FKA twigs Teases New Album Eusexua Afterglow
FKA twigs is going to be releasing more new music very soon. The singer just finished her tour in support of Eusexua with a performance at Lowlands, and she told the crowd at the Dutch festival about a project called Eusexua Afterglow. “I am full and abundant and ready to give birth, FKA twigs said. “Her name is Afterglow, and my labor shall commence next month.” Representatives for FKA twigs confirmed to Pitchfork that Eusexua Afterglow is “not a deluxe version, but rather a whole new album.”

Daniel Caesar’s new album ‘Son of Spergy’ is dropping in 2025 🚨💿

For ROSALÍA, her fourth full-length album <i>LUX</i> only has “little pieces” of her in the lyrics of its songs—and she prefers it that way. “I think the best fiction has this blurry line, the sweet spot between what’s personal and what’s universal, what’s detailed and what’s abstract, what’s implicit and what’s explicit,” the Spanish star tells Apple Music. “It’s both. Because I wrote it, there has to be some sort of truth for me in it. But at the same time, I think it’s much more about the other than about myself.”

The “other,” in this case, is a group of saints—Saint Rose of Lima, Anandamayi Ma, Hildegard von Bingen, Sufi mystic Rabia al-Adawiyya, and other martyrs across cultures, centuries, and continents—that ROSALÍA voraciously studied in the wake of her third album, 2022’s <i>MOTOMAMI</i>. Instead of immediately writing about the emotional turmoil she’d weathered in its aftermath—a period that included the end of her engagement to former collaborator Rauw Alejandro—she found the muses of her next project in theology books. After immersing herself in the stories of these women of faith, ROSALÍA blended their experiences, and their tongues, with hers. “Where did they come from? What was the language that would be spoken there?” she says. “There were a lot of women that were extremely interesting to me that were nuns, they were poets. And I was like, ‘Okay, I’m going to read what they actually wrote. I’m going to try to explain these stories.’”

Across <i>LUX</i>, ROSALÍA sings in multiple languages—her native Spanish and Catalan, but also Arabic, Japanese, French, Portuguese, Italian, Ukrainian, and German, among others—to invoke these saints while telling stories of flower-strewn funerals, doomed romance, unrequited love, and crises of faith in multiple forms. If 2018’s <i>EL MAL QUERER</i> introduced her singular fusion of flamenco and pop to the world, and <i>MOTOMAMI</i> brought reggaetón into the mix, <i>LUX</i> builds on that work from a high-drama, operatic foundation, one that pairs her lyrical intensity with vocal prowess and orchestral flourish. A cajón and handclaps blend seamlessly with urbano bass, Auto-Tune, and somber strings, often with many or all of these elements weaving throughout the same track (as they do on “De Madrugá”). Her voice soars over each flamenco run with ease (“La Rumba Del Perdón”), only to growl over sinister cello (“Porcelana”), breathlessly trip through a softly strummed waltz (“La Perla”), or reach the rafters of any grand opera house (the exquisite “Reliquia”; her version of an aria, “Mio Cristo Piange Diamante”; the severe and surreal “Berghain,” which features Björk and Yves Tumor).

ROSALÍA worked with the London Symphony Orchestra to give <i>LUX</i> the symphonic heft it deserves, and at times, the gravity of the undertaking felt insurmountable. “I definitely had chills so many times while recording vocals,” she says. “I don’t think I ever cried so much making an album. I don’t think I’ve ever cried so much recording vocals. I think that I didn’t maybe want to go through this before. I was like, ‘I’m not ready.’ I know I had to do an album like this, but I wasn’t ready.”

Whether or not she realized it at the time, she was, indeed, ready for <i>LUX</i> and all it entails. It’s the destination she’s been writing towards, uninhibited by instrumentation, devastation, or language. “<i>MOTOMAMI</i> was minimalist,” she says. “This is maximalism.”

