Leah Kate isn’t here to coddle you. 

The Los Angeles-born alt-pop singer has been unleashing kiss-off anthems since her 2019 debut EP Impulse. Since then, she hasn’t slowed down on penning tunes that encapsulate the frustration that comes with one-sided love. After gaining strides with singles like 2020’s "F— Up The Friendship," 2021’s "F U Anthem" and last year’s "10 Things I Hate About You,"  Kate is readying her debut album, Super Over.

Out Sept. 15, Super Over details the complexities of ending a relationship while simultaneously regaining confidence. 

"A lot of people are trying to find relationships and find love," Kate tells GRAMMY.com "Sometimes it's not just about breaking up, it's about having the most self-worth to find a healthy relationship, and you have to go through those emotions to get there."

Super Over is also a sonic feast for nostalgia lovers, wrapped in ‘90s bubblegum pop, ‘00s pop-punk guitars and sassy lyricism that can only come from a California girl. The title track doubles as a raging break-up anthem, the bubbly "Get In Loser" could easily slide in a Y2K teen romcom soundtrack, somber ballads "Desperate" and "Liar Liar" showcase how hard it could be to let go of a lover, and the interpolation of Eminem’s "My Name Is" ups the vengeful attitude on album closer "Happy."

Kate began penning songs at age 11 to the beats that her brother produced. "Our first song ever was called ‘After Party’ and it was obviously about heartbreak. And it was a dance-pop banger. I was 11 though, so I don't know who broke my heart," she recalls with a laugh. "But I clearly was in the same headspace with writing my songs [now]. But that was the first moment I remember [thinking], ‘I really like doing this.’"

Recording was therapy for the singer, who had social anxiety in school but would escape her troubles at home by singing along to her favorite artists like Christina Aguilera, Britney Spears and Avril Lavigne. In 2018, she began uploading covers on YouTube. But it was during the pandemic lockdown when she realized music was her sole path.

"My song ‘F— Up The Friendship’ made me feel something and I had a weird instinct about it," Kate says. "I spent all summer just messaging creators: ‘Hey, will you please post using my sound? I’ll repost you.’ It started literally going viral two months later."

The song caught the attention of Reddit co-founder Alexis Ohanian, who invested in both the song and funding for Kate’s Alive and Unwell EP in 2022. From there, she went on tour with Madison Beer, Chase Atlantic and Hayley Kiyoko. The EP's "10 Things I Hate About You" blew up. 

"It was the biggest song on TikTok for a bit. It was getting millions of listens a day. It was top 14 on radio. It just was the craziest thing I've ever experienced," Kate recalls. "Then I ended up signing a record deal. I'm really grateful. And now here I am putting out my first album."

Ahead of her first headlining U.S. tour (which kicks off on Sept. 11 in Indianapolis), Leah Kate spoke to GRAMMY.com about the pressures of going viral, creating her debut album, and always putting herself first. 

Going viral can be a blessing and a curse. Did the massive popularity of "10 Things I Hate About You" affect you in any way?

It wasn't that I went viral that quickly. I actually had been posting for like a year on TikTok trying to go viral. I talked about the highlights, but there were months and months and months of getting 200 views a video. I just really believed in myself. So it was not overnight, it was years and years and years in the making. 

But I had no expectations because, I swear, whenever I'm like, This song's gonna blow up, it flops. I just have to stay authentic and make videos that I and what I think my fans will think are fun. When something goes viral, great. When it doesn't, it's sad how it affects my mental state. But then I have to [remind myself]: Leah, you're not talking to yourself that way. That's crazy. This is an app, this does not determine your self-worth. So it's a roller coaster of emotions, for sure.

I was listening to your previous EPs and I think your songwriting got even stronger. But I'm curious to know how you think you've grown.

Thank you. I definitely feel like I’ve grown a bunch with songwriting. I've been working on these songs for so long. A lot has happened in the last couple of years. I've gone through so much that it's inevitably impacted my songwriting. That's gotten much stronger because I have more things to write about, which is always amazing. 

[When] I played the U.S. last summer, it was a completely different era [for me]. I'm excited to come back and show this new music. "10 Things I Hate About You" is my favorite song ever, but I'm more than just "10 Things I Hate About You." These songs are so strong, and I'm so proud of them.

Sometimes as women, we just need to shout and yell. I like that you're unafraid to show those emotions. 

I think that's something that just really inspires my songwriting. Because when I'm super happy about something, I'm not like, let me go write a song about it. It's usually when I'm frustrated or sad, that’s what triggers the most emotion in me. 

I'm definitely not the type to be super inspired by a perfectly happy moment. If I get ghosted by someone, I'm pissed. And then that very quickly turns into a song. So I love a good breakup song. I always have. My first song ever was about getting heartbroken at a party and I had never even kissed a boy before. So it’s always been one of my favorite topics to write about.

Your "Super Over" single is the embodiment of finding the courage to cut that person off. 

I wrote it because I was very confused by a situationship. It had been just consuming my mental state for a really long time.

I felt the same way in my previous situationship. It was so overwhelming.

It's the worst, right? It really can go to your head. It started from a sad place because I was really into the person, obviously. But at the end of the day, I was like, This is not healthy. I need to write my official cut-off anthem. 

I needed a song to scream and be proud of the fact that I'm never talking to this person again: We're not just done, baby we're super over. Sometimes you need an empowering anthem to remind yourself that it's done and you're fine. 

