Bruno Mars has announced that his new album, “The Romantic,” is set to release on February 27, with new music dropping this Friday.
The singer teed up the album announce earlier this week by posting on social media that his album was done. “The Romantic” will be his fourth studio album and first solo outing since “24K Magic,” which dropped in 2016. He last released a project in 2021 as one-half of Silk Sonic alongside Anderson .Paak with the record “An Evening With Silk Sonic,” which earned them Grammys for record of the year, song of the year, best R&B performance and best R&B song.

由来自布鲁克林和曼哈顿的四位老朋友组成的 Geese 乐队可谓“年轻气盛”——2016 年乐队成立时他们还只是高中生，却已展现出惊人的摇滚潜力，知名制作人 Kenny Beats 为了与他们合作，甚至不惜改名。Geese 成员还在上小学时，Beats 就已凭借为 Smoke DZA、ScHoolboy Q、Freddie Gibbs 和 Vince Staples 等人制作的 Hip－Hop 专辑逐渐崭露头角。而到了 2024 年，Beats 开始追随 Geese，当他提议在自己位于洛杉矶的新录音室中为乐队录制作品时，乐队提出了一个条件：彻底放弃“Beats”这个名字而改用本名 Kenny Blume。事实证明，这个决定非常值得——Geese 与 Blume 联手打造的专辑《Getting Killed》堪称 2025 年最出色的摇滚作品之一，在独立摇滚的个性色彩与主流音乐的爆发力之间找到了微妙的平衡，整张专辑充盈着新生的蓬勃能量。

疫情期间，Geese 以高中生身份签下合约，推出了首张由唱片公司发行的专辑《Projector》；随后，专辑《3D Country》以放纵、散漫而迷人的音乐气质，展示了他们的冒险精神与创作野心。主唱兼乐队领袖 Cameron Winter 的首张个人作品《Heavy Metal》在 2024 年末获得热烈反响，也意外地扩大了乐队的声量。Winter 的创作印迹也同样延续到《Getting Killed》中，比如《Cobra》开场时轻快的键盘旋律，难免让人联想到他的《Love Takes Miles》。

不过，除了 Winter 独特的嗓音和直白犀利的歌词之外，两部作品的相似之处并不多。《Getting Killed》充满野性之美，由贝斯手 Dom DiGesu 和鼓手 Max Bassin 打造出活力十足的节奏基底，吉他手 Emily Green 则增添了一抹锐利的锋芒。歌曲《Islands of Men》以略怪异的方式致敬 Rolling Stones 式的自信律动，随即又迈向了前卫摇滚的超越境界。《Bow Down》从始至终沉浸在紧张与狠戾中，Winter 随着心跳般的器乐伴奏，为失恋之痛怒吼。他又在开场曲《Trinidad》中咆哮着“我车里有一枚炸弹”（There's a bomb in my car），恰如一块扭曲的废铁碎片猛然砸下，直击听觉。《Half Real》是一首守护爱情的赞歌，提醒人们在世界不断侵蚀它时握紧手中的爱。而高潮曲目《Au Pays du Cocaine》则在这个普遍散发不满情绪的时代中呼唤团结，直抵灵魂深处。

Geese 的出色表现，也再度引发了“摇滚乐的救世主”等讨论，他们富有想象力又野心勃勃的创作，让许多人将他们与 Strokes 或 Radiohead 相提并论。这种比较或许不无道理，但更重要的是，Geese 追随着许多伟大摇滚乐队的步伐，在吸取前人经验的基础上，又将其拆解重组，创造出既让他们自己满意，也让听众们激动不已的作品。“我正在被美好的生活杀死”（I’m getting killed by a pretty good life），Winter 在专辑同名曲中颤抖地唱道，仿佛在半个世纪后与 Neil Young 遥相呼应。无论你身处天堂还是地狱，相信你都难以抵挡这支爆发力十足的摇滚新势力以及他们扣人心弦的乐音。

承接“时代”巡演的光辉余韵，为台前幕后的双轨生活抽丝剥茧。

“This is a warning: Your time is up,” announced Mariah the Scientist in the trailer for her fourth album, <i>HEARTS SOLD SEPARATELY</i>. “We will not be led by heartless womanizers. We are more than soldiers. We are heartbeats in a world of hollow men, defenders of a cause worth living and dying for. This is for the lovers.” Since her debut album, 2019’s <i>MASTER</i>, romantic drama has been the Georgia native’s muse, as she unpacks the complexities of disappointment and desire with an old soul and a light touch.

Drawing from the classics of ’80s R&B, when slow jams by the likes of Sade and Babyface ruled the radio, <i>HEARTS SOLD SEPARATELY</i> harkens back to a smoother, sexier time, though there’s a tinge of melancholy to singles like “Burning Blue” and the Kali Uchis duet “Is It a Crime.” The pair of singles represent the 27-year-old singer’s biggest hits to date. “I tried new things with my voice,” she tells Apple Music. “I tried new vibes. New perspectives.”

As for what’s changed personally since 2023’s <i>To Be Eaten Alive</i>—after four years of her highly publicized relationship with Young Thug, during most of which he was incarcerated, the rapper was released in October 2024. Mariah delves into the situation on “Sacrifice,” the wistful opening track. “When you love somebody, you make sacrifices,” she says. “There was a point in time when there was a lot of distance in my relationship, and I feel like I had to make that sacrifice.” Amidst the sea of love songs floats one self-reliance anthem: “All along, it was me, myself, and I,” the self-professed loner sings on “More.”

Man's Best Friend is the latest album from multi-hyphenate global popstar Sabrina Carpenter. Coming off her GRAMMY winning project Short n' Sweet & numerous multi-platinum singles added to her resume.

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.