As August temperatures remain hot, so does the new music. With fresh tracks spanning all genres from dance to rap, there's plenty to explore this New Music Friday.

Check out albums like NIKI's Buzz, Logic's Ultra 85, and Little Big Town's Greatest Hits, as well as first tastes of forthcoming projects from Kelsea Ballerini, Katy Perry and Leon Bridges. Plus, there's plenty more new songs from the likes of The Kid LAROI and beabadoobee, as well as thrilling collabs from ATEEZ and G-Eazy, and J Balvin and Feid.

No matter what genre you gravitate towards, there's something new to discover. Be sure to check out these 10 musical offerings before you kick off your weekend.

Just hours before New Music Friday hit, Shawn Mendes celebrated his 26th birthday with a gift to his fans: not one, but two new songs.

The first taste of his upcoming fifth studio album, Shawn, the two tracks — "Why, Why, Why" and "Isn't That Enough" — present a folkier side of Mendes' musicality, leaning into the acoustic sound of his early music but with an indie flair. Mendes also released the official video for "Why Why Why," which sees shots of the singer playing his guitar in nature transposed with footage of him performing on stage.

In celebration of the release, Mendes played an intimate show at Bearsville Theater in Woodstock, New York, performing Shawn in its entirety two full months before its Oct. 18 arrival. He'll play five more full-album shows: London, U.K. on Aug. 13, Nashville, Tenn. on Oct. 14, Brooklyn, New York on Oct. 18, Los Angeles on Oct. 22, and Seattle on Oct. 24.

After scoring hits with Clean Bandit and David Guetta respectively, Anne-Marie brings them both together for another vibrant, upbeat electronic anthem. "Cry Baby" takes inspiration from early 2010s dance music, reminiscent of the era when the genre dominated the airwaves.

Featuring a haunting whistle hook and Anne-Marie's powerful vocals layered over pulsing instrumentals from the dance giants, "Cry Baby" is a powerhouse collaboration showcasing some of the best talents in electronic music.

Three years after 2021's Hall of Fame, Polo G is back with his fourth studio album, Hood Poet. The album was shelved for over a year due to outstanding circumstances, but it's finally here, and rap fans couldn't be more hyped.

The four singles that teased the project include "Barely Holdin' On," "Distraction," "Angels In The Sky," and "We Uh Shoot," featuring Lil Durk. These tracks feature a range of instrumental backgrounds, from soft piano layers to thumping beats, all showcasing Polo G's powerful and passionate vocal lines. 

Although the wait was long it was no doubt worth it, as the tracks on Hood Poet represent some of Polo G's finest work, from the refined production to his evocative, creative storytelling.

Continuing to tease songs from her forthcoming seventh studio album, 143, Katy Perry delivers her latest dance-pop track, "Lifetimes." The song is a lively, upbeat anthem representing unconditional love.

On Instagram, Perry posted a photo with her partner, Orlando Bloom, using a filter that aged her 50 years, with the track playing in the background. However, Perry recently revealed to The Sun that the song is actually about her 3-year-old daughter, Daisy – a sweet ode to the unmatched feeling of maternal love.

"Every night, before we go to sleep, I say, 'I love you', and then I ask, 'Will you find me in every lifetime?' and she says, 'Yes'," Perry revealed.

Two months after ATEEZ released their 10th mini album, GOLDEN HOUR: Part 1, the K-pop group is still breathing new life into the project's single "WORK" — this time, with the help of G-Eazy. Titled "WORK Pt. 4," the song's latest version features some steamy lines from G-Eazy on the second verse, bringing a risqué edge to the punchy rap-pop track.

"WORK Pt. 4" follows two electronic reimaginings of "WORK," as "Pt. 2" featured a remix by Dutch producer Don Diablo and "Pt. 3" was reworked by ATEEZ's production team, Eden-ary. While "WORK Pt. 4" is the closest to the bumping original, a press release teased that the newest version "reflects the ever-challenging spirit of ATEEZ."

Following the 70th anniversary of Elvis Presley's debut single, "That's All Right," RCA Records and Legacy Recordings have released a sprawling 111-track box set, MEMPHIS. The career-spanning collection features recordings from his earliest sessions at Sun Studios through his final works from the Jungle Room in Presley's Graceland home.

