In preparation for her new album, Loose, NELLY FURTADO tried out collaborations with a who's who of producers, and she tried to create a music more of the body than the mind. A prime example of the latter is first single "PROMISCUOUS," a duet with Loose producer TIMBALAND, known far and wide for his groundbreaking work with, among others, MISSY ELLIOTT, JUSTIN TIMBERLAKE and AALIYAH.

It stands to reason that gold and multiplatinum certifications (for 2003's Folklore and 2000's Whoa, Nelly!, respectively), a pair of Top 10 singles ("I'm Like a Bird" and "Turn Off the Light"), and a Grammy Award (for Best Female Pop Vocal Performance), to name just a few accomplishments, would afford a certain level of confidence. But nothing has inspired Furtado to throw caution to the wind more than motherhood. "Motherhood makes you fearless," she says. "The album is very youthful-sounding," Furtado continues, "and I think that's partly due to the presence of this two-year-old in my life. I was with her all day every day and then I'd go to the studio at night, and I think that translated into a playful energy I feel onstage but that hasn't really been heard on my records."

Starting with her longtime production team of Track & Field, she also knew she wanted to check out a variety of producers. "Working with new producers," she hazards, "is like trying on new clothes - you never know what you look good in until you try it on. And sometimes they will see something in you that neither you nor anyone else could see." So she traveled with her daughter from Toronto to London to work with NELLEE HOOPER; to Los Angeles to work with LESTER MENDEZ (who produced, "Te Busque," her moving duet with JUANES) and RICK NOWELS (co-writer and producer of the gorgeous ballad "In God's Hands"); and to Miami to work with PHARRELL WILLIAMS and SCOTT STORCH and finally, TIMBALAND.

Indeed, the raw, lighting-in-a-bottle spontaneity of the collaborative process is at the heart of Loose. "This record shows who I am in a jam-type environment, where I really feel the excitement of the creativity flowing," Furtado reveals. "It's who I am at my most artistic. I live for that, and I'm very grateful to be able to share it."

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

A cult pop classic, Carly Rae Jepsen’s third studio album, Emotion, turns 10. Originally released in 2015 Emotion was a pivotal album in Jepsen’s career and re-launched her as an indie pop darling. Celebrate the 10th anniversary of Emotion with 4 unreleased vault tracks, plus 2 brand-new remixes!

“If you understood who I was back then, then you’d understand there was already no box for me,” Rochelle Jordan says of her musical journey in a behind-the-scenes mini-documentary for her album <i>Through the Wall</i>. Since her 2011 debut, the Los Angeles-based British Canadian artist has been carving out her own lane, a vintage yet futuristic fusion of ’90s R&B and pop, hip-hop, soul, and electronic music. Jordan’s fascination with the latter stems back to her childhood, when her older brother blasted jungle, drum ’n’ bass, UK garage, house—all shades of dance—in his bedroom, the rhythms seeping through her walls.

The album’s title nods to those formative experiences, but it also carries spiritual meaning. Among the obstacles Jordan faced in her career, one of the most challenging was internal: impostor syndrome. As she learned to dismantle those mental barriers and step fully into her power, <i>Through the Wall</i> found its roots. Produced mainly by longtime collaborator KLSH (and additionally Byron the Aquarius, Terry Hunter, and DāM FunK), <i>Through the Wall</i> bumps like a night in the club, with luxe house grooves that could take dance floors from midnight to sunrise.

That sparkling feeling of freedom lives in songs like “Sweet Sensation” and “Close 2 Me,” which radiate the exuberance of living in the moment, whether out with friends or wrapped up with a lover. Slipping into a sing-rap flow, Jordan makes room to flex on “Ladida” and “Around,” her earned braggadocio strutting like it’s dripped head-to-toe in the Versace she name-drops. Even after breakups (“Sum,” “Get It Off”), she’s still thriving, looking fly, and living in her exes’ heads rent-free.

<i>Through the Wall</i> also pauses to reflect. On “Eyes Shut,” Jordan observes the struggles of those around her, questioning connection in a digital world and seeking purpose. “Got dopamine and can’t feel my soul/I just feel like there’s something more,” she muses. But the title track (“TTW”) asserts her resilience: “When you really wanna push through, okay/Let them say what they want to/Bussin’ through the wall.”

Endlessly talented sonic nonconformist Saya Gray reveals plans for her debut album SAYA, set for release on February 21, 2025 via Dirty Hit.

Since her first project release, the critically-acclaimed 19 MASTERS, only a couple years ago, Saya Gray has become globally defined by the undefinable – an artist whose work is limitless, beguiling, intimate, exhilarating and truly unlike any other musician releasing songs right now. It’s easy to call something “one of one;” it’s harder to live it, breathe it, encapsulate it, and share it with the world: Saya Gray embodies that rarified space and invites everyone in. SAYA finally came after the dissolution of a troubled romantic entanglement; Gray booked a flight to Japan in the fall of 2023. And like a feel-good movie protagonist, Gray detangled herself from the outstanding psychic ties by journeying solo on a cross-country road trip.

Moved by the vastness of albums by the Beatles and Led Zeppelin, as well as her Canadian folk forebear, Joni Mitchell, Gray kept an acoustic guitar in the passenger’s seat, just in case inspiration would strike. In recording SAYA, Gray sanded and fine tuned the rough edges of records past into more cohesive works of melodic folk songcraft.

