The Backstreet Boys‘ 25th-anniversary celebrations for signature album Millennium are about to be larger than life, with the band announcing a revamped version of the LP along with three more Sphere residency dates Friday (Feb. 14).
As revealed Valentine’s Day morning by bandmates Nick Carter, Brian Littrell, AJ McLean, Kevin Richardson and Howie Dorough on Instagram, Millennium 2.0 will arrive on July 11, a whole quarter-century after the original album first topped the Billboard 200 for 10 weeks. The anniversary edition — for which the group members recreated their iconic album cover, futuristic all-white outfits and all — will feature remastered versions of all the songs on the original tracklist, plus a few uncovered demos and some live recordings from their 1999-2000 Into the Millennium World Tour.
The LP will also include the band’s new single, “Hey!,” which fans can hear as soon as they pre-save Millennium 2.0. “Thank you for still loving this album more than 25 years later and we can’t wait to make a ton of new Millennium Memories with you!” the band wrote. “It’s time for (us) to go to work y’all …”

Introduced to the world as a bubbly TikTok influencer, the singer/dancer/actor spent 2024 pulling off what looked like a total reinvention—screaming over the remix of mentor Charli xcx’s “Von dutch” remix, then releasing the steamy “Diet Pepsi,” a single charming enough to seduce even the doubters. In fact, Addison Rae was just reintroducing herself. “I always knew that I wanted to make music, I knew I wanted to perform,” Rae tells Apple Music’s Zane Lowe. “That was something that was really obvious to me since I was a little girl.” And TikTok was the best way for a teenager from Lafayette, Louisiana, to catapult herself into the seemingly inaccessible world of showbiz.

Pursuing her pop-star dreams in LA studio sessions to write the songs that would become her first EP (2023’s polarizing <i>AR</i>), Rae found herself deferring to the professionals. “When I moved here and started doing sessions, I was like, ‘I need as much guidance as possible,’” she says. “Then, over time, I really started to lean on myself. I really started to lean on my abilities.” In February 2024, Rae met songwriter/producers Elvira Anderfjärd and Luka Kloser (both part of the publishing camp of Swedish pop powerhouse Max Martin) and wrote the effervescent hook of “Diet Pepsi” that same day. “[‘Diet Pepsi’] was such a natural beginning to all of this,” says Rae. “I think it was a perfect introduction in so many ways.”

Cue a string of curveball singles, each one presenting an unexpected new facet, from the moody, minor-key “High Fashion” to the Björk-inspired “Headphones On.” It feels apt, then, that her debut album drops the “Rae” and simply goes by <i>Addison</i>—a collection of dreamy, intense pop songs that sound like self-discovery, tied together less by genre than by mood. Tracks like “Fame Is a Gun” and “Money Is Everything” expertly straddle camp and sincerity: “You’ve got a front-row seat, and I/I got a taste of the glamorous life!” she winks on the former, a dizzy synth-pop number on the perils of hitting the big time.

The songs on <i>Addison</i> are not exactly club bangers, though they’re informed by Rae’s childhood as a dancer; nor are any of them obvious hits. But Rae relished the opportunity to let her creative instincts run wild. “Once you start playing it safe, feeling like, ‘Okay, I’m going to respond with what people want,’ you lose all your freedom,” she says. “You lose all desire for the whole purpose of starting it, and feeling like it’s a form of expression and a reflection. It’s more scary to let that go and give people exactly what they think they want.”

As for what Rae learned in the process of writing the album? “Let yourself play. Let yourself have fun, let yourself mess up,” she says. “I’m not saying, ‘All right, this is the real me now.’ No—it’s always been the real me, and those experiences have completely guided and shaped me to where I am now. It is about arrival—arrival to who I feel like I’ve become, and who has experienced all these ups and downs, to now land here, in this person that I am now.”

I Quit is the upcoming fourth studio album by American rock band Haim. It is scheduled to be released on June 20, 2025, in the United States by Columbia Records and internationally by Polydor Records, as their first studio album in five years, following Women in Music Pt. III (2020).

