With her powerful duet with Christina Aguilera, "Fall In Line," still hot off the presses, it seems Demi Lovato has had plenty of inspiration to push forward with new music of her own coming "very, VERY soon. ... Could be a matter of weeks actually."

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During a round of answering fan questions over the weekend, the GRAMMY-nominated singer/songwriter was asked about a third single from 2017's Tell Me You Love Me, her sixth studio album. In response, Lovato tweeted that there would not be a third single and that she is ready to move on to something new.

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">Pretty much... I have so much new music to release very VERY soon!!! <a href="https://t.co/EaAaiJ4mjD">https://t.co/EaAaiJ4mjD</a></p>&mdash; Demi Lovato (@ddlovato) <a href="https://twitter.com/ddlovato/status/1001385339653709824?ref_src=twsrc%5Etfw">May 29, 2018</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

Of course, the natural follow-up is whether or not a new single or album could be coming soon. And, in fact, the answer is yes: Lovato hinted that we should expect something new as soon as a few weeks, while also divulging that she has "so much new music to release."

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">Very VERY soon.... could be a matter of weeks actually <a href="https://t.co/vOciaHp5mD">https://t.co/vOciaHp5mD</a></p>&mdash; Demi Lovato (@ddlovato) <a href="https://twitter.com/ddlovato/status/1001389184991596544?ref_src=twsrc%5Etfw">May 29, 2018</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

While it's unclear if that means just new singles or the makings of her seventh studio album, it sounds like we won't have to wait long to find out what's in store next. In the meantime, you can still catch Lovato on her worldwide tour with DJ Khaled with dates through Nov. 27.

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs

In the pantheon of rock guitar gods, Slash ranks high on the list of legends. Many fans have passionately discussed his work — but if you ask him how he views his evolution over the last four decades, he doesn't offer a detailed analysis.

"As a person, I live very much in the moment, not too far in the past and not very far in the future either," Slash asserts. "So it's hard for me to really look at everything I'm doing in the bigger scheme of things."

While his latest endeavor — his new studio album, Orgy Of The Damned — may seem different to many who know him as the shredding guitarist in Guns N' Roses, Slash's Snakepit, Velvet Revolver, and his four albums with Myles Kennedy and the Conspirators, it's a prime example of his living-in-the-moment ethos. And, perhaps most importantly to Slash, it goes back to what has always been at the heart of his playing: the blues.

Orgy Of The Damned strips back much of the heavier side of his playing for a 12-track homage to the songs and artists that have long inspired him. And he recruited several of his rock cohorts — the likes of AC/DC's Brian Johnson, Aerosmith's Steven Tyler, Gary Clark Jr., Iggy Pop, Beth Hart, and Dorothy, among others — to jam on vintage blues tunes with him, from "Hoochie Coochie Man" to "Born Under A Bad Sign."

But don't be skeptical of his current venture — there's plenty of fire in these interpretations; they just have a different energy than his harder rocking material. The album also includes one new Slash original, the majestic instrumental "Metal Chestnut," a nice showcase for his tastefully melodic and expressive playing.

The initial seed for the project was planted with the guitarist's late '90s group Slash's Blues Ball, which jammed on genre classics. Those live, spontaneous collaborations appealed to him, so when he had a small open window to get something done recently, he jumped at the chance to finally make a full-on blues album.

Released May 17, Orgy Of The Damned serves as an authentic bridge from his musical roots to his many hard rock endeavors. It also sees a full-circle moment: two Blues Ball bandmates, bassist Johnny Griparic and keyboardist Teddy Andreadis, helped lay down the basic tracks. Further seizing on his blues exploration, Slash will be headlining his own touring blues festival called S.E.R.P.E.N.T. in July and August, with support acts including the Warren Haynes Band, Keb' Mo', ZZ Ward, and Eric Gales.

Part of what has kept Slash's career so intriguing is the diversity he embraces. While many heavy rockers stay in their lane, Slash has always traveled down other roads. And though most of his Orgy Of The Damned guests are more in his world, he's collaborated with the likes of Michael Jackson, Carole King and Ray Charles — further proof that he's one of rock's genre-bending greats.

Below, Slash discusses some of the most memorable collabs from Orgy Of The Damned, as well as from his wide-spanning career.

I was just listening to "Living For The City," which is my favorite track on the album.

