genres & showcases JENNIE truly stepping into her own.
JENNIE Only Audio version contains all vocals performed by JENNIE. It does not include any featured artists.

The lead rapper and main dancer in K-pop girl group BLACKPINK, Thai member LISA rose to worldwide fame as the first non-Korean artist at YG Entertainment. In 2021, she made her solo debut with the two-track release <i>LALISA</i>, finding particular success with swagger-driven “MONEY.” The song boasts of LISA’s exorbitant, idol-built wealth, a theme that continues on follow-up album <i>Alter Ego</i>. The 2025 collection marks a new chapter in LISA’s career, as it was the first released after she left YG Entertainment as a solo artist and launched management company Lloud.

As is the case with many K-pop releases, <i>Alter Ego</i> is not just an album—it’s an entire concept. For her solo album debut, LISA slips into five different comic booklike personalities (Roxi, Kiki, Vixi, Sunni, and Speedi), each with their own backstory, look, and dedicated album track. On “Rockstar” (Roxi) and “Lifestyle” (Speedi), LISA boasts about life as a global pop star, while “FXCK UP THE WORLD” (Vixi) allows the superstar a chance to play the villain: “Walked in causing havoc/Yes, that is a habit.” The romantic, France-set “Moonlit Floor” (Sunni) samples Sixpence None the Richer’s 1998 hit “Kiss Me,” swapping “beneath the milky twilight” for “under the Paris twilight.”

The high-concept framework doesn’t keep LISA from collaborating. The Kiki-inspired “New Woman” sees her teaming up with Spanish superstar ROSALÍA for airy electropop empowerment, while British singer-songwriter RAYE and American rapper Doja Cat are on board for the disco-infused, ’80s-inspired breakup track “Born Again.” LISA taps South African singer Tyla for “When I’m with You,” American rapper Megan Thee Stallion for one of two album versions of “Rapunzel,” and American rapper Future for one of two album versions of “FXCK UP THE WORLD.” The result makes for an album that, while grounded in the K-pop industry and crafted by a Thai artist, feels even more culturally expansive.

LE SSERAFIM 5th Mini Album 'HOT'
PROMOTION TIMETABLE
2025.03.14 1PM (KST) | 12AM (ET)

After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast’s fourth album, For Melancholy Brunettes (& sad women), marks the band’s first proper studio release.
Produced by Grammy Award winner Blake Mills, the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel.
For Melancholy Brunettes follows a transformative period in Zauner’s life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. “I felt seduced by getting what I always wanted,” she says. “I was flying too close to the sun, and I realized if I kept going I was going to die.” The plight of Icarus and other such condemned ones lends For Melancholy Brunettes its most persistent theme, the perils of desire. Like light dispersed, its spectral parts take the album’s characters through cycles of temptation, transgression and retribution. On “Orlando in Love” — a riff on John Cheever’s riff on Orlando Innamorato, an unfinished epic made up of 68 ½ cantos by the Renaissance poet Matteo Maria Boiardo — the hero is a well meaning poet who parks his Winnebago by the sea and falls victim to a siren’s call, his 69th canto (even in the lofty realm of classical myth Zauner has a soft spot for innuendo). “Honey Water” plumbs the quiet rage of a woman married to an unfaithful man, watching him cede again and again to lust like a base insect perpetuating its own demise.
Sadness is indeed the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life’s essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record’s many episodes, they sound most saliently on its final song, “Magic Mountain,” an engagement with Thomas Mann’s famous novel of the same name. For her, making any work feels like scaling a mountain, but from the perch of For Melancholy Brunettes, she surveys the future.

The idea behind Sharon Van Etten’s seventh album, and her first as part of a band, arrived while gearing up to tour in support of her 2022 LP, <i>We've Been Going About This All Wrong</i>. Van Etten was mesmerized by the live band experience during rehearsals and decided to include her group in the writing process for what eventually became the first album from Sharon Van Etten & The Attachment Theory. Featuring Jorge Balbi, Devra Hoff, and Teeny Lieberson, this 2025 album is a rich and cosmic tapestry of shoegaze, indie rock, and deep-fried country soul. In expanding her POV to include other perspectives, Van Etten has crafted her most sonically diverse effort to date. Though instrumentation bounces between these different styles, the lyrics find the artist in her wheelhouse, interested in life and mortality, modern addiction to screens, and the disconnect that is inherent in the way we communicate with others and ourselves.