"I spent my nights in melting snow/ Turning my sorrows into pure gold," DPR IAN sings in the opening lines of his orchestral new single, "Don’t Go Insane," from his recently-released second EP Dear Insanity... Life is brutal in its uncertainty, in its unsolvable mysteries, in its highs and lows — what else besides the creation of art can prevent us from being  swallowed by despair, IAN seems to ask.

More than a melancholic title, IAN knows the struggles of sorrow firsthand. Born Christian Yu in Sydney, Australia, the 33-year-old singer was diagnosed with bipolar disorder as a teenager, and has since built a career that contextualizes and transmutes his struggles.

Representing his manic lows, he developed the character of MITO — a one-eyed fallen angel with a hoarse voice, always surrounded by thunders. For his manic highs, there’s Mr. Insanity — the colorful, cheeky opposing force, never knowing where he’s going. Through them, IAN gives shape to his own Marvel cinematic universe, telling superhero/villain stories of birth and death, glitter and dust.

But before embracing his own creative powers, IAN sharpened his skills in other trades. As a teen, he spent a few years b-boying on YouTube until he moved to South Korea, where he became the leader of K-pop group C-Clown from 2012 to 2015. Afterwards, he co-founded the multimedia collective Dream Perfect Regime (DPR) along with friends LIVE, Cream, and REM.

The collective DPR grew to be one of the biggest independent music labels in Korea, running everything from business to visuals. At first, IAN worked solely as a video director and editor, collaborating with names like iKon’s Bobby and Winner’s Mino, until he recalled the spark to pursue his own artistry. His first effort as DPR IAN came in 2020 with the haunting "So Beautiful," later released on his first EP, 2021’s Moodswings in This Order (also known as MITO 1). He released his first LP in 2022, Moodswings in to Order — or MITO 2.

Dear Insanity…, IAN’s first non-MITO-focused release, is described as a video game side quest, or a TV show spinoff. Through his evocative songwriting and self-directed music videos — see it in the nostalgia-tinted "Peanut Butter & Tears," or in the dizzying chase of "So I Danced" — IAN’s universe expands into limitless possibilities.

In an interview with GRAMMY.com, DPR IAN dove deeper into his lore, discussed being imprisoned by his own creations, and marveled at his team turning dreams into reality.

This story has been edited for clarity.

It’s been 15 months since the release of your first studio album, Moodswings in to Order. When did the idea of making Dear Insanity… come up?

I have the original story, MITO, that's based on the manic lows I get, but I've never had a character that I based on my manic highs. A lot of times when I feel manically high, I disassociate myself with who I am, because of how radical and crazy I get with ideas. It just feels so different as to when I'm just me, like now, just very lukewarm. When I'm in my manic highs, I am more active, I come up with more ideas, and a lot of the ideas that I came up with for MITO were in that state.

In [Moodswings in to Order], I have a song called "Mr. Insanity," so it kind of started from there. Even in that albums’ visual, MITO Movie (Part I), I preface it with saying there was a creator of this universe that happened to be called Mr. Insanity, so the next thing I thought was that I needed to deep dive into this character.

I think a good example is Batman and the Joker. You get a further understanding of Batman through the Joker, you realize what Batman's capable of feeling, and you see it in different perspectives — but it's only through the buildup of their relationship. You leave it up to the audience to take that pick of which one may be the villain and which one is the superhero. So that's kind of what I wanted to do in this EP.

I thought it had to be about someone that represents my utmost manic highs, but all in all I've always thought Mr. Insanity to be more of a scary character. You're not sure what he's capable of.

He's unpredictable.

Yes, that is the word. And because of that unpredictability, you don't know where the story is going to end up. It's such a crucial part to the [MITO] lore, because it introduces the concept of where this lore is, in context.

I say "Welcome to the Other Side" in my songs, like "No Blueberries," so that place has actually been called The Other Side for a very long time. So now, in Dear Insanity…, we not only introduce the character Mr. Insanity, but also where they're from.

What is The Other Side, exactly?

The Other Side is essentially a universe that exists only in the consciousness of someone dreaming, and it is also a play on our DPR name, Dream Perfect Regime. We call our fandom Dreamers, so it only made so much sense that this universe exists in dreams.

If you have seen Ant-Man, he goes down to the Quantum Realm, and there's a whole universe that exists right beneath us. [The Other Side] is kind of like that, but it's not just a dream. IAN comes back with souvenirs and certain things, and he finds a loophole. Once he discovers that, he starts embarking on these journeys, longer and longer. But the problem is, the longer you stay there, the more you go insane, and that is the whole idea of this EP.

When [IAN] decided to embark on this journey, it's kind of like if you decided to commit yourself to go to Mount Everest. He's finally ready to embark, knowing that he will go insane. He understands the limitations of it, but once he fully commits, we get the first song, "Famous Last Words," which is when he starts writing a letter to his future self. He already knows he's gonna go insane, but he still chooses to go down that path.