Wow, that's awesome. That was the track that I knew was going to be the most left of center for the average person, but that was my favorite song when [Stevie Wonder's 1973 album] Innervisions came out when I was, like, 9 years old. I loved that song. This record's origins go back to a blues band that I put together back in the '90s.

Slash's Blues Ball.

Right. We used to play "Superstition," that Stevie Wonder song. I did not want to record that [for Orgy Of The Damned], but I still wanted to do a Stevie Wonder song. So it gave me the opportunity to do "Living For The City," which is probably the most complicated of all the songs to learn. I thought we did a pretty good job, and Tash [Neal] sang it great. I'm glad you dig it because you're probably the first person that's actually singled that song out.

With the Blues Ball, you performed Hoyt Axton's "The Pusher" and Robert Johnson's "Crossroads," and they surface here. Isn't it amazing it took this long to record a collection like this?

[Blues Ball] was a fun thrown-together thing that we did when I [was in, I] guess you call it, a transitional period. I'd left Guns N' Roses [in 1996], and it was right before I put together a second incarnation of Snakepit.

I'd been doing a lot of jamming with a lot of blues guys. I'd known Teddy [Andreadis] for a while and been jamming with him at The Baked Potato for years prior to this. So during this period, I got together with Ted and Johnny [Griparic], and we started with this Blues Ball thing. We started touring around the country with it, and then even made it to Europe. It was just fun.

Then Snakepit happened, and then Velvet Revolver. These were more or less serious bands that I was involved in. Blues Ball was really just for the fun of it, so it didn't really take precedence. But all these years later, I was on tour with Guns N' Roses, and we had a three-week break or whatever it was. I thought, I want to make that f—ing record now.

It had been stewing in the back of my mind subconsciously. So I called Teddy and Johnny, and I said, Hey, let's go in the studio and just put together a set and go and record it. We got an old set list from 1998, picked some songs from an app, picked some other songs that I've always wanted to do that I haven't gotten a chance to do.

Then I had the idea of getting Tash Neal involved, because this guy is just an amazing singer/guitar player that I had worked with in a blues thing a couple years prior to that. So we had the nucleus of this band.

Then I thought, Let's bring in a bunch of guest singers to do this. I don't want to try to do a traditional blues record, because I think that's going to just sound corny. So I definitely wanted this to be more eclectic than that, and more of, like, Slash's take on these certain songs, as opposed to it being, like, "blues." It was very off-the-cuff and very loose.

It's refreshing to hear Brian Johnson singing in his lower register on "Killing Floor" like he did in the '70s with Geordie, before he got into AC/DC. Were you expecting him to sound like that?

You know, I didn't know what he was gonna sing it like. He was so enthusiastic about doing a Howlin' Wolf cover.

I think he was one of the first calls that I made, and it was really encouraging the way that he reacted to the idea of the song. So I went to a studio in Florida. We'd already recorded all the music, and he just fell into it in that register.

I think he was more or less trying to keep it in the same feel and in the same sort of tone as the original, which was great. I always say this — because it happened for like two seconds, he sang a bit in the upper register — but it definitely sounded like AC/DC doing a cover of Howlin' Wolf. We're not AC/DC, but he felt more comfortable doing it in the register that Howlin' Wolf did. I just thought it sounded really great.

You chose to have Demi Lovato sing "Papa Was A Rolling Stone." Why did you pick her?

We used to do "Papa Was A Rolling Stone" back in Snakepit, actually, and Johnny played bass. We had this guy named Rod Jackson, who was the singer, and he was incredible. He did a great f—ing interpretation of the Temptations singing it.

When it came to doing it for this record, I wanted to have something different, and the idea of having a young girl's voice telling the story of talking to her mom to find out about her infamous late father, just made sense to me. And Demi was the first person that I thought of. She's got such a great, soulful voice, but it's also got a certain kind of youth to it.

When I told her about it, she reacted like Brian did: "Wow, I would love to do that." There's some deeper meaning about the song to her and her personal life or her experience. We went to the studio, and she just belted it out. It was a lot of fun to do it with her, with that kind of zeal.

You collaborate with Chris Stapleton on Fleetwood Mac's "Oh Well" by Peter Green. I'm assuming the original version of that song inspired "Double Talkin' Jive" by GN'R?

It did not, but now that you mention it, because of the classical interlude thing at the end... Is that what you're talking about? I never thought about it.

I mean the overall vibe of the song.