Miley Cyrus is dropping her new album ‘Something Beautiful’ SOON

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 2025 reworking of Ariana Grande’s lightly conceptual seventh album appends six tracks to its predecessor—and, perhaps crucially, a notable do-over. “intro (end of the world) [extended],” the first of the new cuts, starts simply enough as a reprise of the existential lullaby that opens the original album. But its longing is cut off at the knees when Grande begins describing her desire to “jump into your skin and change your eyes” so she can provide a kind of turbo-charged empathy that reveals the relationship’s darker side. While its pillow-soft sonics and Grande’s resolute singing are gentle, it’s still a jarring lyric to hear right after the album proper’s closer, “ordinary things,” on which Grande's nonna Marjorie tells her granddaughter in no uncertain terms about the signals that a relationship is over. Nonna spoke, Grande listened, that book is closed.

Or is there even a book in the first place? When discussing the beat-forward, hit-packed <i>eternal sunshine</i> with Apple Music’s Zane Lowe around its initial release in 2024, Grande said, “Finding a home in <i>eternal sunshine</i> was a lovely costume to wear,” noting that the “freedom within art” was present because of the endless possibilities for sources—personal truths, films (like <i>Eternal Sunshine of the Spotless Mind</i>, the surrealistic love story that provides the album’s title), high concepts. With the release of <i>Wicked</i>, Ariana's big-screen coming-out party in late 2024, Grande had reached new heights of celebrity—and with that newfound status, her personal life was under further scrutiny.

Over the rest of <i>brighter days ahead</i>, Grande is playfully opaque, making a reference to “holding space” on the simmering “warm,” which turns Grande’s vocals into a neon-lit cloud settling over glossy synth skyscrapers, and declaring “I’m still the same but only entirely different” on “Hampstead,” a reimagining of the barroom-piano-led last-call lament. That’s only one spot where Grande’s voice pushes into exciting new territory: “dandelion,” a lusty expression of desire, spins out of a drowsy trumpet line, its looped horn and sampled trap drums adding heat.

“Might fuck around and elevate my expectations,” Ariana muses on the chorus of “past life,” a low-lit synth-R&B cut. As with her other releases, <i>brighter days ahead</i> shows how her attention to detail and desire to evolve have resulted in a singular body of work that, even if it’s playing coy about where the public Grande ends and the private Ari begins, is utterly her own.

Alison Krauss and her band Union Station aren’t what you’d call prolific. After all, this eighth studio album from the bluegrass outfit comes 14 years after its predecessor, the critically acclaimed <i>Paper Airplane</i>. As any Krauss fan knows, though, the 27-time Grammy-winning multi-hyphenate prioritizes quality over quantity, and the 10 new songs comprising this collection are no exception to that rule. Krauss and the band produced <i>Arcadia</i> alongside fellow Grammy winner Gary Paczosa (Dolly Parton, Sierra Ferrell), with IIIrd Tyme Out’s Russell Moore joining Union Station in place of longtime guitarist Dan Tyminski, whose own solo and side projects have picked up significantly in the near decade and a half since <i>Paper Airplane</i>’s release.

<i>Arcadia</i> opens with the Jeremy Lister-penned “Looks Like the End of the Road,” a dusky and dramatic ballad with a sparkling vocal from Krauss, whose voice sounds as pristine as it ever has. Moore’s guitar retains the Southern gothic moodiness once brought by Tyminski, and his lead vocal on tracks like “The Hangman” offers a sturdy, soulful counterpoint to Krauss’s honeyed soprano—notably, Moore is the most decorated male vocalist in International Bluegrass Music Association history. Other highlights include the Tyminski co-write “The Wrong Way,” which lets Jerry Douglas shine on dobro and lap steel guitar, and closer “There’s a Light Up Ahead,” another Lister tune with gorgeously atmospheric production that really gives Krauss space to soar.