You mentioned Batman and Ant-Man, and your latest music videos also seem to have a lot of influence from superhero movies. Is that one of your main inspirations lately?

My goodness, yes. Growing up, I watched so many comics, and I loved the idea of characters. I remember watching the musical "Cats," and it was just people in cat costumes, but playing the role of a cat so undeniably well that, as a kid watching, it shocked me.

Just the visual stimulus of being exposed to so many things that spark my creativity, I think it was such a blessing. I watched a lot of Steven Spielberg films too. And then you have Tim Burton, who has such a crazy twist. It's so compelling, but so artsy at the same time that you can't look away from it.

So, I realized you can portray different types of emotions in a different light and still get [your point] across. That's how I started with MITO. When people view something such as a mental disorder, for example — I know back in Korea [bipolar disorder is] still considered somewhat taboo — I was like, "I could always turn it into art."

Do you sometimes feel imprisoned by your own characters? Or that it’s easy to hide yourself behind them?

That’s a great question. I truly believe that personifying a character has a 100 percent influence in the way you think, in the way you are. I guess you could say there's pros and cons.

There is somewhat of a gray area. MITO, for example. Obviously, the fact that I gave it a name brings it to life, it's like you curate your own characters. But you also sometimes don't understand [their] power, and I was very careful of that, because I knew once I stepped into this fantasy world, it would become more real to me. So I needed to find a distinguishable area where I could differentiate myself, because, like you said, I would always be imprisoned, without me even knowing.

I know now, when I go manically low, sometimes I really think I'm MITO. Trying to come out of that — I learned it the hard way — is like, "Ok, so this is what [he’s] capable of."

It’s such a challenging idea, because when I make a song, for example, sometimes I feel like MITO would [make it] a lot better. And sometimes I want to channel him, so…I'd have to wait until my next switch to complete it. Sometimes I come back and I’m like, "What is this song?" [Laughs.]

You've been on a four-month world tour and played on some of the biggest festivals this year, like Coachella, Head in the Clouds, and Lollapalooza. How did you find the time to create this EP?

During the tour, I wanted to make the EP. I had the mindset of This is gonna be my first world tour, I'm gonna experience so many things and I'm gonna write about it. But after 46 cities, I just couldn't; I was down in the dirt and just so completely out of it. I don't even remember the last part of [the tour].

Now I understand why it's so hard on any artist to do a world tour. The constant energy change, the traveling is so tiring, and at the end you still want to show your appreciation to fans, because every city they're seeing you for the first time, and you have to bring in that same amount of energy you did last time. But we did 46 cities, and I thought that was… insane. Which is why I came out with this album afterwards. [Laughs].

You didn't write any songs during the tour?

I did write songs, but I didn't finish them. I was in this process in the beginning, and then the tour happened and it got deeper, and deeper, and deeper. My mood kept changing constantly. It's funny, the songs that I wrote in the beginning felt a lot more bright, and then it progressively got darker.

Does that creative process influence your music videos as well? How do you come up with those ideas?

It's always been in my head. For example, the whole explanation of The Other Side, I think the first and foremost thought was, What does The Other Side look like? The main theme color was green, just because for some reason it drew me in so much. And I had to understand what existed in this world, like what the citizens looked like, and it's just these pink people.

Mr. Insanity's partner-in-crime is called The Green, and it's literally just a person in a green screen suit. It acts as a double meaning for me, as a video/visual artist, because I love using green screens as they can make the impossible possible. So, I love the idea that The Green was just a person in a green suit, and ultimately he has the most power. We discover that in the future.

How long does it take you to edit one of those videos?

My goodness. I'm editing right now as we speak. I’m working on another music video which is coming out relatively close after [the album release]. I think "So I Danced," "Don't Go Insane," and "Peanut Butter & Tears," we did all that in the span of three months, spaced out, but I only had two weeks at max per video.

But I have such an amazing team, without them I couldn’t have done any of this. It's not possible to do a whole music video in two weeks [alone]. It can only go so far with yourself, and for me, I don't see the point in doing it by myself. To build something with somebody is more meaningful.

I think that was always the approach of DPR in general. We want to build things together. This universe, this lore that we're building, it's only possible because we're building it together. We all talk about it, and a lot of the ideas would come from our stylist, or our video department, or my manager, because they are all driven very passionately about this story as well. Sometimes I just step back and look at what's unfolding.

Do you think there is an end for the whole story?

Ultimately, I always wanted to end it in a trilogy. The main storyline is MITO, so you have MITO 1, MITO 2, and MITO 3 is where I am going to end it. But I believe that's not gonna be for a while, because, like you said, my art is a reflection of what I'm going through at the time. So, for MITO to end, I have to be ready to commit to giving up that character.

I kinda don't want MITO to end.

[Laughs.] Yeah, I think a lot of people will say that. But the good news is, you have the main storyline, but then, I am going to continue with The Other Side, and MITO is a huge part of it. I don’t know when [it will happen], but overall, that's the idea.