"Oh Well" was a song that I didn't hear until I was about 12 years old. It was on KMET, a local radio station in LA. I didn't even know there was a Fleetwood Mac before Stevie Nicks and Lindsey Buckingham. I always loved that song, and I think it probably had a big influence on me without me even really realizing it. So no, it didn't have a direct influence on "Double Talkin' Jive," but I get it now that you bring it up.

Was there something new that you learned in making this album? Were your collaborators surprised by their own performances?

I think Gary Clark is just this really f—ing wonderful guitar player. When I got "Crossroads," the idea originally was "Crossroads Blues," which is the original Robert Johnson version. And I called Gary and said, "Would you want to play with me on this thing?"

He and I only just met, so I didn't know what his response was going to be. But apparently, he was a big Guns N' Roses fan — I get the idea, anyway. We changed it to the Cream version just because I needed to have something that was a little bit more upbeat. So when we got together and played, we solo-ed it off each other.

When I listen back to it, his playing is just so f—ing smooth, natural, and tasty. There was a lot of that going on throughout the making of the whole record — acclimating to the song and to the feel of it, just in the moment.

I think that's all an accumulation of stuff that I've learned over the years. The record probably would be way different if I did it 20 years ago, so I don't know what that evolution is. But it does exist. The growth thing — God help us if you don't have it.

You've collaborated with a lot of people over the years — Michael Jackson, Carole King, Lemmy, B.B. King, Fergie. Were there any particular moments that were daunting or really challenging? And was there any collaboration that produced something you didn't expect?

All those are a great example of the growth thing, because that's how you really grow as a musician. Learning how to adapt to playing with other people, and playing with people who are better than you — that really helps you blossom as a player.

Playing with Carole King [in 1993] was a really educational experience because she taught me a lot about something that I thought that I did naturally, but she helped me to fine tune it, which was soloing within the context of the song. [It was] really just a couple of words that she said to me during this take that stuck with me. I can't remember exactly what they were, but it was something having to do with making room for the vocal. It was really in passing, but it was important knowledge.

The session that really was the hardest one that I ever did was [when] I was working with Ray Charles before he passed away. I played on his "God Bless America [Again]" record [on 2002's Ray Charles Sings for America], just doing my thing. It was no big deal. But he asked me to play some standards for the biopic on him [2004's Ray], and he thought that I could just sit in with his band playing all these Ray Charles standards.

That was something that they gave me the chord charts for, and it was over my head. It was all these chord changes. I wasn't familiar with the music, and most of it was either a jazz or bebop kind of a thing, and it wasn't my natural feel.

I remember taking the chord charts home, those kinds you get in a f—ing songbook. They're all kinds of versions of chords that wouldn't be the version that you would play.

That was one of those really tough sessions that I really learned when I got in over my head with something. But a lot of the other ones I fall into more naturally because I have a feel for it.

That's how those marriages happen in the first place — you have this common interest of a song, so you just feel comfortable doing it because it's in your wheelhouse, even though it's a different kind of music than what everybody's familiar with you doing. You find that you can play and be yourself in a lot of different styles. Some are a little bit challenging, but it's fun.

Are there any people you'd like to collaborate with? Or any styles of music you'd like to explore?

When you say styles, I don't really have a wish list for that. Things just happen. I was just working with this composer, Bear McCreary. We did a song on this epic record that's basically a soundtrack for this whole graphic novel thing, and the compositions are very intense. He's very particular about feel, and about the way each one of these parts has to be played, and so on. That was a little bit challenging. We're going to go do it live at some point coming up.

There's people that I would love to play with, but it's really not like that. It's just whatever opportunities present themselves. It's not like there's a lot of forethought as to who you get to play with, or seeking people out. Except for when you're doing a record where you have people come in and sing on your record, and you have to call them up and beg and plead — "Will you come and do this?"

But I always say Stevie Wonder. I think everybody would like to play with Stevie Wonder at some point.

Incubus On Revisiting Morning View & Finding Rejuvenation By Looking To The Past

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers. 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus, Selena Gomez and Demi Lovato. Nick, Kevin and Joe. 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience.

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie. In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears.

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

"When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls, and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic, Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles. (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly, in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus.

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie, Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me, Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole

With summer almost in the rear view, it’s time to welcome the first must-hear albums of the fall season. With the onset of chillier days comes a genre-spanning array of new music — from R&B sensation Jorja Smith to indie-rock maestro Mitski. 