"Anthem" is a perfect word for it. "Brainwashed" is my favorite song on the album. I think the lyrics are clever with you singing, "Now this glass of red wine is tasting blue."

I was honestly sitting on my couch one night after a couple of glasses of wine. I was unhealthily interested in a specific person. I was so sick of thinking about them because the relationship was not panning out how I wanted it to. I was just really over it. I thought, I wish I could wash my brain out. I've never heard the term "brainwash" being used in that context before. I was kind of tipsy and just wrote it. I love to find a word that can be used in a really unique way for an emotion that a lot of people can feel and relate to. 

I know it’s hard to pick favorites, but do you have any from this album?

I really love "Desperate." I'm not embarrassed to admit that I have been desperate for someone before. I literally have merch coming out that says "I'm desperate for you." I'm super excited to perform that and that was super influenced by Robyn and vintage Katy Perry and Lady Gaga vibes. "Unbreakup" is one of my absolute favorites. I'm super excited for that. And it feels really different. It's very rare that I release a sad song.

You encapsulated that emotional tug-of-war feeling in the song. Are you into astrology? I ask because we're both Virgos. I think that's why I enjoy the album so much. When it's time to cut someone off, it's like, "Bye! I don't even know you, you're dead to me." 

I'm not really the biggest Zodiac person. But when I'm freaking out about something, I'll totally go to astrology.com and ask, What's gonna happen? Because I just need someone to tell me. Sometimes I like to feel like I have a crystal ball.

I also want to touch on the importance of empowerment, which is the main theme of the album.

One hundred percent that's incredibly important to me. That's why I write songs: To set an example for people to feel empowered by music and to never allow self-worth to be defined by someone else. There were so many years of my life where I let my self-worth be determined by everyone but me. 

You define who you are and what you're doing in this world. That's a message I always want to send to everyone because it took me a really long time to grasp that. I [hope] my music helps others get there.

You're going to be going on tour soon and you previously mentioned having performance anxiety. How did you overcome it?

[Performing] definitely helped me unleash more confidence. The first time I was gonna have a real show was when I was opening for Madison Beer in Madrid…. I literally was going to throw up, I felt so sick. I was like, I don't even know how I'm gonna do this.

You just have to throw yourself into it. And you get over it over time. You have to not care what anyone thinks. No one's gonna die. It's gonna be fine. You're probably just in your head.

With 'Bewitched,' Icelandic Singer Laufey Is Leaving Jazz Neophytes Spellbound

Three months after OneRepublic began promoting their sixth album, Artificial Paradise, in February 2022, the band unexpectedly had their biggest release in nearly a decade. The pop-rock band's carefree jam, "I Ain't Worried," soundtracked Top Gun: Maverick's most memeable scene and quickly became a global smash — ultimately delaying album plans in favor of promoting their latest hit.

Two years later, "I Ain't Worried" is one of 16 tracks on Artificial Paradise, which arrived July 12. It's a seamless blend of songs that will resonate with longtime and newer fans alike. From the layered production of "Hurt," to the feel-good vibes of "Serotonin," to the evocative lyrics of "Last Holiday," Artificial Paradise shows that OneRepublic's sound is as dialed-in as it is ever-evolving.

The album also marks the end of an era for OneRepublic, as it's the last in their contract with Interscope Records. But for the group's singer, Ryan Tedder, that means the future is even more exciting than it's been in their entire 15-year career.

"I've never been more motivated to write the best material of my life than this very moment," he asserts. "I'm taking it as a challenge. We've had a lot of fun, and a lot of uplifting records for the last seven or eight years, but I also want to tap back into some deeper material with the band."

As he's been prepping Artificial Paradise with his OneRepublic cohorts, Tedder has also been as busy as he's ever been working with other artists. His career as a songwriter/producer took off almost simultaneously with OneRepublic's 2007 breakthrough, "Apologize" (his first major behind-the-board hit was Leona Lewis' "Bleeding Love"); to this day he's one of the go-to guys for pop's biggest names, from BLACKPINK to Tate McRae.

Tedder sat down with GRAMMY.com to share some of his most prominent memories of OneRepublic's biggest songs, as well as some of the hits he's written with Beyoncé, Adele, Taylor Swift and more.

I was producing and writing other songs for different artists on Epic and Atlantic — I was just cutting my teeth as a songwriter in L.A. This is like 2004. I was at my lowest mentally and financially. I was completely broke. Creditors chasing me, literally dodging the taxman and getting my car repoed, everything.

I had that song in my back pocket for four years. A buddy of mine just reminded me last month, a songwriter from Nashville — Ashley Gorley, actually. We had a session last month, me, him and Amy Allen, and he brought it up. He was like, "Is it true, the story about 'Apologize'? You were completely broke living in L.A. and Epic Records offered you like 100 grand or something just for the right to record the song on one of their artists?"

And that is true. It was, like, 20 [grand], then 50, then 100. And I was salivating. I was, like, I need this money so bad. And I give so many songs to other people, but with that song, I drew a line in the sand and said, "No one will sing this song but me. I will die with this song." 

