Summary

JENNIE released her new breezy pop single "Less than a Lover" on streaming platforms.Built on lo-fi guitars and keyboards, the song centers around a dreamy vibe on summer love.Shot in Spain, the official music video frames JENNIE as both the star and the director of the story.

JENNIE returns with "Less than a Lover," an alternative pop ballad that captures the languid, fleeting romance of summer love. Shifting away from the explosive, high-energy choreography of her previous solo hits, the multi-hyphenate artist embraces a warmer, lo-fi aesthetic built on lazy guitar riffs, vintage electric keyboards and restrained, effortless vocals.

The lyrics explore the unspoken, magnetic grey area of a modern seasonal romance — a connection that sits intentionally somewhere between casual friendship and full emotional commitment. "I just want a summer kind of thing," she sings, establishing boundaries while acknowledging the pull of the moment: "More than a friend, but less than a lover / Just a little bit lighter, a little bit under."

Shot on location in Spain, the official music video extends this atmosphere into a cinematic narrative. Shot with muted tones and intimate framing, it stars JENNIE as both the narrator and director of this summer love story. Opening with voiceover narration outlining the script for a girl who "wants to avoid love and responsibility," the video captures sunny road trips, sun-drenched coastal highways and quiet poolside moments that evoke a vintage romance film.

Watch the music video for JENNIE's "Less than a Lover" above. The song is now out and available to stream on platforms like Spotify and Apple Music.

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Summary

Charli xcx’s 'Music, Fashion, Film' responds to her brat era with rock-grunge distortion.Tracks like "SS26" and "Card Declined" explore identity, excess, consumerism and personas.The 11-track record features guitar-driven highlights and a closing monologue by David Cronenberg.

Charli xcx’s Music, Fashion, Film positions itself as both a manifesto and a playful critique of pop culture’s obsession with spectacle, while serving as a direct response to her brat era. From the jagged guitars of “Rock Music” to the glittering riffs of “Camera,” the album thrives on contradiction — embracing irony while delivering undeniable hooks. Charli’s approach is rarely literal; when she sings that "the world is gonna end" in “SS26,” it isn't an apocalyptic warning, but rather a reflection on her experience maintaining a "morally pure" persona. This ironic, deeply introspective lens allows her to explore themes of identity, image, and excess without losing the immediacy of pop pleasure — now tinged with a highly addictive, rock-grunge distortion.

The tone is set immediately on the volatile opening track, "Rock Music," where she filters headbanging physicality through a glitchy universe, famously declaring that "the dance floor is dead." From there, the album moves through a tightly woven, 11-track narrative. On “Card Declined,” she sings over fuzzed‑out bass chugs about the consuming consumerist mentality of shopping for a whole new personality — how luxury goods from jewelry, handbags, perfumes and even a Jaeger‑LeCoultre watch, alongside a Mahjong sofa and a new apartment, all feed into constructing one’s “ideal fantasy” self before reality inevitably intrudes.

Lyrically, the album thrives on a dense web of irony, dark humor, and deliberate hyperbole, requiring listeners to read between the lines rather than take Charli’s declarations at face value. On the single "SS26," her references to an apocalyptic collapse are less about literal destruction and more of a tongue-in-cheek commentary on modern internet moral purity, hyper-curated personas and online panic. Similarly, on "2007," her romanticized nostalgia looks back at the year her journey began, pointing to the sweaty sanctuary of early underground scenes.

"Magic Metal Montana" offers a dreamy, Strokes-esque blur of guitars as a tender love letter to A.G. Cook, while "Camera" turns the lens into a melancholy, jittering exploration of creative reinvention and performance anxiety. Meanwhile, "Wink Wink" playfully satirizes the restrictive boxes the industry attempts to lock her into, leading into the introspective closing surrender of "No One Lasts Forever," which features a full one-minute-long spoken-word monologue by renowned filmmaker David Cronenberg.

Charli xcx's Music, Fashion, Film is out now and available to stream across major platforms like Spotify and Apple Music.

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Last weekend, Smirnoff Ice returned to Dominator Festival in the Netherlands. Hosting a dedicated stage at the vast hardcore event, the brand focused programming on the evolution of the Dutch dance music scene, which the original premix has been connected to since the ‘00s.

Over two days, the Cold Classics stage became a meeting point for like-minded hardcore dance fans. With a curation of DJs who have famously championed the genre over the decades, they gathered to rediscover sounds from as far back as the ‘90s. Headliner DJ AniMe was one of the several artists featured on stage. Coming off a gabber techno set on the Satellite stage and a Hardcore set at the Main stage of the event, her performance at Cold Classics saw the DJ return to her roots in the music genre.

“Hardcore is where it all started for me,” says DJ AniMe as she explains the curation of her set. “The sound has evolved so much over the years, so going back to the classics feels really special. In the Netherlands, they say, 'Hardcore will never die.' I really believe that's true. It will evolve, but it will never die.”

Revisiting her personal music archives, the DJ played her most popular classics, such as “Detonate,” “A-Bomb,” and “Hardcore Machine,” which boldly went against the grain of the melodic hardcore music released at the time. She adds, “As an artist, I always try to put my feelings into my music, and I've noticed over the years that people really catch what I wanted to say. It's something that goes further than words. You feel it inside, and then you have that click.”

With attendees connecting over this shared experience on the dancefloor, Smirnoff Ice set out to supercharge interactions through its Freeze Point activation. The immersive moment brought a collective cooling effect to crowds through a combination of wind, lighting, smoke, and special effects. Elsewhere, attendees also got to sample products at the Smirnoff Ice bar and explore other interactive displays across the space, tying into its overarching Cold Classics theme.

Reflecting on the Smirnoff Ice stage, DJ AniMe shares, “When brands support artists, they’re not just sponsoring an event, they’re helping create opportunities, bring people together, and keep the scene evolving. The best collaborations happen when there’s a real connection between the artist, the audience, and the brand. In this case, it felt like a natural fit.”