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Korean artist DPR IAN might have abandoned his drumming days, but that doesn't change the fact that it planted the roots for his artistry — which is why he still names his Ahead 5A drumsticks his favorite piece of musical gear.

"I remember my friend showing me a video on YouTube by Slipknot — Joey Jordison," the singer/songwriter, whose birth name is Christian Yu, recounts in the latest episode of It Goes to 11. "That was the first time I got absolutely shook."

Because of his hours of watching the band's videos, he could quickly recognize the tools they used on stage in any instrument shop. After convincing his mom to buy the same drumsticks as Jordison's, Yu drummed everywhere, including his car dashboard, which still has dents today.

Eventually, it was time to perform on the drums live. Having never been in front of an audience, the nerves were so high that he remembers he "blacked out" on stage as soon as the song started playing. "It was one of the most embarrassing moments of my life because I froze."

However, DPR IAN says it taught him a valuable lesson: not to become a drummer. But it also showed him that one negative experience shouldn't ruin his entire perspective on music.

"The greatest success is actually from a failure," he declares. "You have to learn how to be bad [at] things."

Press play on the video above to learn more about DPR IAN's history with the drums, and check back to GRAMMY.com for more new episodes of It Goes to 11.

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The 2024 Paris Olympics came to life today as the Parade of Nations glided along the Seine River for the opening ceremony. The opening spectacular featured musical performances from Lady Gaga, Celine Dion, and more. Earlier in the week, some of music’s biggest names were also spotted in the city for the Olympics, including Olympics special correspondent Snoop Dogg, BTS' Jin, Pharrell Williams, Tyla, Rosalía, and Ariana Grande.

Read More: When The GRAMMYs & Olympics Align: 7 Times Music's Biggest Night Met Global Sports Glory

Below, see a full breakdown of some of the special musical moments from the 2024 Paris Olympics opening ceremony.

In a grand entrance, Lady Gaga emerged behind a heart-shaped plume of feathers on the golden steps of Square Barye, captivating the audience with her cover of the French classic "Mon truc en plumes." Accompanied by cabaret-style background dancers, she flawlessly belted out the song, executed impressive choreography, and even played the piano.

Lady Gaga’s connection to the song is notable, as Zizi Jeanmarie, the original artist, starred in Cole Porter’s musical "Anything Goes," which was Lady Gaga’s debut jazz release.

"Although I am not a French artist, I have always felt a very special connection with French people and singing French music — I wanted nothing more than to create a performance that would warm the heart of France, celebrate French art and music, and on such a momentous occasion remind everyone of one of the most magical cities on earth — Paris," Lady Gaga shared on Instagram.

Celine Dion 

Closing out the ceremony with her first performance in four years since being diagnosed with stiff-person syndrome, Celine Dion delivered a stunning rendition of Edith Piaf’s everlasting classic, "L’Hymne à l’amour" from the Eiffel Tower. Her impressive vocals made it seem as though she had never left.

This performance marked Dion’s return to the Olympic stage; she previously performed "The Power of the Dream" with the Atlanta Symphony Orchestra and composer David Foster for the 1996 Olympics.

Axelle Saint-Cirel 

Performing the National Anthem is no small feat, yet French mezzo-soprano Axelle Saint-Cirel knocked it out of the park.

Dressed in a French-flag-inspired Dior gown, she delivered a stunning rendition of "La Marseillaise" from the roof of the Grand Palais, infusing the patriotic anthem with her own contemporary twist.

With the stirring lyrics, "To arms, citizens! Form your battalions. Let’s march, let’s march," Saint-Cirel brought the spirit of patriotism resonated powerfully throughout the city. 

Gojira 

Making history as the first metal band to perform at the Olympics Opening Ceremony is just one way Gojira made their mark at the event.

The French band took the stage at the Conciergerie, a historic site that once housed French kings during medieval times and later became a prison during the French Revolution, famously detaining Marie Antoinette – Creating a monumental moment as the first metal band to perform at the ceremony, but also stirring the pot as they used the chance to nod toward politics. 

Performing a revamped version of "Ah! Ça Ira," an anthem that grew popular during the French Revolution, the artists aren’t new to using their songs as a vehicle for political messages. The GRAMMY-nominated group are outspoken about issues concerning the environment, particularly with their song, "Amazonia," which called out the climate crisis in the Amazon Rainforest. Using music to spread awareness about political issues is about as metal as it gets. 

Aya Nakamura

Currently France’s most-streamed musician, Aya Nakamura went for gold in a striking metallic outfit as she took the stage alongside members of the French Republican Guard. As there were showstopping, blazing fireworks going off behind her, she performed two of her own hit songs, "Pookie" and "Djadja," then followed with renditions of Charles Aznavour’s "For Me Formidable" and "La Bohème." 

Although there was backlash regarding Nakamura’s suitability for performing at the ceremony, French President Emmanuel Macron dismissed the criticism. "She speaks to a good number of our fellow citizens and I think she is absolutely in her rightful place in an opening or closing ceremony," Macron told the Guardian.

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.