It was my story, and I just didn't want anyone else to sing it. It was really that simple. It was a song about my past relationships, it was deeply personal. And it was also the song that — I spent two years trying to figure out what my sound was gonna be. I was a solo artist… and I wasn't landing on anything compelling. Then I landed on "Apologize" and a couple of other songs, and I was like, These songs make me think of a band, not solo artist material. So it was the song that led me to the sound of OneRepublic, and it also led me to the idea that I should start a band and not be a solo artist.

We do it every night. I'll never not do it. I've never gotten sick of it once. Every night that we do it, whether I'm in Houston or Hong Kong, I look out at the crowd and look at the band, and I'm like, Wow. This is the song that got us here.

We were halfway through promoting Dreaming Out Loud, our first album. I played basketball every day on tour, and I snapped my Achilles. The tour got canceled. The doctor told me not to even write. And I had this one sliver of an afternoon where my wife had to run an errand. And because I'm sadistic and crazy, I texted [songwriter] Evan Bogart, "I got a three-hour window, race over here. Beyoncé called me and asked me to write her a song. I want to do it with you." He had just come off his huge Rihanna No. 1, and we had an Ashley Tisdale single together.

When you write enough songs, not every day do the clouds part and God looks down on you and goes, "Here." But that's what happened on that day. I turn on the keyboard, the first sound that I play is the opening sound of the song. Sounds like angels singing. And we wrote the song pretty quick, as I recall. 

I didn't get a response [from Beyoncé after sending "Halo" over], which I've now learned is very, very typical of her. I did Miley Cyrus and Beyoncé "II MOST WANTED" [from COWBOY CARTER] — I didn't know that was coming out 'til five days before it came out. And when I did "XO" [from 2013's Beyoncé], I found out that "XO" was coming out 12 hours before it came out. That's how she operates.

["Good Life"] was kind of a Hail Mary. We already knew that "All the Right Moves" would be the first single [from Waking Up]. We knew that "Secrets" was the second single. And in the 11th hour, our engineer at the time — who I ended up signing as a songwriter, Noel Zancanella — had this drum loop that he had made, and he played it for Brent [Kutzle] in our band. Brent said, "You gotta hear this drum loop that Noel made. It's incredible."

He played it for me the next morning, and I was like, "Yo throw some chords to this. I'm writing to this today." They threw some chords down, and the first thing out of my mouth was, [sings] "Oh, this has gotta be the good life." 

It's the perfect example of, oftentimes, the chord I've tried to strike with this band with some of our bigger records, [which] is happy sad. Where you feel nostalgic and kind of melancholic, but at the same time, euphoric. That's what those chords and that melody did for me.

I was like, "Hey guys, would it be weird if I made the hook a whistle?" And everyone was like, "No! Do not whistle!" They're like, "Name the last hit song that had a whistle." And the only one I could think of was, like, Scorpion from like, 1988. [Laughs.] So I thought, To hell with it, man, it's been long enough, who cares? Let's try it. And the whistle kind of made the record. It became such a signature thing.

Adele — "Rumour Has It," '21' (2011)

"Rumour Has It" was the first song I did in probably a four year period, with any artist, that wasn't a ballad. All any artist ever wanted me to write with them or for them, was ballads, because of "Halo," and "Apologize" and "Bleeding Love."

I begged [Adele] to do a [song with] tempo, because we did "Turning Tables," another ballad. She was in a feisty mood [that day], so I was like, "Okay, we're doing a tempo today!"

Rick Rubin was originally producing the whole album. I was determined to produce Adele, not just write — because I wanted a shot to show her that I could, and to show myself. I stayed later after she left, and I remember thinking, What can I do in this record in this song that could be so difficult to reproduce that it might land me the gig?

So I intentionally muted the click track, changed the tempo, and [created that] whole piano bridge. I was making it up as I went. When she got in that morning. I said, "I have a crazy idea for a bridge. It's a movie." She listens and she says, "This is really different, I like this! How do we write to this?" 

I mean, it was very difficult. [But] we finished the song. She recorded the entire song that day. She recorded the whole song in one take. I've never seen anyone do that in my life — before or since.

Then I didn't hear from her for six months. Because I handed over the files, and Rick Rubin's doing it, so I don't need to check on it. I randomly check on the status of the song — and at this point, if you're a songwriter or producer, you're assuming that they're not keeping the songs. Her manager emails my manager, "Hey, good news — she's keeping both songs they did, and she wants Ryan to finish 'Rumour Has It' production and mix it." 

When I finally asked her, months later — probably at the GRAMMYs — I said, "Why didn't [Rick] do it?" She said, "Oh he did. It's that damn bridge! Nobody could figure out what the hell you were doing…It was so problematic that we just gave up on it."

I was in a Beyoncé camp in the Hamptons writing for the self-titled album. [There were] a bunch of people in the house — me, Greg Kurstin, Sia — it was a fun group of people. I had four days there, and every morning I'd get up an hour and a half before I had to leave, make a coffee, and start prepping for the day. On the third day, I got up, I'm in the basement of this house at like 7 in the morning, and I'm coming up with ideas. I stumble across that chord progression, the guitar and the melody. It was instant shivers up my spine. 

"Lately I've been losing sleep, dreaming about the things that we could be" is the only line that I had. [My] first thought was, I should play this for Beyoncé, and then I'm listening to it and going, This is not Beyoncé, not even remotely. It'd be a waste. So I tabled it, and I texted the guys in my band, "Hey, I think I have a potentially really big record. I'm going to finish it when I get back to Denver."