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To find out more about Smirnoff Ice at Dominator Festival, check out the post above or head to the brand’s Instagram page now.

DISCLAIMER: We discourage irresponsible and/or underage drinking. Drink responsibly and legally.

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Summary

Universal Pictures has dated the Snoop Dogg biopic Snoop for August 6, 2027Jonathan Daviss of Outer Banks takes the title role, with Craig Brewer directingThe film marks the first project under Death Row Pictures' overall deal with NBCUniversal

Snoop Dogg is officially getting the big-screen treatment, and Snoop now has a date. Universal Pictures has set the biopic for August 6, 2027, slotting the story of the artist, mogul and gangsta rap icon into a prime summer window and stepping into a release slot previously held for an untitled Universal event film.

Jonathan Daviss, known for Netflix's Outer Banks, will play the lead, stepping into the role of one of hip-hop's most recognizable figures. Behind the camera, Craig Brewer directs from his own rewrite of a script originally drafted by Joe Robert Cole. Brewer brings real range to the job, with Hustle & Flow and the recent Song Sung Blue on his resume, and the film will weave in music pulled from Snoop's deep catalogue.

The production carries serious backing. Snoop is the first project under Death Row Pictures' overall deal with NBCUniversal, and the producing team includes Imagine Entertainment's Brian Grazer, a veteran of 8 Mile, alongside Snoop Dogg himself and Death Row Pictures president Sara Ramaker. That lineup signals a film aiming for scale rather than a quick cash-in on a famous name.

Universal also knows this lane well. The studio's biopic track record runs from Straight Outta Compton to 8 Mile, and it recently helped push the Michael Jackson film Michael past $1 billion USD worldwide. Dropping Snoop into that legacy sets a high bar, and the studio is clearly betting the West Coast legend's story can clear it.

Snoop hits US theaters on August 6, 2027 via Universal Pictures. Stay tuned for an official trailer.

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Summary

Charli xcx released "Camera," the fourth single from her seventh studio album, 'Music, Fashion, Film.'The rock-tinged electronic track explores the anxieties and intoxicating highs of stardom.An Aidan Zamiri-directed, black-and-white music video stars Vincent Cassel alongside Charli xcx in a continuous desert-set take.

Charli xcx turns her lens toward the existential gravity of stardom with her latest single, “Camera,” the fourth preview of her seventh studio album, Music, Fashion, Film. Continuing the rock-tinged, electronic soundscape established in her previous singles, the track balances vulnerable self-doubt with a high-stakes craving for performance.

Charli wrestles with the weight of artistic scrutiny, asking, "Do I want to make music / Am I being fucking stupid?" before surrendering to the intoxicating high of public exposure. Lyrically framing the lens as both a liberation and a threat, she sings, "When the camera is on / I can be anything I want to be," comparing the feeling to looking "down the barrel of a gun." Ultimately, "Camera" captures the thrill of escaping one's true self through creative reinvention, embracing artistic risk even when faced with the threat of public failure.

The accompanying music video, directed by frequent visual collaborator Aidan Zamiri, translates these themes into a satirical, continuous one-take visual filmed on a desert movie set. Shot entirely in black-and-white, the clip stars French actor Vincent Cassel as a movie star attempting to shoot a bloody, dramatic death sequence, only to be repeatedly derailed by failing squibs, technical errors and sparking equipment. Charli enters the frame halfway through as the director, perched atop a moving camera dolly while clad in an embroidered floral capri set. As she calmly observes Cassel’s spiraling frustration and points a finger gun in his direction, the video creates a moody, meta-cinematic atmosphere. The narrative captures the grueling, repetitive absurdity of filmmaking, mirroring the song's meditation on the pressures of performance and visibility.

Watch the music video in the gallery above. "Camera" is available to stream now across all major platforms, including Spotify and Apple Music. Charli xcx's highly anticipated new album, Music, Fashion, Film, will officially release later this week on July 24, 2026.

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COLORSxSTUDIOS' ethos has always transcended far beyond the backdrop. The Berlin-based music platform has been a vibrant force in music curation for almost a decade, and up until earlier this month, COLORS' presence in the States was solely consumable virtually.

Which, ultimately, was fine. With at least one (typically two) new COLORSxSTUDIOS music videos dropping on YouTube every week, us U.S-based COLORS heads were fed with some of the most aesthetically honed performance visuals out there – coming from a global range of musicians, at that. A testament to the collective's expansive talent Rolodex of A-listers and up-and-comers alike that has continued to expand since COLORS' founding in 2016, the German platform's impact in music discovery is unmatched.

Be it in front of a cerulean blue, blood orange, or butter yellow background, a musician's COLORS performance video on YouTube (also broadcast on Apple Music, Spotify and other major streamers) typically racks up close to 30 million views, on average. With that number continuing to skyrocket, a post-COVID live music revival still reaching full swing, and New York City having one of the most exciting summers in recent history, what better time than to bring the platform to the city?

With COLORSxSTUDIOS' community-centric ethos fueling the new brick-and-mortar initiative, the creative hub did just that, opening the doors to its first-ever permanent studio space in New York City. Located in Brooklyn, the new HQ stands as a stateside physical embodiment of the platform's foundational pillars we've all been privy to via phone screen.

Rather than announce the anticipated opening with a traditional media campaign or rollout, COLORS did what it does best. For three full days, COLORS hosted its TONES of NYC initiative, turning the platform's new home into an instant hub of free programming: a vibrant convergence of culture, community-building, and connection, all backed by a soundtrack of live music.

From Kelela's new avatar album release party to a Friday night Summerstage takeover at Herbert Von King Park, here's everything COLORS and TONES of NYC had cooking for its opening week.

