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After two singles, two “b-sides” to go along with each of those singles, a British Vogue cover story where she strongly implied she was making a rock album, and an Instagram post where she denied ever having said that, Charli XCX has announced her second full-length album of 2026 and the official follow-up to Brat. Music, Fashion, Film is out July 24 via Atlantic. Below, check out the newly revealed cover art, which features John Cale, fashion designer Marc Jacobs, and director Martin Scorsese.

田馥甄 Hebe 第六張全新專輯《要去什麼地方 The Land of Maybe》 9/24(四) 我們一起出發前行～

Handed the crowd she waited a decade to reach, Tinashe throws it at a club night and lets the fear and fatigue of hosting run straight through the dance songs.

Ariana Grande Announces New Album Petal Ariana Grande has a new studio album on the way. Petal, the follow-up to Eternal Sunshine, is executive produced and co-written by Grande and Ilya, reuniting her with the “Problem” hitmaker. The album is due July 31 via Republic. Check out the cover art below.

Olivia Rodrigo Announces New Album You Seem Pretty Sad for a Girl So in Love This morning, the words “you seem pretty sad for a girl so in love” appeared on a pink wall on Melrose Avenue in Los Angeles. Turns out, that’s the title of Olivia Rodrigo’s new album. You Seem Pretty Sad for a Girl So in Love is out June 12 via Geffen. For her follow-up to 2023’s Guts, Rodrigo reunited with producer Dan Nigro, who also worked on her 2021 debut Sour. Check out the cover below. "No matter how hard I try to write love songs they always come out laced with a little melancholy,” Rodrigo wrote in a message in her fan newsletter. “I am so proud of this record and I can’t wait for you to hear it.”

The return of the one and only Phoebe Bridgers. She is a singer-songwriter from Pasadena, CA. Beloved in equal measure for her deceptively subtle voice and her meticulous, incisive lyrics, her solo records Stranger in the Alps (2017) and Punisher (2020) have been accompanied by a number of collaborations, including the supergroup boygenius, with whom Bridgers won three Grammys for 2023’s the record. Her songs are hallmarked by a kind of intimacy that’s hard-found in contemporary music, and scale between the macro and the micro with an ease that’s matched only by her towering, prodigious way with words.

Tame Impala may have been forged in the familiar fires of guitar-driven psych-rock, but Kevin Parker began expanding that brief almost immediately, shifting from dank, distorted solos to widescreen, synth-swept fantasias. By the time <i>Currents</i> arrived in 2015, the Fremantle home-studio whiz had made his grandest leap yet, offering his particular take on outsized, club-ready pop. That meant mostly sidelining guitars and ramping up the lead role of those synths.<br /> Parker had always made Tame Impala records as a solo endeavor, using a proper band primarily to realize songs in a live setting. Yet this third album saw him applying more painstaking control than ever before, not just playing and writing every single part but recording and mixing the entire thing as well. Even fans who had noticed Parker’s increasing pop sensibilities across 2012’s <i>Lonerism</i> were somewhat taken aback by <i>Currents</i>’ bravura opening statement, “Let It Happen,” an ambitious dance-floor epic that foregrounded glitter-bomb synths and alternately dipping and peaking rhythms. The band’s trajectory changed over the course of a single track, which stretches out over nearly eight minutes and indulges in remix-style record-skipping and lengthy stretches without vocals.<br /> Between the disco grooves, Parker still finds time for Tame Impala’s sonic signatures—floaty vocals, soul-searching lyrics, fleeting interludes. As lush as the production is (which you can hear in the joyous vocal layering and panning on “The Moment”), the increased scope of these songs is matched by the same rich emotional content, making it feel like Parker is sharing his most private moments. From the vulnerability displayed on “Yes I’m Changing,” which muses on growing older against unironic soft-rock motifs, to his interrogations of masculinity and romance on “'Cause I’m a Man,” Parker is still committed to airing intimate, almost diary-like sentiments. Meditative album closer “New Person, Same Old Mistakes” says it all.<br /> Still, Parker doesn’t have to distance himself from formative heroes like Todd Rundgren and The Flaming Lips in the name of artistic growth. Evoking the mirror-ball dazzle of roller rinks and discos, here he continues to cherry-pick from the past in order to imagine a sophisticated musical future that’s appealing across multiple fronts but still strikes directly at the heart. And the risky decision to shelve guitars clearly paid off: <i>Currents</i> took Tame Impala to the big leagues, where he could now collaborate with Lady Gaga, get covered by Rihanna (a version of “New Person, Same Old Mistakes” appeared as “Same Ol’ Mistakes” on 2016’s <i>ANTI</i>), and headline Coachella. It also provided a natural progression to 2020’s <i>The Slow Rush</i>, an even more immersive and personal synth-funk odyssey.

Underscores announces her third album U, via Mom+Pop Music. A self titled album of sorts and the culmination of all her work to date, U draws from the many eras of underscores’ creative trajectory, from dubstep and future bass to jazz chords and guitar driven maximalist pop, forming her most focused, emotionally charged and sharply defined statement yet. Featuring the singles Music, Do It, and Tell Me (U Want It), U further expands the intricate, high impact world she continues to build.

The NYC band’s first album in seven years is sluggish and slight, rendering their signature sound as background music.

On her first ever double album, the Canadian artist splits her time between lightly psychedelic pop and reassuringly classy club bangers

KiiiKiii unveils the cover for their upcoming EP 'WhyKiiiKiii.'