I got back the next week, started recording it, did four or five versions of the chorus, bouncing all the versions off my wife, and then eventually landed it. And when I played it for the band, they were like, "This is our favorite song."

It was my second session with Taylor. The first one was [1989's] "I Know Places," and she sent me a voice memo. I was looking for a house in Venice [California], because we were spending so much time in L.A. So that whole memory is attached to me migrating back to Los Angeles. 

But I knew what she was talking about, because I lived in New York, and I remember the feeling — endless possibilities, all the different people and races and sexes and loves. That was her New York chapter. She was so excited to be there. If you never lived there, and especially if you get there and you've got a little money in the pocket, it is so exhilarating.

It was me just kind of witnessing her brilliant, fast-paced, lyrical wizardry. [Co-producer] Max [Martin] and I had a conversation nine months later at the GRAMMYs, when we had literally just won for 1989. He kind of laughed, he pointed to all the other producers on the album, and he's like, "If she had, like, three more hours in the day, she would just figure out what we do and she would do it. And she wouldn't need any of us." 

And I still think that's true. Some people are just forces of nature in and among themselves, and she's one of them. She just blew me away. She's the most talented top liner I've ever been in a room with, bar none. If you're talking lyric and melody, I've never been in a room with anyone faster, more adept, knows more what they want to say, focused, efficient, and just talented.

I had gone through a pretty dry spell mentally, emotionally. I had just burned it at both ends and tapped out, call it end of 2016. So, really, all of 2017 for me was a blur and a wash. I did a bunch of sessions in the first three months of the year, and then I just couldn't get a song out. I kept having, song after song, artists telling me it's the first single, [then] the song was not even on the album. I had never experienced that in my career.

I went six to nine months without finishing a song, which for me is unheard of. Andrew Watt kind of roped me back into working with him. We did "Easier" for 5 Seconds of Summer, and we did some Sam Smith and some Miley Cyrus, and right in that same window, I did this song "Sucker." Two [or] three months later, Wendy Goldstein from Republic [Records] heard the record, I had sent it to her. She'd said, very quietly, "We're relaunching the Jonas Brothers. They want you to be involved in a major way. Do you have anything?" 

She calls me, she goes, "Ryan, do not play this for anybody else. This is their comeback single. It's a No. 1 record. Watch what we're gonna do." And she delivered.

My memory is, being in lockdown in COVID, and just being like, Who knows when this is going to end, working out of my Airstream at my house. I had done a lot of songs for movies over the years, and [for] that particular [song] Randy Spendlove, who runs [music at] Paramount, called me.

I end up Zooming with Tom Cruise [and Top Gun: Maverick director] Jerry Bruckheimer — everybody's in lockdown during post-production. The overarching memory was, Holy cow, I'm doing the scene, I'm doing the song for Top Gun. I can't believe this is happening. But the only way I knew how to approach it, rather than to, like, overreact and s— the bed, was, It's just another day.

I do prescription songs for movies, TV, film all the time. I love a brief. It's so antithetical to most writers. I'm either uncontrollably lazy or the most productive person you've ever met. And the dividing line between the two is, if I'm chasing some directive, some motivation, some endpoint, then I can be wildly productive.

I just thought, I'm going to do the absolute best thing I can do for this scene and serve the film. OneRepublic being the performing artist was not on the menu in my mind. I just told them, "I think you need a cool indie band sounding, like, breakbeat." I used adjectives to describe what I heard when I saw the scene, and Tom got really ramped and excited. 

You could argue [it's the biggest song] since the band started. The thing about it is, it's kind of become one of those every summer [hits]. And when it blew up, that's what Tom said. He said, "Mark my words, dude. You're gonna have a hit with this every summer for, like, the next 20 years or more." 

And that's what happened. The moment Memorial Day happened, "I Ain't Worried" got defrosted and marched itself back into the top 100.

Tate McRae — "Greedy," 'THINK LATER' (2023)

We had "10:35" [with Tiësto] the previous year that had been, like, a No. 1 in the UK and across Europe and Australia. So we were coming off the back of that, and the one thing she was clear about was, "That is not the direction of what I want to do."

If my memory serves me correct, "greedy" was the next to last session we had. Everything we had done up to that point was kind of dark, midtempo, emotional. So "greedy" was the weirdo outlier. I kept pushing her to do a dance record. I was like, "Tate, there's a lot of people that have great voices, and there's a lot of people who can write, but none of those people are professional dancers like you are. Your secret weapon is the thing you're not using. In this game and this career, you've got to use every asset that you have and exploit it."

There was a lot of cajoling. On that day, we did it, and I thought it was badass, and loved it. And she was like, "Ugh, what do we just do? What is this?"

So then it was just, like, months, months and months of me constantly bringing that song back up, and playing it for her, and annoying the s— out of her. And she came around on it. 

She has very specific taste. So much of the music with Tate, it really is her steering. I'll do what I think is like a finished version of a song, and then she will push everyone for weeks, if not months, to extract every ounce of everything out of them, to push the song harder, further, edgier — 19 versions of a song, until finally she goes, "Okay, this is the one." She's a perfectionist.

I love [our latest single] "Hurt," but my favorite song on the album is called "Last Holiday." I probably started the beginning of that lyric, I'm not joking, seven, eight years ago. But I didn't finish it 'til this past year.