A Local Lineup of DJs During the Day

From noon to 4 pm on Tuesday, Wednesday, and Thursday, you could pull up to the COLORSxSTUDIOS HQ in Bushwick for a series of live DJ sets in partnership with Half Moon. Billed as Half Moon in residence with Ballantines, the lineup spotlit a different collection of the city’s emerging DJ talent, with each day taking on a different theme: Hip-Hop, Open Format/Electronic, and Caribbean. Jamesy, Cutbird, Jeannel Briu and Godspeed spun the first day, with Noah G, Denise Renée, Ken Dollaz, and Goldie Harris pulling up for day two, and Khalil, Citizen, Jfuse and Sounds of Reality closing it out on day three.

An Intimate Night with Infinity Song

On the first night, TONES welcomed in Momo Boyd's sibling quartet, Infinity Song, for the first performance – but only after a rare panel conversation from the entire group. All four of Infinity Song's members, Abraham, Angel, Israel and Momo Boyd, sat on the COLORS stage (in full Levi's 'fits) to share more about their creative process, inspirations, and what it's like collaborating as siblings, before delivering a captivating live set equipped with all the classics and new cuts alike. The Boyd quartet bounced around the crowded room, dancing with audience members, passing off the microphone, and making it all look really easy.

Three-Day Fashion Marketplace by Storage

Fashion marketplace platform Storage set up shop IRL at the HQ, curating racks from a selection of NYC’s vintage sellers and local brands such as KidSuper, Advisry, and Tommy's Gift Shop. Apparel, collectables, footwear, accessories – you name it, it was most likely on display at Storage's TONES of NYC outpost.

WHATMORE Brings Their COLORS Performance to Life

Wednesday night belonged to WHATMORE – and it was only right. A perfect epitome of COLORS' community-centric ethos, the five-man unit hit the stage at the HQ now seven months after their COLORS video premiered to offer up an electric set that even included some unreleased tracks. Literally forged on the streets of the city itself (having met at LaGuardia High School, first best friends before bandmates), the energy in the room was the epitome of NYC summer. After the performance, Cisco Swank closed out with a proper dunk on the basketball hoop.

Street Dreams: A Love Letter to the City Photography Exhibition

On display all week at the Brooklyn hub, Street Dreams: A Love Letter to the City offered a nostalgic look back on the streets of New York City through the lens of our very own local photographers.

Lekan Live Performance

To close out Thursday's live performances at the Brooklyn studio was none other than Lekan. The budding Nigerian-American R&B artist (who made his COLORS debut back in March) took the stage on Thursday night for an expansive live performance.

TONES of NYC's Summerstage Takeover, Starring Mereba, Mack Keane, and Arima Ederra

On Friday, TONES took it elsewhere in Brooklyn. At Bed-Stuy's storied Herbert Von King Park, TONES teamed up with Summerstage to curate another free live performance. TONES' Summerstage Takeover featured a lineup of three emerging artists – Arima Ederra, Mack Keane, and headliner Mereba – who each delivered a full set on the warm summer night.

Kelela's new avatar UNLOCKED Playback and Release Party

Later that night, it was Kelela who was the star of the show. In the final hours before the release of her anticipated return record, new avatar, the superstar chose to spend her time with COLORS, throwing both a pre-release playback and release party for the project in partnership with YouTube Music. Let's just say, the party kept going all night.

One Love Community Fridge Hosts EAT.PACK.GIVE

Prior to WHATMORE's performance on Wednesday night, One Love Community Fridge popped up at the studio to host both a communal meal and community service activation; after dining together, guests then packed meal boxes for One Love Community Fridge's mission to bring easy access to free, fresh, wholesome food to those in need across Manhattan and Brooklyn.

The Levi's Customization Station

Levi's was on-site all week for its Levi's Customization Station, where attendees could not only cop one-of-one screen-printed merch, but also have the design personalized and dialed in even more at the brand's customization station.

Sarah Lola's Private COLORS Premiere

Sarah Lola's Thursday afternoon event was the one activation that wasn't open to the public – but even still, COLORS made sure that Lola's superfans got special access. An intimate, friends and family only performance, the rising singer-songwriter, multi-instrumentalist performed in front of a bright red backdrop ahead of her COLORS premiere.

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Summary

'Always Lalisa,' a new documentary directed by Sue Kim and produced by Sony Music Vision, will world premiere in the Gala programme at the 2026 Toronto International Film FestivalThe film chronicles a pivotal year in LISA's life as she steps away from BLACKPINK for the first time since childhood, navigating the pressures of a solo music career, an acting debut, and brand-building on a global scaleThe production is backed by a multi-label structure spanning RCA Records, Tremolo Productions, Salt Water Productions, and LLOUD CO, with Morgan Neville among the executive producers

Sony Music Vision has officially announced Always Lalisa, a feature-length documentary following LISA through what may be the most consequential solo year any K-pop artist has ever had. Directed by Sue Kim, the film will make its world premiere in the Gala programme at the 2026 Toronto International Film Festival, arriving at a moment when the BLACKPINK member's solo footprint has expanded so far beyond music that a documentary feels less like a promotional exercise and more like a necessary piece of cultural record-keeping.

The film's narrative backbone is built around a single, structurally dramatic premise: for the first time since childhood, LISA has stepped away from BLACKPINK for a full year of independence. That framing turns the documentary into something more than a concert film or behind-the-scenes access reel. It is a clock-driven story about confronting the fear and pressure of launching a solo career, pursuing acting, and building a brand, all while holding space for a personal life that exists beyond the reach of the spotlight, and all with the understanding that the year has a fixed endpoint marked by her return to the group.