September's first big release comes from rock royalty the Pretenders, who return at the top of the month with their twelfth studio album, *Relentless*. The following week, pop firebrand [Olivia Rodrigo](https://www.grammy.com/artists/Olivia-Rodrigo/38411) will reveal *GUTS*, the feverishly anticipated follow-up to her 2021 debut, *SOUR*. 

Rodrigo shares a release date with star-studded company, including disco queen Róisín Murphy, dance veterans [the Chemical Brothers](https://www.grammy.com/artists/chemical-brothers/7746), shapeshifting singer/songwriter [James Blake](https://www.grammy.com/artists/james-blake/17760), and soul newcomer Jalen Ngonda. Elsewhere in the month, there’s something for all tastes, from the pop-rock reawakening of [Demi Lovato](https://www.grammy.com/artists/demi-lovato/19851) to the noodly electronics of Animal Collective.

As we gear up for a season packed with musical highs, we’ve put together a handy guide to the 15 must-hear albums dropping in September 2023.

The Pretenders -  *Relentless*

**Release date:** Sept. 1

For a band that released its debut album in 1979, the Pretenders still sounds remarkably vital 44 years on. Led by iconic songwriter and frontwoman Chrissie Hynde, the band is back in full force this September with the appropriately titled Relentless, which follows 2020’s on-form Hate for Sale. 

The Pretenders announced their twelfth LP with a rousing-yet-poetic lead single, "Let the Sun Come In," and the album closes with an intriguing collaboration with [Radiohead](https://www.grammy.com/artists/radiohead/8042)’s [Jonny Greenwood](https://www.grammy.com/artists/jonny-greenwood/11632) on strings. 

"I think anyone in a band is constantly questioning if they should keep going," Hynde said of the album’s title in a statement. "It starts as a youthful pursuit and eventually, it makes you wonder, why am I doing this? It’s the life of the artist. You never retire. You become relentless."

Speedy Ortiz - *Rabbit Rabbit* 

**Release date:** Sept. 1

Philadelphia rock quartet Speedy Ortiz has kept fans waiting five long years for a new LP, having released their pop-inflected Twerp Verse back in 2018. This September, the band returns with Rabbit Rabbit, its first album on mercurial frontwoman Sadie Dupuis’ label, Wax Nine. 

To record *Rabbit Rabbit*, Speedy Ortiz jumped between two locations steeped in rock lore: Rancho de la Luna in Joshua Tree and Sonic Ranch in Tornillo, Texas. The band has already shared a few songs so far, including the spiky "You S02" and the crunching, cathartic closer "Ghostwriter." The album also opens with a song called "Kim Cattrall."

"I turned 33 while writing this album, a palindrome birthday and a lucky number associated with knowledge," Dupuis said in a statement. "I wanted to mark how I was making better choices as I got older, letting go of heedless anger even when it’s warranted."

**Olivia Rodrigo - *GUTS***

**Release date:** Sept. 8 

As far as breakout albums go, Olivia Rodrigo’s SOUR was about as good as it gets. Powered by the stage-setting singles "drivers license" and "deja vu," the album dropped in May 2021 as a balm for dark pandemic days. Coming in at a lean 34 minutes, SOUR was all killer, no filler— and went on to pick up Best Pop Vocal Album at the 2022 GRAMMYs, alongside Rodrigo’s wins for Best Pop Solo Performance ("drivers license") and Best New Artist. 

With Rodrigo now a bona fide pop superstar, she’s readying her second album, *GUTS*, for a buzzy September drop. [Lead single "vampire"](https://www.grammy.com/news/breakup-songs-like-olivia-rodrigo-vampire-taylor-swift-miley-cyrus-kelly-clarkson) arrived back in June with a lush, swelling sound (producer Dan Nigro makes several appearances on *GUTS*) and score-settling lyrics that cut like a knife. Rodrigo followed this strong return with "bad idea right?," a gleefully fun throwback to the pop-punk and grunge that soundtracked her teens.

In [an interview with the ](https://www.nytimes.com/2023/08/24/arts/music/olivia-rodrigo-guts.html)*[New York Times](https://www.nytimes.com/2023/08/24/arts/music/olivia-rodrigo-guts.html)* ahead of *GUTS*, Rodrigo enthused about embracing crunchy guitars and big emotional swings: "\[I\] always loved rock music, and always wanted to find a way that I could make it feel like me, and make it feel feminine and still telling a story and having something to say that’s vulnerable and intimate."