The verses are little maxims and words of advice that I've been given throughout the years. It's almost cynical in a way, the song. When I wrote the chorus, I was definitely in kind of a down place. So the opening line is, "So I don't believe in the stars anymore/ They never gave me what I wished for." And it's, obviously, a very not-so-slight reference to "Counting Stars." But it's also hopeful — "We've got some problems, okay, but this isn't our last holiday." 

It's very simple sentiments. Press pause. Take some moments. Find God before it all ends. All these things with this big, soaring chorus. Musically and emotionally and sonically, that song — and "Hurt," for sure — but "Last Holiday" is extremely us-sounding. 

The biggest enemy that we've had over the course of 18 years, I'll be the first to volunteer, is, this ever-evolving, undulating sound. No one's gonna accuse me of making these super complex concept albums, because that's just not how my brain's wired. I grew up listening to the radio. I didn't grow up hanging out in the Bowery in CBGBs listening to Nick Cave. So for us, the downside to that, and for me doing all these songs for all these other people, is the constant push and pull of "What is their sound? What genre is it?" 

I couldn't put a pin in exactly what the sound is, but what I would say is, if you look at the last 18 years, a song like "Last Holiday" really encompasses, sonically, what this band is about. It's very moving, and emotional, and dynamic. It takes me to a place — that's the best way for me to put it. And hopefully the listener finds the same.

In the K-pop industry, the Neo Culture Technology juggernaut stands out as a cosmopolitan universe. The project is characterized by its highly experimental approach, where each of NCT's subgroups contribute a unique twist.

This is especially true of NCT 127. Comprised of Taeyong, Taeil, Jaehyun, Johnny, Yuta, Doyoung, Jungwoo, Mark, and Haechan, NCT 127's identity was forged via innovative arrangements that defy convention.

During their rookie days, this ahead-of-its-time strategy felt polarizing and raised a few eyebrows. However, after some years of ambivalence (and with some lineup changes in between), they exploded in popularity during the early pandemic with their second studio album, NCT #127: Neo Zone. This record gave them their first title as million sellers, significantly increasing their listeners globally — many of whom embraced the group's music as an escape during quarantine.

Read more: Breaking Down The NCT System, From The Rotational NCT U To The Upcoming NCT Tokyo

Today, they are more influential than ever and their sound is more accepted in the ever-expanidng scope of K-pop. Nonetheless, some K-pop listeners tend to pigeonhole the group as "noise," despite having a diverse catalog and some of the best vocalists of their generation.

Nearly coinciding with their eighth anniversary, NCT 127 released their sixth studio album, WALK on July 15. To mark this occasion, GRAMMY.com presents a song list — in chronological order — demonstrating their musical geniality, which extends far beyond the public's usual perception. 

The group's first mini-album, NCT #127, laid the foundations of their audacious sound and paired it with vocal finesse. To wit, the lead single "Fire Truck" arrived as an unapologetic disruptor shaking up the K-pop industry.

But the bookends of the EP are uniquely contrasting. Whereas "Fire Truck" opens with bold posturing, the outlier "Switch" concludes the ride with a more lighthearted and youthful production. In a way, this song could also be considered a prelude to the NCT universe, as it was recorded a year before NCT 127's debut, and it features members of other NCT iterations — like WayV and Dream — when they were still trainees. 

The name of this track is a statement of the group's boundary-pushing ethos. True to form, the song is built over a hammering backbone and lengthy synths that bite. The chorus is the highlight; its dynamic explosion of vocals only intensifies the momentum. And while the Korean version is strong, it could be argued that the Japanese rendition imbues the song with new layers of depth that truly elevate it.

It’s worth mentioning that, during the Limitless era, Doyoung and Johnny were added to the lineup, marking NCT 127’s first release with nine members — a move consistent with the original (now-defunct) concept of the NCT system.

Some songs are crafted for faraway souls and to offer solace to the aching heart. That's why "Sun and Moon," an evocative B-side from NCT 127's third extended play, exists as an unmissable gem.

It's a lyrical tale of longing, where Taeil, Doyoung, Johnny, Taeyong, Jaehyun, and Yuta serenade a distant love, hoping the gap will shrink and a reunion will come. The arrangement is understated but dream-like, and when the pre-chorus arrives, the most beautiful lines are unveiled: "When my moon rises/ Your sun rises as well/ Under the same sky/ In this different time/ Our hearts are connected/ Under the same sky."

Co-created by GRAMMY-nominated producer Mike Daley and multi-instrumentalist Mitchell Owens, "Come Back" exemplifies maximalism, undulating between intensity and elegance.

"One of the standout aspects of this song is the creative use of chops throughout the track," Daley tells GRAMMY.com. "Even though the arrangement follows a pretty standard structure for us, these chops add a unique flavor that sets 'Come Back' apart. We got to be more experimental [for this track] and bring in some unusual elements."

The voices of Taeil and Doyoung prominently take center stage, infusing potency that ensures smooth progressions throughout the production.

"Lips"

Featured on the group's first Japanese studio album, Awaken, "Lips" is an unjustly overlooked cut that blends sensuality with hypnotizing Latin rhythms. The deeper you are immersed in it, the more enchanting it becomes, casting a spell over your mind.

Its minimalist formula is effective, and the lyrics hint at a compelling journey: "Your lips come and take me to the place to go/ The place you would know where you should go." Sometimes, less is more, and the impact can be equally powerful.