What makes the timing so potent is the sheer density of what LISA compressed into that window. In the span of roughly 12 months, she performed at the opening ceremony of the 2026 FIFA World Cup alongside Anitta and Rema, becoming the first female K-pop artist and the first Thai artist to take that stage. She played Coachella 2025 as a solo act; made her acting debut in HBO's The White Lotus; and served on the 2026 Met Gala host committee, marking another first for a K-pop artist. She presented at the 2026 Golden Globes; covered Vanity Fair's Summer 2026 issue; announced two Netflix projects, and became the first K-pop artist to hold a Las Vegas residency, with her four-show VIVA LA LISA run at The Colosseum at Caesars Palace selling out in under 10 minutes.

That is a year in which a single artist crossed from music into film, from festival stages into institutional fashion, and from touring into residency, and did all of it as a series of firsts. BLACKPINK had already established LISA as one of the most followed individuals on the planet, with a social media reach that regularly outpaces entire entertainment conglomerates. But the solo year reframed her as a self-sustaining cultural entity operating across every major entertainment vertical simultaneously.

Always Lalisa world premieres at the 2026 Toronto International Film Festival. Stay tuned for a wider release date.

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Summary

Miki Matsubara’s 1979 single "Mayonaka no Door~stay with me" passed 500 million Spotify streams.It is the first 20th-century Japanese track to hit the milestone, fueling the global City Pop boom.The timeless classic continues to earn international awards and film soundtrack offers worldwide.

Miki Matsubara’s legendary 1979 debut single, "Mayonaka no Door~stay with me," has officially reached a historic milestone by surpassing 500 million cumulative streams on Spotify. The monumental achievement cements the track as the 10th Japanese song in history to cross the half-billion threshold, while making it the first-ever 20th-century Japanese release to accomplish the feat.

Driven primarily by digital natives and international listeners, the song has proved to be a central pillar of the global City Pop revival. Its unprecedented longevity was sparked by an 18-day reign at No. 1 on Spotify's Global Viral Chart in December 2020 and has since maintained a persistent presence near the top of international charts, including the Billboard Global Japan Songs Excl. Japan.

The track's global momentum shows no signs of slowing down, as its influence expands across major international entertainment industries. For the second consecutive year, "Mayonaka no Door~stay with me" earned a nomination for "Best Japanese Song in Latin America" at the Music Award Japan 2026. Outside of pure audio streaming, the track continues to capture the attention of global video creators and film studios, drawing steady soundtrack licensing offers from the US, France, South Korea, Singapore and the Czech Republic. Nearly five decades after its original debut, Matsubara's timeless classic stands as an undeniable cultural bridge and a defining symbol of Japanese music on the world stage.

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Summary

Future's The Real Me debuts atop the Billboard 200 with 131,000 equivalent album units, driven overwhelmingly by streamingThe achievement gives him 12 No. 1 albums, surpassing Eminem and trailing only Drake, Taylor Swift, JAY-Z, and The Beatles overallThe project is Future's first solo release since his pair of collaborative chart-toppers with Metro Boomin in 2024

Future's The Real Me debuts at No. 1 on the Billboard 200, earning the Atlanta rapper his 12th chart-topping album and further entrenching his position among the most commercially dominant figures in hip-hop history. The album arrives atop the July 25-dated chart with 131,000 equivalent album units earned in the United States in the tracking week ending July 16, according to Luminate.

The bulk of that total was powered by streaming. Streaming equivalent album units accounted for 118,000 of the 131,000 figure, translating to 120.29 million on-demand official streams and earning the album a simultaneous No. 1 debut on the Top Streaming Albums chart. Album sales contributed 13,000 units, good for a No. 9 debut on Top Album Sales. The project was made available across multiple formats, including a standard 11-track download edition, a 22-track streaming edition, a 21-track CD across two editions (including a signed version), and a 13-track vinyl across four variants.

With a 12th Billboard 200 leader, Future now solely holds the record for the third-most No. 1 albums among rap acts, moving past Eminem's 11. Across all genres, only The Beatles (19), Drake and Taylor Swift (both at 15), and JAY-Z (14) have reached the top more frequently. The milestone adds another data point to a chart run that has defined hip-hop's streaming era, with Future's No. 1 streak stretching back over a decade. The Real Me is Future's first solo studio project since his consecutive No. 1 collaborative albums with Metro Boomin in 2024, We Don't Trust You and We Still Don't Trust You. The new album was announced on June 15, with its July 9 release date confirmed 10 days later. Its lead single, "Radio," dropped on June 26 and has since reached the top 25 on both Hot Rap Songs and Hot R&B/Hip-Hop Songs.

Elsewhere on the latest Billboard 200, five former No. 1 albums follow Future in the top six: Olivia Rodrigo's you seem pretty sad for a girl so in love holds at No. 2 with 96,000 units, Morgan Wallen's I'm the Problem rises to No. 3, Ella Langley's Dandelion sits at No. 4, Noah Kahan's The Great Divide climbs to No. 5, and Drake's ICEMAN falls to No. 6 with 61,000. The Rolling Stones also enter the top 10, debuting at No. 7 with Foreign Tongues (53,000 units) to extend their all-time record to 39 Billboard 200 top 10 entries. Michael Jackson's Thriller holds steady at No. 8 with 41,000 units, while the Heated Rivalry soundtrack skates in at No. 9 with 41,000 units following the release of its CD and vinyl editions, marking the first TV series soundtrack to debut in the Billboard 200 top 10 in over a decade. Morgan Wallen's One Thing at a Time rounds out the chart's upper tier, rising from No. 11 to No. 10 with 37,000 units.

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Summary

Ludwig Göransson has officially released the original soundtrack for Christopher Nolan’s highly anticipated film adaptation of 'The Odyssey'The movie's soundtrack closes with a powerhouse collaboration titled "When I'm Home" featuring James Blake and Travis ScottTravis Scott pulls double duty for the cinematic project by also appearing on-screen as a bard within the movie

Ludwig Göransson and Christopher Nolan have officially released their standout end credits theme, "When I'm Home," featuring James Blake and Travis Scott. Dropping in tandem with the theatrical debut of Nolan’s cinematic epic, The Odyssey, the high-profile track serves as the grand finale to the movie's original soundtrack.