James Blake - *Playing Robots In Heaven* 

**Release date:** Sept. 8 

Following 2021’s acclaimed Friends That Break Your Heart, which featured guest turns from the likes of SZA, JID and Monica Martin, James Blake is stripping it back to basics on his sixth studio album, Playing Robots Into Heaven. 

This time around, the etherally-voiced singer has seemingly gone back to the electronic roots of his earlier works that emerged as part of the UK’s post-dubstep scene. 

With no featured guests, the tracklist includes the already-released singles "Big Hammer," which is all chopped-up samples and low-end frequencies, and "Loading," which recalls the vocal manipulations of the producer’s self-titled debut LP. Blake also shared the ambient title track, which will close the album in perfect contemplation. 

Jalen Ngonda - *Come Around and Love Me* 

**Release date:** Sept. 8

Growing up outside of Washington, D.C., Jalen Ngonda was immersed from an early age in soul music, courtesy of his music-obsessed father. Fast forward to 2023, and Ngonda is himself a talented soul artist signed to the revered Brooklyn indie label Daptone Records. 

The singer's debut album, *Come Around and Love Me*, features lushly arranged singles "If You Don’t Want My Love" and "Just Like You Used To," which showcase his timeless vocal prowess.

In a statement announcing the album, Ngonda revealed, "To a stranger, I’d describe my music as modern soul and R&B, while trying to fit in the [Beach Boys](https://www.grammy.com/artists/beach-boys/609) and [the Beatles](https://www.grammy.com/artists/beatles/16293) somewhere in between."  

The Chemical Brothers - *For That Beautiful Feeling*

**Release date:** Sept. 8

On their ninth album, 2019’s No Geography, UK electronic duo the Chemical Brothers sounded thrillingly energized. Now, after weathering a global pandemic, the veteran producers return with their tenth studio outing, For That Beautiful Feeling. 

The album features a new version of the duo’s cautiously hopeful 2021 release, "The Darkness That You Fear," alongside the propulsive, classically-Chems single, "No Reason," and collaborations with indie darling Beck and French singer/songwriter Halo Maud. 

The duo is set to follow the album in October with a career-spanning retrospective book, *Paused in Cosmic Reflection*, that’ll have fans clamoring. 

Demi Lovato - *REVAMPED* 

**Release date:** Sept. 15

Already an experienced master of reinvention, Demi Lovato is continuing her rock era with REVAMPED 5. On last year’s Holy Fvck, the pop chameleon wholeheartedly embraced hard rock and pop-punk, including collaborations with Yungblud, Royal & the Serpent and Dead Sara. 

While touring *Holy Fvck*, Lovato also played heavier versions of her earlier songs, and discovered her fans loved it. This inspired her to re-record rock versions of ten songs from past albums, including *Demi* and *Confident*, which are now brought together on *REVAMPED*. 

On the evidence of early singles like "Heart Attack (Rock Version)" and "Sorry Not Sorry (Rock Version)", the latter featuring [Guns N Roses](https://www.grammy.com/artists/guns-n-roses/7805) shredder Slash, Lovato is relishing the chance to rock out. 

Mitski - *The Land Is Inhospitable and So Are We* 

**Release date:** Sept. 15

Back in July, ever-inventive singer-songwriter Mitski sent a voice memo to fans via her newsletter. "Hi, this is Mitski, and I’m at Bomb Shelter Studios in Nashville, where we recorded my new album that’s coming out," Mitski revealed. "It’s called The Land Is Inhospitable and So Are We, and its first single is coming out on Wednesday." 

That beautifully elegiac first single "Bug Like An Angel" suggests a heart-rending album to come from one of the boldest voices in indie-rock. The single also features a surprising (and powerfully effective) appearance from a 17-person choir that’s likely to appear elsewhere on *The Land Is Inhospitable and So Are We*. As Mitski teased in a statement, "This is my most American album." 

NEEDTOBREATHE - *CAVES *

Release date: Sept. 15 

Following 2021’s Into The Mystery and its country-rock crossover hit, "I Wanna Remember," featuring Carrie Underwood, Christian rock troupe NEEDTOBREATHE returns with their ninth album, CAVES. 

As documented in an intimate making-of video, the GRAMMY-winning band assembled in a house overlooking the majestic mountains of Utah to begin writing the album, which they completed while on the road with OneRepublic. 