"Highway to Heaven" shines as one of the crown jewels in NCT 127's discography, praised not only for its cathartic production but also for marking a turnaround in their artistry. It sees them delving into more subdued and ethereal soundworlds.

A pre-release single from their fourth mini album, We Are Superhuman, the instrumental is woven with buzzy percussion and silken guitar strings. The group's vocal prowess truly exhilarates, crescendoing a declaration of freedom during the chorus: "We'll take the highway to heaven/ Any time, anywhere I feel you/ You and I, highway to heaven/ This place where we're together is heaven." 

The track reaches its pinnacle with an interlude guided by Jungwoo's velvety delivery, eventually setting the stage for Haechan's soaring voice.

"Superhuman," the lead single from We Are Superhuman, is a timeless masterpiece. The avant garde song showcases the group's expansive adaptability, exchanging their usual edge for intricate sophistication.

American singer/songwriter Adrian Mckinnon — a frequent collaborator of SM Entertainment, home of the NCT project — teamed up with South Korean producers TAK and 1Take to bring the song to life, and he recalls being "blown away" when he listened to the instrumental. "All the glitches and stutters immediately gave nostalgia," Mckinnon tells GRAMMY.com, noting the sound choices reminded him of old school video games. "[The song] kind of sits in its own lane, maybe somewhere between glitch funk and glitch hop. Maybe a little Daft Punky too?"

Mckinnon says he sat with the instrumental track for half an hour before recording his vocal ideas. "I wanted to absorb it in its entirety before trying anything."

He also explains that they created the song without a specific group in mind, so he was excited to discover the song was placed with NCT 127. "I think this speaks to the versatile nature of the group because they executed the track very well and were able to make it their own. It's easily one of my favorite songs I've been a part of."

Another piece from Daley and Owens, "Love Me Now" pulses with gentleness and heartwarming nostalgia. It's a song made for those days when everything feels right in place. 

Daley recalled working on "Love Me Now" during a K-pop songwriting camp in Seoul, and says he refined an existing track. "Most of our stuff is tailor-made for artists in Korea, but this track was very much a U.S. pop/dance radio-sounding track," he says. "It doesn't feature a ton of sections, switch-ups, or the musically intricate bridge that a lot of our K-pop songs normally have. It's very minimalistic, bright, and centered, and sometimes that's all you need."

He observes the creation process of "Love Me Now" was more straightforward than "Come Back," as the latter contains the usual elaborateness of K-pop productions. "That simplicity in ['Love Me Now'] lent itself to making a very catchy, memorable record that was easy to digest."

By NCT standards, "NonStop" — from the repackaged album NCT #127 Neo Zone: The Final Round — is a B-side that overflows with the potential of a lead single. It's an amalgam of unburdened rap verses and cohesive vocals that glide effortlessly across a cutting-edge production.

Adrian Mckinnon explains that he and Kenzie chose the track from a selection created by the British production duo LDN Noise due to the magnetic pull of the intro. "The arpeggiated tones and the crazy melody of the lead synth immediately took us to the future," he says. "The chord progression and the rising energy out of the pre-chorus — it all felt like some high-speed race through some futuristic city."

The development of the structure proved quite challenging, but the end result encapsulated the intended concept. "Listening to it in its final form, you would think the sections were obvious, but each of the melody and topline — including others that didn't make the song — all felt quite hooky," McKinnon shares. "But since you only have so much 'song,' you must pick your favorite bits and massage the ideas together. That's how we arrived at what 'NonStop' came to be."

"First Love"

A burgeoning romance transforms into the dulcet melodies that define "First Love," a B-side from NCT 127's second Japanese EP, Loveholic, released in February 2021. Excitement beams throughout the lines of the song, capturing the world of possibilities that come with finding the person you've always dreamed of.

When the group leans towards professing love in all its shapes, they do so with a rawness that percolates through their voices, easily perceptible to all. And here, they opt for a playful and tender side.

"Breakfast"

Off of their third full-length album, Sticker, "Breakfast" is distinguished by its harmonic richness and stunning vocal arrangements.\

The track emerged from a collaboration in which Swedish producer Simon Petrén devised the sonic framework, complemented by GRAMMY-winning songwriter Ninos Hanna and songwriter/producer Andreas Öberg. "As the melody ideas evolved, the song was also developed and built up to match the topline," Öberg tells GRAMMY.com. "The original demo was called 'Breakfast' and tailor-made for [the group]. SM Entertainment decided to release this song with them shortly after we submitted it." 

Öberg describes the composition as "an interesting hybrid," with the original demo molded to be "a modern dance/house record while still using advanced chord progressions not only with influences from jazz and fusion."

He also cites Michael Jackson as an inspiration, drawing from "his unique style of switching between minor and major tonalities." 

"Favorite (Vampire)"

After releasing Sticker, NCT 127 wasted no time and quickly followed up with a repackaged album centered around the hauntingly resonant "Favorite." A brainchild of Kenzie, American producer Rodney "Darkchild" Jerkins, and singer/songwriter Rodnae "Chikk" Bell, this record is the most tempered of all the NCT 127's title tracks.