The track marks a monumental creative link-up, combining Blake’s signature soulful harmonies with Scott’s distinct, hallucinatory verses. Co-written by director Christopher Nolan himself, "When I'm Home" delivers an atmospheric blend of experimental production and mythic storytelling that perfectly encapsulates the grand scale of the film.

Scott’s involvement in the mythological epic extends well beyond his musical contributions. The artist also makes a physical appearance in the film, playing a bard at the start of the movie and briefly reprising the role later on. While "When I'm Home" stands out as the soundtrack's only song featuring outside musicians, the original soundtrack also includes a track titled "Circe," which features Samantha Morton performing in character as the iconic witch goddess.

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Earlier this year, glo tasked three creatives to turn the monotonous routines of everyday life into a source of inspiration. The project, titled “Feel your glo,” set out to encourage the participants to find a positive response to typically mundane moments by transforming them into creative impulses.

As opposed to working singularly, the creatives – who include DJ Marten Hørger, illustrator Danii Pollehn and fashion designer Marcel Ostertag – have been handing over their creations in a form of creative relay. Kicking off the process, Hørger now releases a single which blends his own field recordings from office settings, train platforms and gyms with electronic beats to create a dynamic soundscape.

The “Daily Commute” single was one of three tracks that the DJ had initially produced at the start of the project. After giving glo’s community the chance to vote for their favorite track on Instagram, he went on to enhance the single with additional sound bites and instrument compositions.

“Developing a track from everyday sounds together with the community had an immediate creative appeal,” shared Hørger on the process. “My own life is highly centered around travel—small moments that provide inspiration happen everywhere. Making these perspectives from other people's routines audible was the most exciting part of the process.”

Following the release of “Daily Commute,” Pollehn will now reinterpret the soundscape in a visual art piece, similarly tapping glo’s community on Instagram for insights on the various phases of its creation. Once revealed, this will then be handed over to Ostertag for the final piece in the project.

Be sure to listen to Marten Hørger's latest single online. To get involved in “Feel your glo,” head to the brand’s Instagram account now.

DISCLAIMER: +18 Only. This product contains nicotine and is addictive.

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The first New Music Friday of July fell on a holiday weekend, so the second one had to come extra correct. Here's everything from the first two weeks of July that we've added to this month's playlist.

Projects

Ken Carson – xperiment

The Chaos era is over, and the xperiment era is upon us. Opium's Ken Carson has shared his fifth studio albu, equipped with high-octane features from the rest of the Opium gang – Destroy Lonely and Playboi Carti – as well as Lil Uzi Vert and Young Thug.

JAŸ-Z – 444 (Deluxe)

JAŸ-Z continues to honor his discography as JAŸ-Z30 continues. In honor of HOV's thirteenth album's ninth anniversary, he added the vinyl version's three extra songs onto streaming services – one of which is "Blue's Freestyle/We Family" featuring Blue Ivy Carter and another featuring James Blake.

Sango – RHYTHM & MELODY

Just in time for summer, Sango has returned with his latest studio effort, a sprawling 20-track double disc that lives up to its title. Assistance comes from Big Sean, Babyface Ray, Smino, Boldy James, GoldLink, Vic Mensa, Xavier Omär, Robb Bank$, PHABO and Dave B., among others.

Lance Skiiiwalker – #invite,sessions,only!!

TDE's resident sonic experimenter is back with an 18-track collection that trades in glitchy production and constantly shifting vocal deliveries. The project follows the buzz around lead single "keep it on!!," and features appearances from labelmate ScHoolboy Q as well as Pink Siifu.

SIENNA SPIRO – Visitor

After a major breakout year, SIENNA SPIRO shared her debut longform record dubbed Visitor.

Show Me the Body – Alone Together

Brooklyn's own Show Me the Body delivered their fourth studio album, Alone Together, which takes the form of an 13-track set. Klas Åhlund and Kenneth Blume (aka Kenny Beats) handled the entirety of the production front.

Future – The Real Me

Future is back with his tenth studio album and first solo full-length in four years, following 2022's I Never Liked You. 22 tracks. No features. The Real Me, indeed.

La Reezy – Pretty Girl Bullshit

About time. La Reezy dropped off his debut album Skiddle Bandana, a 13-track project stamped by standout cut, "Pretty Girl Bullshit."

slayr – AVANT NOVA

slayr shared his eighth EP, which, more notably, signals his first-ever release under Columbia Records. The six-track AVANT NOVA is positioned as the precursor to Fabula Nova and features a lone guest appearance from Prettifun.

Kelela – new avatar

Kelela presented her third studio album, new avatar, a 12-track offering produced largely alongside Oscar Scheller.  To no one's surprise, the record features a stellar supporting cast of A. K. Paul, Fousheé, and PinkPantheress.

Singles

Jorja Smith x Wizkid – "Alive"

Talk about a dream team.

DESTIN CONRAD – “Nervous”

Another solid release from the rising R&B star.

Beyoncé – "MORNING DEW (DONK)"

There are very few things better than a surprise, mid-week Beyoncé release.

AKTHESAVIOR – "HAVE HOPE"

AKTHESAVIOR has been on a run this summer with singles, the latest in the lineup entitled "HAVE HOPE."

Larry June – "Organic Motion"

As he gears up for his album drop, Larry June has unveiled the project's lead single "Organic Motion."

Rico Nasty – "Cupcake"

Rico Nasty's new Kenneth Blume (again, formerly Kenny Beats)-produced single is just the beginning of an entire collaborative album by the duo, due out later this summer.

Liim – "Is Loving Really Bad"

After teasing the track on socials for a minute, Liim has dropped off "Is Loving Really Bad," the lead single from his imminent new LP.

Sadboi – "Gameboi"

Sadboi is one to watch this summer and "Gameboi" just further proves our point.