On what was meant to be the last date of his 2022 tour, The Weeknd took the stage at Inglewood, California’s SoFi Stadium, but when he opened his mouth to sing for 80,000 screaming fans, nothing came out. Over the past 14 years, Abel Tesfaye has experienced what you might call pop’s glow-up of the century: When he emerged from obscurity as the faceless voice behind 2011’s noir-ish <i>House of Balloons</i> mixtape, nobody could have guessed that he’d be headlining the Super Bowl Halftime Show a decade later. But that moment onstage triggered what Tesfaye has since described as a breakdown, inspiring a period of intense reflection on his life and career—and <i>Hurry Up Tomorrow</i>, his sixth studio album.

Tesfaye has called <i>Tomorrow</i> the final chapter in the trilogy he began with 2020’s <i>After Hours</i>, the album that launched him into a new stratosphere of pop success, and continued with 2022’s high-concept <i>Dawn FM</i>. Continuing the narrative of its semi-autobiographical narrator’s journey through a dark night of the soul, <i>Tomorrow</i> doubles as an allegory about fame’s power to destroy: The curtain rises, and it’s all downhill from there. He longs for a time “when my blood never tasted like wine,” he wails over the night-drive synth-pop of “Take Me Back to LA,” and diagnoses fame as a disease on the glittering “Drive.” He’s ready to leave it all behind on “Wake Me Up,” a collaboration with French duo Justice: “No afterlife, no other side,” he sings, sounding entranced by the thought.

Its 22 tracks play out like the swan song to end all swan songs, joined by a murderer’s row of guests: Future lends a layer of scuzz to the deceptively sweet R&B slow-burner “Enjoy the Show,” Anitta taps in for the nocturnal baile funk of “São Paulo,” and frequent collaborator Lana Del Rey makes an appearance on “The Abyss,” where ominous lyrics like, “What’s the point of staying? It’s going up in flames” hit even harder after LA’s devastating fires in January 2025. Tesfaye has dropped repeated hints that this album won’t just close out the trilogy, but also his existence as The Weeknd. If that’s the case, “Without a Warning” encapsulates the arc of an artist who never let success get in the way of his ambition: “Take me to a time/When I was young/And my heart could take the drugs and heartache without loss/But now my bones are frail/And my voice fails/And my tears fall without a warning/Either way, the crowd will scream my name.”

Avril带着第三张录音室专辑《The Best Damn Thing》回来了，先前已经拿出2首做宣传，Keep Holding On去年上映的电影《龙骑士》特别录制的主题曲和8国语言版的Girlfriend 单曲集，其中包括很有意思的中文版本。整张专集的曲风比起以前更加明快，就连Avril表示新专辑的节奏会比以前的专辑快，因为现在的她有了更多现场演出的经验，“我保证这张专辑更好玩———对歌迷和我本人来说都更好玩。专辑里大概只有三首慢歌。”有些人表示对新专集失望，感觉失去了以前rock特色，太偏流行了，不过对于喜欢的声音，能再听到新专集，已经是一种享受，况且新专确实也很如耳。

With her breakthrough 2002 debut, Let Go, Avril Lavigne tried to market herself as the bona fide alternative to tarty teen queens, Britney and Christina. Her guitar-pop hits were irresistibly bratty but the whole "Complicated" teen pose was a little hard to swallow, especially since two songwriters called the Matrix--who had at least twenty years on the Canadian singer--fed her most of the material. Having had the chance to live a little, Lavigne returns to make good on her angsty image with Under My Skin, an album rippling with delightfully dour melodies and heartfelt lyrics about loneliness ("How Does It Feel") and fractured relationships ("Don't Tell Me"). Is it clichéd? Sure. Will it scare off her necktie and t-shirt wearing fans? Possibly. But there's nothing quite as satisfying as watching a teen-pop icon actually reveal her soul. --Jaan Uhelszki

Self-professed skate punk Avril Lavigne sings that she'd "rather be anything but ordinary" on her debut. While the fact that she had a record deal by the age of 16 separates her from the pack, too often Let Go's lyrical shortcomings drag the teenager's musically impressive recording entrée into the realm of the typical. The catchy choruses of Go are substantial, though, thanks to Lavigne's riff-driven melodies and powerful vocals, which at times adopt the unorthodox intonation quirks of fellow Canadian Alanis Morrissette. The nuanced, dynamic "Losing Grip," "My World" (which perfectly captures the ennui of suburbia), and the buoyant power-pop blast "Sk8er Boi" are the collection's highlights. But Lavigne's honest yet awkward words weigh down the likes of "Mobile," "I'm with You," and "Naked." "Nobody's Fool," which displays her Pink-like take-me-as-I-am credo, hints that someday Lavigne's lyrics will match the strength of her music. --Annie Zaleski

Her most introspective body of work to date, The Loneliest Time expands on the emotionally potent songwriting and effervescent sound that Carly Rae Jepsen has showcased on past work like 2015’s critically lauded and culture-shaping E*MO*TION.
In bringing her new album to life, Jepsen worked with collaborators Tavish Crowe, Rostam Batmanglij (who helmed production on The Loneliest Time’s acclaimed lead single “Western Wind”), Bullion, Captain Cuts, John Hill, Kyle Shearer, and Alex Hope among others.

夏日进行时！加拿大流行女歌手Carly Rae Jepsen发布新专辑第二支先行曲《Beach House》，歌曲由澳大利亚制作人Alex Hope担当制作，Nate Cyphert参与和声。

Views from the 6is the fourth studio album by Canadian rapperDrake. The album is set for release on April 29, 2016,byOVO Sound,Young Money Entertainment,Republic RecordsandBoy Better Know. The album title was first reported in an article fromBillboard,which was later confirmed by Drake on Twitter who also explained the meaning of "the 6" as a reference to his home town,Toronto.

The Toronto singer’s latest is a time capsule of moody 2010s R&B, distinguished by its introspection and near-claustrophobic melancholy.