A whistling sample introduces a thumping trap beat that rapidly unfolds into piercing lines — courtesy of Taeyong and Mark — that slice through the song. But as we hit the road toward the chorus, "Favorite" veers into a more vocally-driven approach, a splendid transition that balances its core. In classic SM style, the bridge is a triumph, with Doyoung, Taeil, and Haechan pouring their hearts out as if they've been shattered into a hundred pieces.

Listening to "Angel Eyes," a cut nestled in the middle of their most recent release, Fact Check, is akin to a healing escape. From the first seconds, pure bliss fills the air and quickly transforms into an open invitation to lose ourselves in the music.

"Paradise, like an angel fly/ With your wings, make me fly through the brilliant world/ My delight in all the days and nights/ Even in darkness, make me dream the greatest dream," they sing in the last chorus, prescribing optimism atop a layering reminiscent of the '80s.

One of WALK's B-sides, "Pricey" boasts a delightful instrumental with thick basslines and a fusion of piano and guitar chords. Although the rapped chorus momentarily threatens to stall the pace, vibrant ad-libs — growing more captivating as the song progresses — quickly pick it back up, perfectly aligning the overall effort with their unique sound.

"Pricey" was originally intended for the American market, which makes it all the more inexplicable that it was tucked away in the NCT 127 vault for so long. Thankfully, it's now receiving the spotlight it deserves – it's simply too remarkable to remain unearthed.

GRAMMY winners Kendrick Lamar and Mustard have long repped their California roots. Earlier this summer, their powerhouse anthem "Not Like Us"  brought West Coast rap back to its roots and shone a global spotlight on the scene. 

Lamar and Mustard are at the forefront of a renaissance in West Coast rap. Their shared roots in Southern California cities — Mustard from Los Angeles and Kendrick from Compton — adds authenticity and resonance to their partnership. Their undeniable chemistry was on display in the video for "Not Like Us," which received a million views less than an hour after its release.

Mustard's signature beats and Lamar's profound lyricism has resurfaced the sound and culture that makes West Coast rap so unique and paved the way for a new generation of artists. All signs suggest that another impactful collaboration may appear on Mustard's upcoming album, Faith of A Mustard Seed.

Learn more: A Guide To Southern California Hip-Hop: Definitive Releases, Artists & Subgenres From L.A. & Beyond

Kendrick Lamar headlined the electrifying Pop Out concert on Juneteenth, which also featured sets from Mustard and DJ Hed. The event saw a handful of L.A. rappers, opening for Lamar in a showcase of  the vibrant talent that defines the region's rap scene.

The West Coast is a vast reservoir of talent, stretching from the Bay Area to Seattle. At the heart of this creative expanse is Los Angeles, which brings fresh perspectives, innovative styles, and renewed energy to hip-hop, ensuring the genre thrives. With the stage set for these newcomers to shine, it's the perfect time to take a closer look at some of the rising talents poised to impact the rap scene. While this list only scratches the surface, it offers a glimpse into the diverse and exciting talent from SoCal, the epicenter of the West.

Arising from Los Angeles, Blxst initially played the background as a producer but soon demonstrated his ability to excel across all facets of music creation. Blxst's breakout moment came with his platinum-certified single "Chosen," which solidified his place in the music industry. His collaboration on Kendrick Lamar's "Die Hard" from Mr. Morale And The Big Steppers further showcased his skill for crafting hooks that elevate tracks, resulting in two GRAMMY nominations.

As he prepares to release his debut album, I'll Always Come Find You on July 19, Blxst stands at a pivotal point in his career. With a great resume already to his name, his forthcoming album promises to showcase his undeniable talent and leave a lasting impact on the West Coast music scene.

Bino Rideaux is a South Central native and frequent collaborator with the GRAMMY-winning rapper Nipsey Hussle. He is the only artist to have a joint project with Hussle, No Pressure, released before the prolific rapper's untimely death. Rideaux has hinted at having a treasure of unreleased music with Hussle, saved for the perfect moment and album.

Rideaux  is known for creating tracks that get the city outside and dancing. He has made three beloved projects with Blxst, titled Sixtape, Sixtape 2, and Sixtape 3 resulting in sold-out shows and a special place in West Coast Rap fans' hearts. Endorsed by industry heavyweights like Young Thug, Rideaux continues to carve his path at his own pace. His journey is nothing short of a marathon, echoing the enduring legacy of his mentor.

Read more: Nipsey Hussle's Entrepreneurial Legacy: How The Rapper Supported His Community & Inspired Rap's Next Generation

Kalan.FrFr, whose name stands for "For Real For Real," is an artist whose music is as genuine as his name suggests. Growing up in Compton and Carson, Kalan.FrFr has always stayed true to his roots, and exudes the unyielding confidence essential to making it in the City of Angels.

His breakthrough mixtape, TwoFr, showcased his ability to shine without major features, delivering verses with catchy hooks and melodic rap. He's shown he's not confined to one sound, delivering vulnerable tracks like "Going Through Things'' and "Never Lose You." His EP Make the West Great Again, Kalan.FrFr both proves his loyalty to his origins and highlights his versatility. Kalan.FrFr's signature punch-in, no-writing-lyrics-down style keeps his fans on their toes, ensuring that whatever comes next is unpredictable but authentic.

Jayson Cash, a rapper hailing from Carson — the same city as TDE artist Ab-Soul — stays true to West Coast rap, from his lyrics to his beat selection. Listening to Jayson Cash's music is like diving into a vivid life narrative. His prowess as a lyricist and storyteller shines through in every verse. He gives his fans an insight into his journey, making it a relatable music experience.