Liim – "Machete Summer" (A COLORS SHOW)

Double duty from Mr. Lasalle this week, with his COLORS debut where he performed new track "Machete Summer."

Malcolm Todd – "I Just Got Mad"

Marking his first new music since Do That Again, Malcolm Todd has returned with "I Just Got Mad," a longtime fan favorite he first began teasing back in 2024.

Lelo – "Big Dipper"

Detroit rapper Lelo continues his steady run with "Big Dipper," the latest in his string of solid video singles.

nate sib – "Face Card"

With his debut record in the works (confirmed to land in late August), emerging underground talent nate sib lifted the veil on lead single "Face Card."

WHATMORE – "On Site"

Ahead of their late-summer festival run, WHATMORE delivered new cut "On Site."

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Summary

JAY-Z broke the all-time concert attendance record at New York's Yankee Stadium on Saturday nightThe second show of his three-night residency celebrated the 25th anniversary of his iconic 2001 album, 'The Blueprint'Superstar collaborators Eminem, Pharrell Williams, and Slick Rick joined the Brooklyn mogul on stage for a historic evening

JAY-Z has officially made history in the Bronx, shattering the all-time concert attendance record at Yankee Stadium. The second night of the rapper's highly anticipated three-show residency drew a record-breaking 45,832 fans, eclipsing the previous night's turnout and cementing the 25th anniversary of The Blueprint as a monumental cultural moment.

The Saturday night performance served as a career-spanning celebration centered around his seminal 2001 masterpiece. Addressing critics who accused him of commercial compromise, JAY-Z jokingly told the crowd, "They say I sold out... Yeah, I did sell out. Three nights. I sold Yankee Stadium the hell out." The crowd, which included star-studded attendees like Dave Chappelle, Gabrielle Union, and Jayson Tatum, witnessed a series of high-profile guest appearances.

Detroit legend Eminem surprised the audience to perform their iconic duet "Renegade" along with "Lose Yourself," while Slick Rick also graced the stage. Pharrell Williams later joined for an energetic multi-song run, performing classic hits like "Excuse Me Miss," "Frontin," and "I Just Wanna Love U." The record-shattering weekend cemented JAY-Z as the first artist to sell out three consecutive nights at the legendary venue.

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If anybody told me a few years ago that Awich, ONE OK ROCK, rapper CHICO CARLITO and progressive metalcore band Paledusk would form a music unit together, I would have called the idea intriguing but entirely far-fetched. Yet, at the end of June, that seemingly impossible idea became a reality. The artists blindsided fans with a coordinated Instagram post: a stark, monochromatic image emblazoned with "YAO." This was accompanied by a simple caption reading “We are YAO,” followed by a brand new Instagram handle. That same day, they took over the Red Bull MIC channel, premiering a collaborative performance video for the new Red Bull IN-YO! series. But just when I thought this might be a temporary crossover project, they made their official debut as YAO with their first single and music video, “777” just one week after. 

For those who have been closely tracking their orbits over the past year, this powerhouse of a union actually makes perfect sense. CHICO CARLITO and Paledusk were already well-acquainted with ONE OK ROCK, having lent their distinct styles to the track “C.U.R.I.O.S.I.T.Y.” on the band's DETOX album. That chemistry naturally spilled over onto the stage later that year when both acts, alongside Awich, performed as special guests for various shows during ONE OK ROCK’s DETOX Japan Tour.

The collective bond was cemented even further when Paledusk joined ONE OK ROCK across the continent as the supporting act for their European Tour. However, the foundational seeds of this formal group were planted much earlier. Back in 2024, at the SUPER DRY SPECIAL LIVE concert that took place at the Belluna Dome in Saitama, Japan, a joint performance between ONE OK ROCK and Awich unlocked an undeniable, lightning-in-a-bottle on-stage energy. It was that exact moment of mutual artistic respect that laid the groundwork for what has now become YAO.

We heard the catalyst for this project goes back to your joint performance at a dome concert. What is the full story behind how this group actually formed?

Taka (ONE OK ROCK): It actually started with a trip. Before we could create something together, we needed to really get to know each other. We put together a rough demo, and as our shared vision began to take shape, we started bringing more people into the fold.

Awich: For me, performing with Taka at Belluna Dome felt like pure alignment. We both felt this intense, undeniable energy on stage and we knew right then we couldn't let it end as a one-time collaboration. But we also didn't want to rush anything or make something formulaic.

Like Taka said, we started by traveling and spending real time together — really digging into each other's mindsets and creative outlooks. Building a genuine brotherhood and sisterhood came first. Once we started playing around with different sounds and demos with DAIDAI from Paledusk, the vision naturally expanded. Bringing in CHICO's heavy-hitting verses and Kaito's (Paledusk) raw, unruly shouts was what ultimately made this musical universe complete.

"This group was never meant to blend into a single, uniform sound… it’s about bringing entirely different forces together […] and recognizing that there is a distinct, powerful spirit in each of them."- Awich

When Taka and Awich first reached out to pitch the idea, what was your very first thought about joining the group?

CHICO CARLITO: I was incredibly happy, but at the same time, I immediately felt the pressure to step up my game and level up my skills. I also wanted to brag to my high school classmates right away - they all knew how obsessed I was with ONE OK ROCK - but I had to keep it a secret until the official announcement.

DAIDAI (Paledusk): My very first thought was just, "Hell yeah! I get to write some massive tracks!"

How did you land on this name, and how does it embody the spirit of the group?

Awich: YAO is short for Yaoyorozu. The concept of Yaoyorozu (the belief in eight million gods, or countless spirits) is deeply rooted in Japanese spirituality, but it also perfectly aligns with how we view music and community. We landed on YAO because this group was never meant to blend into a single, uniform sound. Instead, it’s about bringing entirely different forces together - rock, hip-hop, metalcore - and recognizing that there is a distinct, powerful spirit in each of them. With YAO, we wanted to embrace both the chaos and the harmony of these diverse energies coexisting.