"We always believed we could make a record that would feel at home on the world’s biggest stages," the band wrote in a statement announcing CAVES. "It was important to us to prove that we could. This is the most ambitious record we’ve made in a really long time."

Kylie Minogue - *Tension*

**Release date: **Sept. 22

Thanks to the runaway viral success of her dance-pop earworm "Padam Padam," 2023 has already been a triumphant year for Australian pop veteran Kylie Minogue. Released in May, the single went on to vie for song of the summer status, powered by countless dance videos on TikTok and its warm embrace as a Pride anthem. 

Buoyed by her surprise chart hit, Minogue will release her sixteenth studio album, *Tension*. As suggested by the glossy cover art, and the presence of producers such as Oliver Heldens and Biff Stannard, Minogue is ready to reclaim her electro-pop crown. 

"I started this album with an open mind and a blank page," Minogue said in a statement. "Unlike my last two albums, there wasn’t a 'theme.' It was about finding the heart or the fun or the fantasy of that moment and always trying to service the song." 

Bakar - *Halo*

**Release date:** Sept. 22

Acclaimed British artist Bakar will help kick off the month in style with his second album, Halo. The sophomore release is billed as a sonic counterpart to his genre-hopping 2018 mixtape, BADKID. Like that breakout release, Halo is set to blend indie, punk and hip-hop, with Bakar’s beguiling voice at front and center. 

Ahead of a busy summer jumping between festival stages, Bakar dropped a mood-lifting single, "Alive!," accompanied by a music video featuring the artist bringing traffic to a standstill (for real) in Central London. 

Animal Collective - *Isn't It Now?*  

**Release date:** Sept. 29

Following 2022’s Time Skiffs, experimental pop four-piece Animal Collective returns with its most expansive album to date. With a total runtime of 64 minutes, Isn’t It Now? will explore a rich sonic palette, as suggested by the layered and hypnotic single, "Soul Capturer."

Co-produced, mixed and recorded with GRAMMY-winning producer Russell Elevado, Isn’t It Now? reportedly finds each band member digging deep into their current musical whims — such as multi-instrumentalist Panda Bear focusing more on drumming. 

The centerpiece of the album is "Defeat," a 22-minute epic that captures Animal Collective at its most exploratory. 

Jorja Smith -  *Falling or Flying* 

**Release date:** Sept. 29

As one of the brightest stars to emerge from the UK in the past decade, Jorja Smith has already put together an accomplished discography. Following her 2018 debut, Lost & Found, and 2021’s three-track EP, Be Right Back, Smith will release her most complete artistic statement to date. 

Like her previous releases, the singer’s long-awaited second album, *Falling or Flying*, will connect the dots between soul, R&B, UK garage and house, with a song for every mood and situation. 

"This album is like my brain,” Smith said in a statement. “There’s always so much going on but each song is definitely a standstill moment." So far, Smith has given us two standout singles — the garage-tinged "Little Things" and the more contemplative "Try Me" — so anticipation is sky high. 

TINASHE - *BB/ANG3L* 

**Release date:** TBD 

While it’s yet to lock an official release date, the hype is building for Tinashe’s sixth studio album, BB/ANG3L — her first under a new deal with GRAMMY-winning hitmaker Ricky Reed’s record label, Nice Life. 

"I’ve enjoyed stripping back layers of aesthetic fluff, smoke & mirrors, and white noise to get down to the core of myself," the alternative R&B star said of the album in a statement. 

On lead single, "Talk to Me Nice," Tinashe’s indelible smoky vocals are offset by skittering, seductive production from hip-hop beatmaker [Scoop DeVille](https://www.grammy.com/artists/scoop-deville/18109) and electronic artist Nosaj Thing. Follow-up single "Needs" is another undeniable bop, setting the stage for a standout album.

(G)I-DLE - *HEAT*

**Release date:** Oct. 15

Prolific K-pop girl group (G)I-DLE is set to release its first English language project, HEAT. 

*HEAT* follows the group’s 2022 debut album, *I Never Die*, which opens with the pop-punk-influenced single, "TOMBOY." While little has been revealed about *HEAT*, the project comes via the Asian market-focused U.S. music company 88rising and South Korean label Cube Entertainment, and will showcase the songwriting prowess of group leader Jeon So-yeon. 

(G)I-DLE has released one single from *HEAT* so far — the highly polished synth-pop love song, "I DO" — and the anticipation has K-pop fans feeling giddy.

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