Aside from the Sun Studios recordings, all of the tracks were newly mixed by four-time GRAMMY winner Matt Ross-Spang, who removed all of the overdubs to highlight Presley's original vocal recordings. MEMPHIS offers a new perspective on the King of Rock and Roll, providing a clear listening experience that further immortalizes his one-of-a-kind vocal prowess.

With their 26th studio album, Flight b741, King Gizzard & The Lizard Wizard dive into a classic blues-rock sound, a departure from their usual psychedelic, experimental garage rock style.

The album features the Australian band's admirable response to current world issues, such as climate change, set against music that embraces the spirit of traditional rock. The concept focuses on how the music translates during their live performances.

Just after the album's release, the band will embark on a massive world tour, beginning Aug. 15 in Washington, D.C., and concluding at the end of November in Miami. The tour includes four shows billed as "marathon sets," where King Gizzard & The Lizard Wizard will perform for three hours each night.

GRAMMY-nominated rapper Latto pays homage to her Southern hip-hop roots on her fittingly third studio album, Sugar Honey Iced Tea. The LP boasts an impressive list of collaborators, including Playboi Carti, Megan Thee Stallion, Ciara, and Cardi B.

Latto told Billboard that after a decade in the rap game, she feels she's already proven herself. Now, she is returning to her roots and making music that speaks to her, regardless of whether she receives additional flowers for it or not.

"I feel like what I'm doing has not been done before, so let's start there. [Aesthetically], I've been pulling from Mariah Carey, Beyoncé, and Lil' Kim. [Musically], I've been pulling from Kelis, but obviously with a Southern hip-hop twist," Latto says. "They have very feminine energy, but masculine in the sense of confidence."

Embracing both sides of his Mexican and American cultural identity, 20-year-old DannyLux blends elements of Western house music with his tender Spanish lyricism on "Soltera."

Produced by Mexican-American producer 8onthebeat, the track is a fast-paced earworm perfect for hitting the dance floor. In the music video, DannyLux dances around different rooms of a house and singing along — setting the example for what listeners are bound to do once they press play.

LA LOM — 'The Los Angeles League of Musicians'

If you haven't heard of LA LOM yet, prepare for that to change. The Los Angeles-native trio is on the rise, earning an opening slot for Vampire Weekend earlier this year; now, they are unveil their debut album, The Los Angeles League of Musicians.

The project is a guitar-focused masterpiece, drawing inspiration from traditional Peruvian cumbia music. Featuring a diverse range of tracks, listening to The Los Angeles League of Musicians offers a unique sonic experience. The album takes listeners on a journey from laid-back, lo-fi tunes to uptempo dance tracks, perfect for a get-together with loved ones or a night out on the dance floor at your favorite hole-in-the-wall venue — a perfect weekend soundtrack.

On July 20,  K-pop boy group ATEEZ stepped foot onto one of their largest stages yet for their first U.S. stadium show. The scene at Los Angeles’ open-air BMO Stadium was a far cry from the group's L.A. performance in 2019 — their first tour stop ever — at the petite Globe Theater, a former movie palace with a tenth of BMO’s capacity.

Even then, as a five-month-old rookie group, fans (called ATINYs) saw a remarkable promise in Hongjoong, Seonghwa, Yunho, Yeosang, San, Mingi, Wooyoung, and Jongho. In the years since, ATEEZ has developed a growing presence in the States, even being the subject of a first-of-its-kind GRAMMY Museum pop-up. If the BMO Stadium performance was any indication, ATEEZ have officially hit their stride.

Read more: Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

The nearly sold-out July 20 show felt like a level up, and not just because of the size of the venue. "As we performed, I really felt like ATEEZ has grown so much," singer Yunho said near the end of the night. He’s not wrong: they’re undoubtedly more confident than ever. Perhaps that’s because the octet made history earlier this year as the first K-pop boy group to perform at Coachella. Regardless, ATEEZ's growth in both production and showmanship was palpable. 

If you missed ATEEZ’s two nights in L.A., don’t worry: K-pop’s resident pirate kings (more on that title later) have more up their billowy sleeves. In the spirit of their never-ending grind, the Towards the Light: Will to Power tour has nine more North American stops, including New York’s Citi Field. Read on to find out why you won’t want to miss these fast-rising K-pop idols.