What is the core story and message you wanted to lead with for your first release, “777”?

Awich: I envisioned a group of outsiders who treat the world like a high-stakes gamble. Then, realizing the game itself is rigged, they decide to flip the table and completely rewrite the rules for everyone. On the surface, it plays out like a heist — four ambitious artists from different parts of Japan coming together to take over. But underneath, it poses a deeper question: what are we actually playing for? The turning point comes during the bridge, when the lyrics ask, "What if we play for something more?" For me, that’s the moment the metaphor cracks open. The number "7," which reads as "nana" in Japanese, starts as a jackpot symbol, but ultimately transforms into a defiant cry for our collective humanity.

In the early stages of making "777," was everyone's role defined right away? What was the creative process like?

DAIDAI: From the moment I was approached about the project, it was decided that I would write the tracks and handle the production. But before we even got to work, Taka said, "Let's fill our stomachs first!" — and he cooked this incredibly delicious meal for us. The food was so amazing that it made me want to write songs that are tasty too.

Juggling all of your individual schedules must have been tough. How did you all find the time to make this track happen?

CHICO: Before we laid down the final tracks, we put together a rough demo recording in my hometown of Okinawa and sent it over to the team. To make sure we were delivering the best possible material even at that early stage, I ended up calling in favors and getting help from a lot of my friends.

The music video for "777" is incredibly impactful. How did the concept for it come about?

Awich: For "777," we wanted to anchor the music video in a raw, distinctly local Japanese aesthetic — something the global audience hasn't been overexposed to. The core concept was heavily inspired by the scale and rebellious energy of classic Japanese youth films like Seven Days War, where youth culture, spectacle and defiance collide. We wanted to take the fast-paced, disruptive energy of the track and elevate it into a modern ritual of youth rebellion. It's fresh, culturally grounded, and speaks a visual language that feels entirely new both in Japan and on the global stage.

"We really don’t want to box ourselves in or create any creative boundaries by overthinking genre categories." - Taka (ONE OK ROCK)

What was your most memorable moment from the video shoot, or your personal favorite scene in the final edit?

CHICO: Looking back, what really stood out to me was the sheer impact of the main shot where all the extras come running in. During the night shoot, it was also really nice to chat with them for a bit; I even found myself asking, "Does anyone have any questions for us?"

As for my personal favorite scene, it has to be the part where we’re all headbanging on the rooftop. I'm actually terrified of heights, so I had to give it everything I had! [Laughs]

You represent a brilliant cross-section of generations and genres. Is this current four-act lineup the permanent core of YAO, or are you open to bringing in guest artists for future projects?

Taka: That’s a secret for now. But as a group, we really don’t want to box ourselves in or create any creative boundaries by overthinking genre categories.

How has collaborating on this collective scale impacted the way you approach your own solo work or your main band projects?

Taka: It has been an incredible learning experience across the board. It’s allowed me to step back and look at my own work from a much broader, bird's-eye perspective than usual. I’m so grateful to the other members of YAO and our entire staff.

So, what's next for YAO? Can you give us any early hints on what to look forward to?

DAIDAI: Taka is going to be featured on every single track!

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Stone Island Sound has been on a run this summer. The techwear imprint has long been closely aligned with the sonic sphere, but recent months have signaled a greater focus on the label's audio arm. After working closely with Dave on an entirely custom, stage-ready Stone Island wardrobe for his The Boy Who Played The Harp World Tour, unveiling a slate of playlists billed as SOUND AS A FORM OF RESEARCH, and locking in on its custom vinyl releases, the label has lifted the veil on its next limited-edition release.

The latest vinyl in the lineup is Sage Elsesser's latest Navy Blue studio project. Sir Render, which dropped back in June, marks one of the musician's most introspective works to date, its 15 tracks cemented in themes of duality, identity, and transformation.

The motif at the core of the album's story is a knight confronting internal conflict, with this recurring character directly informing SI Sound's reimagining of the physical release as a collectible artifact. With artwork by Liam Macrae, the Stone Island take on Sir Render is structurally composed as a diptych, showcasing two distinct sculptural forms in homage to the record's roots in duality.

The first image features a custom bust of Elsesser himself, envisioned as an archetypal figure, adorned in bespoke chainmail armor. As for the second, a custom shield is showcased, stamped with Stone Island’s signature stellina logo. In tandem, the diptych forms a unified system, symbolic of the balance of vulnerability and defense, the interior and the exterior.

Cop one of the special edition vinyl collectibles beginning tomorrow, July 16, when they drop at select Stone Island flagship stores worldwide and via Navy Blue's official webstore at 10 a.m. EST.

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Summary

Beabadoobee releases “Switchblade,” the second single from 'Pylon.'The track blends 90s radio‑rock and emo‑grunge with laidback vocals.Themes of vulnerability, confusion and self‑discovery drive its unresolved fight‑or‑flight metaphor.

beabadoobee cuts straight to the bone with her new single “Switchblade,” the second track lifted from her upcoming album Pylon. The track builds on a 90s radio-rock, emo-grunge sound that evokes a mood of a wandering journey in the Midwest. The singer-songwriter's signature laidback vocals gently chant, “Self-defense is to be brave / Do you start the fight / Or take the flight?” That unresolved question drives the track’s mood.

Thematically, “Switchblade” embodies the contradictions at the heart of Pylon. While the first single, "Sun Has Set" takes on more anger and defiance, the “Switchblade” slows down with a sense of vulnerability and confusion layered in a seemingly relaxed sonic arrangement. With “Switchblade,” she channels her insecurities into waves of distortion, framing confusion and negative emotions not as things to hide, but as necessary stepping stones to self-discovery.