Cash made waves with his debut mixtape, Read The Room, and scored a Mustard beat on the song "Top Down." Two years later, their collaboration continues, with Cash writing on Mustard's upcoming album. Though often seen as an underdog, Cash is not to be underestimated, earning cosigns from West Coast legends like Suga Free and Snoop Dogg. His latest project, Alright Bet, includes a notable feature from Dom Kennedy.

310babii has achieved platinum-selling status at just 18 years old, while successfully graduating high school.  Yet 310babii's career began in seventh grade, when he recording songs on his phone showing early signs of motivation and creativity. His 2023 breakout hit "Soak City (Do It)" quickly gained traction on TikTok — and caught the ears of Travis Scott and NFL player CJ Stroud.

As the song grew in popularity, it led to a remix produced by Mustard, who invited the Inglewood native to join him onstage during his set at The Pop Out. 310babii's innovative spirit shines through in his distinctive visuals, exemplified by the captivating video for his song "Back It Up." His recent debut album, Nights and Weekends, released in February, underscores his evolving talent and promise within the music industry.

Elliott Smith released five studio albums within his lifetime, and each is a worthy gateway. Bristling, sometimes harrowing folk? 1995's Elliott Smith. Sgt. Pepper's-scaled splendor? 2000's Figure 8, with 1998's XO as his Revolver. Want to split the difference? 1997's Either/Or.

Then, there's his raw, undiluted 1994 debut — released on Cavity Search, before he was even on Kill Rock Stars. That's Roman Candle, which turns 30 on July 14.

Like everything pre-XO, "studio album" is pretty much a misnomer; Roman Candle was recorded in the basement of the Victorian-style Portland house he shared with JJ Gonson, the manager of his then-band Heatmiser. Which — as Gonson admitted in the 2004 book Elliott Smith and the Big Nothing — "was not a pretty place."

"Lots of people had moved through that house, and the basement was piled high with abandoned stuff," he continued. "So he sort of carved out a little niche, set up a stool and a mic stand, and meticulously recorded the whole thing, going back and punching in tiny changes, sometimes a single word or chord."

While the homemade result is, arguably, Smith's least realized work, it has plenty of charm and intrigue on its own merits, especially in highlights like the shadowy title track and sweet-and-sour yet gorgeous "Condor Ave," which belongs on any list of his very best songs.

Even better, Roman Candle lays the blueprint for everything he'd accomplish in its wake — and stands tall as a watershed for lo-fi folk. Here are three reasons why.

The Sonics

Eventually, this voracious absorber of the rock canon would begin tinkering with tack pianos and mellotrons. But as early as Roman Candle, his core sound was cemented: panned, close-miked, harmonically complex acoustic guitars; double-tracked vocals; a hushed and spectral delivery.

Somewhat uncannily, cruddy equipment seemed to flatter Smith's aesthetic the best. "The wonderful breathy sound on Roman Candle is largely due to the quality of the mic, or lack of it," Gonson said in the book, characterizing his mic setup as "a little Radio Shack thing — the kind you used to get bundled with a tape recorder."

Part of his hushed approach may have been logistical. "He also sang quietly, perhaps so as not to be heard by all the people always coming and going upstairs, so you can hear every breath and string squeak." (A 2010 remaster by Larry Crane sanded down those harsh edges, in the hope that "the music would become more inviting and the sound would serve the songs better.)

The late Smith spawned a thousand imitators, all who learned that murmuring balladry into a tape recorder isn't a shortcut to magic — the easy way or hard way. (Celebrated artists like Phoebe Bridgers and Sufjan Stevens successfully assimilated his influence into their creative bank.)

But partly due to the blueprint of Roman Candle — a link in a chain with '80s lo-fi and the rest — this aesthetic proved desirable.

The Specificity

Many rookie songwriters throw out concrete details (highway numbers and pharmaceuticals, anyone?) as a shortcut to profundity. Smith's details always served the song, and the story.

"She took the Oldsmobile out past Condor Avenue," begins that titular song. "And she locked the car and slipped past into rhythmic quietude." This evocation of a totally unremarkable Portland street places the drama that ensues firmly in time and space.

"Drive All Over Town" conjures atmosphere from the get-go, too: "Two-dollar color pictures from a photo booth/ Dirty, stepped-on, lying out on the floor of their room." You can almost smell that image.

The Vulnerability

When Kill Rock Stars' Slim Moon first popped "Roman Candle" into a tour van's dashboard, he couldn't believe what he was hearing. "It completely blew my mind," he later said. "I have never heard music as heartwrenchingly, gut-checkingly honest, intimate, and wise — before or since."

That was another one of Smith's superpowers: even as he tiptoed to the precipice of self-pity here and there, he never, ever BSed the listener.

"I want to hurt him/ I want to give him pain," he seethes in the chorus of "Roman Candle, about his allegedly abusive stepfather. "I'm a roman candle/ My head is full of flames." A searing sensation, as if you and Smith share a nervous system.

He'd pull off that magic trick again and again throughout his brilliant, troubled career — and it all started on Roman Candle.

He's Gonna Make It All OK: An Oral History Of Elliott Smith's Darkly Beautiful Self-Titled Album