The Members Are As Good Apart As Together

ATEEZ’s motto is "eight makes one team" for good reason. Individually, their talents and tastes are prismatic, yet complement each other perfectly — a fact that comes into startling clarity midway through the show, when the group breaks off into units and solos.

Equal parts erotic and controlled, trap banger "IT’S You" gives Yeosang, San, and Wooyoung room to deploy their enigmatic charms as a trio; ATEEZ’s purveyor of belted high notes, Jongho, dips into his deeper register on solo ballad "Everything"; diametric duo Hongjoong and Seonghwa spit fire about the rapport that arises from their differences on red-hot cypher "MATZ": "M-A-T-Z like allergy, we don’t really fit together / Yeah, yeah, but on stage, reacting to that synergy."

Then there’s the wistful "Youth" from dance class pals Yunho and Mingi. The two go way back — something they reminded audiences of by acting out a fictionalized version of a real phone call they shared the day before auditioning for KQ Entertainment. "Imagine us taking the stage together someday," Yunho said. "Sounds amazing, right?"  

Read more: ATEEZ Are Here To Win The Hearts Of K-Pop Fans

ATEEZ Know How To Turn Up The Drama

ATEEZ's lore runs deep. In their conceptual universe, what began as a swashbuckling tale of pirates in search of treasure evolved into an anarchic manifesto about toppling the world order. Recently, in a Wild West turn, they’ve been masquerading as cowboys dedicated to the daily hustle.

Every ATEEZ performance has a story; on this tour, the theme is light. But, as always in ATEEZ’s oeuvre, that light can’t exist without a darkness seeking to quash it. The way they convey this narrative — acting, stage decoration, extras — is a masterclass in drama, fit for the theater as much as a stadium. 

Watch: Global Spin: Watch Ateez Represent South Korea With Kinetic Performance Of "The Real"

They’re In Their Element Onstage

The success of ATEEZ’s storytelling is bolstered by the group’s unearthly stage presence. In that regard, Seonghwa led the pack, moving like a man possessed. Whether crawling on his knees, rolling his eyes back, or slinging a sword to symphonic backing, the lithe dancer never let the air-tight facade slip — except, of course, when it came time to offer a couple of warm words to fans.

Like Seonghwa, the rest are also shockingly versatile. San effortlessly switches between agile body rolls and thigh caresses in the dangerously sensual "Cyberpunk," then vigorously glides his arms through air at the climax of "Say My Name," a gesture that has only grown in power and potency over time.

ATINYs Do Their Best To Match ATEEZ’s Energy

"There [are] more than 20,000 singers in here," Hongjoong said as the lead-in to the soaring "Dance Like Butterfly Wings." "Can you show me your singing?" 

Sing they did: All night, the crowd brought an energy as fierce and passionate as ATEEZ, especially when barking at charismatic rapper Mingi, much to his apparent enjoyment.

But the single noisiest moment came during "Guerilla." At a certain point, Yunho shouted a  ferocious "Make some noise!" as a cue and ATINYs know it’s time to warm up their vocal chords; while Jongho belts some of his highest notes yet, fans roared "Break the wall!" at the top of their lungs, loud enough to rise above the stadium enclosure.

Fan chants and cheers are a mainstay of K-pop shows in South Korea, but due to differences in concert etiquette and language barriers, most don’t make their way overseas. ATEEZ and their fans broke that wall, and built a bridge in its place.

It’s A Full Circle Moment In Their Career

That ATEEZ chose to drop anchor in Los Angeles for their first U.S. stadium show feels especially momentous. The band has history in Southern California, having trained at L.A.-based dance studios Movement Lifestyle and Millenium Dance Center prior to their debut. ("Our second hometown!" San said during the show.)

"Even though it was six years ago, it feels like just yesterday," Hongjoong said in his encore speech. "It’s absolutely an honor to be right here, now, in such a big venue." 

That’s a short time to come as far as they have, without slowing pace. "But, you know, it doesn’t stop," Hongjoong continued. "We will keep going to the next step and the next step, with you. Let’s keep making moments to shine even brighter, together." And if these three hours are any indication, ATEEZ has a light that won’t soon be dimmed.

As summer rolls on, more tracks from artists across all genres continue to drop, and we couldn't be more excited. With album releases from John Summit, HARDY, OneRepublic, and Cat Burns to fresh singles from collaborations including Alesso and Nate Smith, July 12 brings a handful of new music to enjoy.