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Summary

Director Christopher Nolan has enlisted Travis Scott and James Blake for an original song in his upcoming film 'The Odyssey'The collaboration marks a reunion for Nolan and Scott following their previous musical partnership on the 2020 film TenetScott will also make an acting appearance in the star-studded adaptation portraying the role of a traditional bard

Christopher Nolan's highly anticipated adaptation of The Odyssey is officially welcoming Travis Scott and James Blake into its cinematic universe. The musical duo has crafted an original track titled "When I'm Home" that will serve as the film's end-credits anthem.

The musical pairing represents a continuation of Christopher Nolan's creative relationship with Travis Scott. The acclaimed director previously enlisted the Houston artist for his sci-fi thriller Tenet, where Scott provided the track "The Plan." Now, Scott reunites with frequent collaborator James Blake for the new end-credits anthem, "When I'm Home," though audio snippets currently remain exclusive to early press screenings.

Beyond the soundtrack, Scott is also stepping in front of the camera for The Odyssey. Nolan cast the artist as a bard, a creative decision drawing a direct parallel between ancient oral poetry and modern hip-hop storytelling. Scott's cameo joins a massive ensemble cast featuring Matt Damon, Zendaya, Robert Pattinson, and Tom Holland. As the film makes history by being shot entirely on IMAX 15/70MM film stock, fans are heavily speculating about the potential arrival of accompanying Cactus Jack movie merchandise to coincide with the release.

The Odyssey arrives exclusively in theaters and IMAX formats worldwide on July 17, 2026.

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JAŸ-Z's homecoming is in full effect, and we're seeing a whole lot of Yankees fitted around the city – many of them being a new collaboration between Paper Planes and New Era released just for the occasion.

Even if you didn't get a ticket to the show, New Yorkers are flocking to be part of the monumental moment by way of one of the greatest slates of merchandise we've seen in a while. Led by Roc Nation, the official JAŸ-Z30 merch suite spans an extensive and highly dialed-in range of apparel, accessories, and home goods. Take a closer look at the entire lineup below.

Music Collectibles

A 30th Anniversary Collector's Crate leads the lineup of limited-release music collectible pieces, which comes complete with all 13 of the rapper's studio albums encased in a sleek black crate. HOV's entire discography is also featured across a set of tapes in the 30th Anniversary Collector's Cassette Box Set, with individual CDs and a re-release of Reasonable Doubt also available.

Jackets

The statement pieces of the range. It's only right that a pair of varsity jackets lands for the occasion. One is a New York Yankees-inspired one, landing in a blue and white colorway and stamped with "Heart of the City" on the chest, a list of all of The Blueprint's tracks down the sleeve, and an album insignia on the back. The second is a clean, all-black, Roc-A-Fella Records piece, complete with "Pain in the Ass" on the chest, and the label's vinyl logo on the back of the silhouette.

Jerseys

A close follow-up would have to be the ROC-ified jerseys. The pinstripes get reimagined in a handful of colorways; of course, in homage to Reasonable Doubt and The Blueprint, all of the jerseys either rep '96 or '01.

Hoodies and Crewnecks

Graphic hoodies hold it down in a couple of iterations, with two standouts featuring the lyrics of "Dead Presidents" off The Blueprint, and The Black Album's "Dirt Off Your Shoulder." Some of the graphics are emulated across crewnecks as well.

T-Shirts

For T-shirts, you've got options. Some of our favorites include the "Can I Live" lyric tee, which simply features the legendary bar across the middle: "I'd rather die enormous than live dormant," and the cobalt blue "What's In A Name?" shirt, defined by its list of all of HOV's nicknames running down the back.

Headwear

In true HOV fashion, the headwear had to mark one of the strongest points of the entire drop. Reasonable Doubt 9Fifty Snapback Crowns come in both black and white, featuring a Paper Planes patch at the center and additional JAŸ-Z hits throughout. The Mitchell & Ness x Roc Nation Reasonable Doubt Pro Pinch Hat lands on a classic New York Yankees pinstripe, finished off with 1996 World Series and "30 Years" patches, whereas the Mitchell & Ness x Roc Nation Blueprint Pro Pinch Hat sees a flag embroidered on the side.

Home Goods

The Book of HOV returns for another commemorative release, alongside Decoded, a collection of some of the rapper's most notable lyrics and explanations.

Accessories

Bandanas, key rings, tote bags, patches, and belts. Rep the ROC wherever you go.

Cop a piece now at the official JAŸ-Z30 website.

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Summary

Los Angeles rapper ScHoolboy Q has officially revealed his seventh full-length studio album titled Thank QueThe upcoming project will feature a 12-song tracklist and serves as a direct follow-up to his 2024 album Blue LipsThe announcement marks the artist's first full-length record created entirely since choosing a lifestyle of complete sobriety

ScHoolboy Q is officially preparing his return to the music landscape with the announcement of his upcoming seventh studio album, Thank Que. Revealing the news directly via his Instagram Stories, the West Coast lyricist shared that he is currently finishing up the tracking process for the highly anticipated body of work.

The newly announced project is set to feature a tight 12-song tracklist, marking a fresh creative phase for the veteran artist. In his social media update, the rapper noted that he has "been working on this for a minute," signaling a deep devotion to the music following his critically acclaimed 2024 studio album, Blue Lips. Notably, Thank Que will represent a milestone shift in his discography as his very first studio album written and recorded completely sober. The artist previously detailed his lifestyle change after stepping away from smoking cannabis to promote personal health and set a positive example for his family.

While the exact musical direction, official guest appearances, and production credits remain under wraps, the confirmation of a new LP has already generated considerable hype across the hip-hop community. Fans can expect a highly refined focus from the sharp-tongued MC as he moves past previous thematic eras.

NEW SCHOOLBOY Q ALBUM ON THE WAY💿

“THANK QUE” … 12 tracks. pic.twitter.com/4bb9HsEUQ5

— NFR Podcast (@nfr_podcast) July 8, 2026

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