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.

Lady Gaga's website inspection has announced her 7th studio album,
Mayhem, out February 14th! Her website currently has a countdown, teasing past eras.

美国歌手海尔希的全新自白概念专辑

Lorely Rodriguez’s fourth album is a dazzling showcase for her unexpected vocal and production approach as she experiences the peaks and valleys of heated romance.

“Harlequin” will be released on Sept. 27 and feature 13 songs. In the lead up to the announcement, Gaga teased fans with posts to Instagram “I’m ready for my interview,” read one post, while another said: “Don’t tell me what to wear.” A third post, which was accompanied by the lone plucking of an acoustic guitar, read: “No duct tape. No mission.” She also teased the album earlier this week with billboards including the number “6.5,” which presumably means that she does not consider this a full Lady Gaga studio album, unlike the forthcoming one that has been written in shorthand “LG7.”

《Dookie》是美国朋克乐队绿日于1994年2月1日发行的录音室第三张专辑，收录14首歌曲，制作人包括Rob Cavallo及绿日。
《Dookie》获得第37届格莱美奖最佳另类专辑及美国唱片行业协会的钻石奖。是绿日最为畅销的专辑之一，在全球范围内的销量达2000万。

有些人会选择与敌人一笑泯恩仇，而在 2024 年大放异彩的流行明星 Sabrina Carpenter 则反其道而行，她在轻盈的旋律、顽皮的笑容里，用毒舌金句狠狠吐槽一无是处的前任。曾经身为迪士尼频道童星的她，在 2014 年以首支单曲《Can't Blame a Girl for Trying》开启了音乐事业，那年她 15 岁。十年过去了，25 岁的她在全世界的瞩目下，创作着她个人迄今最悦耳、最幽默，也最真诚的音乐。在《Please Please Please》里，她表面上恳求男友不要再次让她难堪，实则也嘲笑了自己。她告诉 Apple Music：“我喜欢这张专辑里对自己负责的态度。我不但会吐槽别人，也会吐槽自己。”

Carpenter 表示，把第六张专辑命名为《Short n' Sweet》，并不是在开身高的玩笑，她解释道：“我想起一些过去的感情，有些交往时间很短的关系，影响却最深。我也反思了自己在各种境遇下的反应，有时很温和，有时却糟糕透顶。”但这张专辑并不困顿于省思的苦涩，反而充满戏谑和幽默。Carpenter 用生活的荒诞解构了悲伤。“生活到了这一步，你已一筹莫展、无计可施，于是一切看起来都变得很好笑。”Carpenter 坦言，“专辑很多歌曲都诞生于让我捧腹大笑的时刻。我想，好啊，不如就把它写成歌吧。”《Dumb & Poetic》是一首温柔的不插电抒情歌，却整篇弥漫着淡淡的嘲讽，Carpenter 在其中揭穿了一个用花言巧语和高雅品味掩饰龌龊念头的家伙。而在令人忍俊不禁的《Slim Pickins》里，她幽默地唱着：“天呐，这个女孩该怎么办？/这小子连 there、their、they are 都分不清/而他在我的房间里脱光了衣服”（Jesus, what's a girl to do?/This boy doesn't even know the difference between there, their, and they are/Yet he's naked in my room）。”

Carpenter 在法国乡下的一个小镇住了 11 天，期间创作了专辑中的不少歌曲。独处让她更加真实地面对自己、写出了前所未有的真挚之作，也包括一首红到让她不知所以然的《Espresso》，里面一句莫名其妙却琅琅上口的歌词“That’s that me espresso”让她的事业一飞冲天。在谈到创作过程时，她回忆道：“写歌词其实没什么规则。我只是问自己：怎么唱会听起来很棒？什么感觉最好？怎么去表达我想说的故事？”不过，这首歌也让她在世界各地的咖啡店点餐时遇到了一点麻烦。“他们都等我说那句歌词。”她大笑道，“但我偏要说：‘给我来杯茶。’”