游荡于电子舞曲与另类摇滚之间，捕捉青春期骤然成长的混乱、脆弱与悸动。

Lily Allen Releasing First New Album in Seven Years, West End Girl, This Week
Lily Allen has announced her first album in seven years: West End Girl is out this Friday, October 24, via BMG. Its 14 songs were mostly written by Allen and her musical director, Blue May, and the pair executive-produced the LP alongside Seb Chew and Kito. Below, check out Spanish artist Nieves González’s cover art.
In a press release, Allen said, “I’m nervous. The record is vulnerable in a way that my music perhaps hasn’t been before—certainly not over the course of a whole album. I’ve tried to document my life in a new city and the events that led me to where I am in my life now. At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction which I hope serves as a reminder of how stoic yet also how frail we humans can be. In that respect I think it’s very much an album about the complexities of relationships and how we all navigate them. It’s a story…”
Since her last album, 2018’s No Shame, Allen has appeared in various West End London theater productions and co-founded the podcast Miss Me.

Fresh off the worldwide success of Natural Brown Prom Queen, Sudan Archives levelled up, evolving from a hands-on DIY artist to executive producer of her third album – her most ambitious record to date. Recorded in Los Angeles, Chicago, and Detroit, THE BPM is this innovative artist’s most club-forward music yet, with Sudan Archives taking a dancefloor-ready approach to her unique brand of violin-infused music.

Kelela Mizanekristos is an American singer. She made her debut in the music industry with the release of her 2013 mixtape Cut 4 Me.

早在 2024 年 7 月 JADE 携出道单曲《Angel of My Dreams》惊艳乐坛时，她尚未命名的首张专辑便已制作完成。这首单曲由 Mike Sabath 操刀，将抒情摇滚的戏剧张力、强劲的电子低音律动以及甜美却暗含讽刺的旋律拼接在一起，犹如一首“弗兰肯斯坦”式的怪诞之作，而它大胆的实验性也赢得了歌迷与评论界的一致好评，让人们对这位前 Little Mix 成员的未来作品充满期待。正如 JADE 在单曲发行后告诉 Apple Music：“这张专辑里有很多歌延续了这种实验氛围。当然也有几首更直白的流行歌曲，但其中依然夹杂着我脑海里那些混乱的念头。”

这一点，在专辑《THAT'S SHOWBIZ BABY!》正式发行后得到了印证。专辑前半部分由多首先行单曲打头阵：《Fantasy》自在游走于闪耀的 Disco 风情中，与 RAYE 合作的《Midnight Cowboy》投身舞池俱乐部氛围，而《FUFN (Fuck You For Now)》）又彻底释放了电子流行的能量。专辑后半部分则更全面地整合了她身上广泛的音乐影响，在不牺牲原创性和先锋气质的前提下，塑造了她独特的音乐个性。“我认为（《Angel of My Dreams》的好评）让我更自信地去做自己。我可以去冒险，可以尝试更大胆的东西……”

这种自信也延伸到专辑的歌词主题上，正如《Plastic Box》中上演了一段令人愉悦却疯狂的爱情，JADE 直面了自己在聚光灯下生活、陷入爱情并引发激烈反响的复杂心境，从各个角度剖析了她与自己内心作战的体验。她在《Self Saboteur》中坦承自己已筑起情感的高墙，随后又在情绪跳跃的中板歌曲《Glitch》中敞开心扉，吐露“你对我说谎 一副理所当然的样子”（telling me lies, telling me how it is）、“左右我一切决定”（hijacking all my decisions）的复杂心声。《Unconditional》在跃动的合成器流行节拍上，轻盈地向一个不爱自己的人许下承诺，献上她毫无保留的爱意；而《Natural at Disaster》则将“感伤恋歌”的概念具像化，伴着温暖的钢琴，以戏剧性的唱腔点燃了一段不和谐关系的回忆。“如果我写的是与我个人相关、稍显阴暗的主题，我总会加一点幽默。”JADE 在专辑发行时告诉 Apple Music，“作为词曲作者，我终于可以探索这些更私密的话题，并让大家看到真正的我，这很有趣。”

身为英国人气女子组合的前成员，JADE 在团十年间深度参与创作，因而专辑《THAT'S SHOWBIZ BABY!》也多少延续了 Little Mix 后期作品的风格，并继续与 Sabath、MNEK 和 Lostboy 等制作人合作。许多组合成员在单飞后都会选择彻底重塑自我，以展示他们被集体压抑的艺术个性，JADE 却并未急于摆脱过去，而是大胆地将自己独特的创作冲动与熟悉的声响融合。正因如此，《THAT’S SHOWBIZ BABY!》听来更为真诚，让她在开辟未来音乐道路的同时，也重新拥抱并掌握了自己的过去。