As you stroll through the weekend, make sure to check out these nine musical projects:

Serving as the lead single from 143, her first studio album since 2020, Katy Perry releases "Woman's World," a new pop track celebrating girl power and womanhood. Perry wrote the track alongside songwriter Chloe Angelides and producers Dr. Luke, Vaughn Oliver, Rocco Did It Again!, and Aaron Joseph.

Initially teasing the track through social media, the song drew attention from pop fans globally. The lead single from 143 marks both a comeback and a new era for the American Idol judge. "I set out to create a bold, exuberant, celebratory dance-pop album with the symbolic 143 numerical expression of love as a throughline message," Perry explains in a press statement.

Guess who's back? Eminem returns with his twelfth studio album, The Death of Slim Shady (Coup De Grâce). The album appears to be his last project before retiring his notorious alter ego, Slim Shady.

A standout track on the album is "Guilty Conscience 2," a sequel to the 1999 collaboration with Dr. Dre. Leading up to the album release, Eminem dropped two singles, "Houdini" and "Tobey," featuring Big Sean and BabyTron. The album is both a blast from the past and a revived representation of the renowned Detroit-raised rapper.

Premiering the song at her Machaca Fest set, Nelly Furtado returns to music with "Corazón," the lead single off her new album 7. The track is an upbeat dance song with lyrics in both Spanish and English, along with drums and flutes that bring it to life. The track was two years in the making, according to Furtado on Instagram.

"The essence of the song is that we're just out here living and trying to do our best," Furtado told Vogue. "Even when we make mistakes, it's coming from the heart. When it comes from the heart, it's never a mistake."

7 is set to captivate both loyal fans and new listeners. Centered around the vibrant theme of community, Furtado felt an irresistible pull toward creating new music, inspired by the diverse communities around her. The spirited energy of the DJ community that breathes new life into her pop classics to this day and the passionate online community yearning for her return, spurred by her collaborations with Dom Dolla and Tove Lo and SG Lewis, have both played a crucial role in Furtado's renewed artistic journey.

Amidst the viral resurgence of her 2019 track "Bags" on TikTok, indie sensation Clairo unveils her eagerly anticipated third studio album, Charm. Co-produced with GRAMMY-nominated Leon Michels of El Michels Affair, this enchanting project underscores a striking blend of musical artistry and innovation.

"I want afterglowing, and when I call a car / Send me eyes with the knowing that I could pull it off," she sings in "Sexy To Someone," the lead single from the album. Putting introspective lyricism at the forefront of all her projects without sacrificing quality instrumentals, this album is no exception.

In this genre-crossing collaboration, electronic artist Alesso joins forces with country singer Nate Smith on their new single, "I Like It." Though an unexpected blend of styles, the song blends elements from both artists' sounds, seamlessly combining country and dance as they proudly declare, they "like it like that."

With Alesso's electrifying instrumentals perfectly complementing Smith's spirited country vocals, the track captures the essence of summer in a song and is set to make waves throughout the season.

Featured as the official theme song for the upcoming movie "Kingdom IV: Return of the Great General", Japanese rock band One Ok Rock releases "Delusion:All." The upbeat, cinematic track is the band's latest contribution to the "Kingdom" movie soundtrack series, following their 2019 song "Wasted Nights." 

"It's been a while since we wrote 'Wasted Nights' for the first series of 'Kingdom,' and we are very honored to be a part of the movie again," said vocalist Taka in a press statement. "We tried to reflect "the various conflicts going on in the world today and the modern society" in the song, while making it blend into the worldview of 'Kingdom.'"

A love letter to her community and a deep dive into the intricacies of adulthood, Cat Burns presents her debut album, Early Twenties. Accompanying the album is a captivating short film directed by Libby Burke Wilde. The film tells the individual narratives of each character, touching on themes of mental health, relationships, and personal identity, mirroring the album's essence. 

With this well-rounded creative project, Burns showcases her full artistic prowess, making these releases a testament to her pioneering creative vision.

Making a triumphant return to music after 12 years, Uncle Kracker breaks down the boundaries between genres once again with his latest album, Coffee & Beer. The 13-track album intertwines country, pop, and rock, offering a musical journey that ranges from high-spirited anthems to laid-back, mellow tracks. 

"I wanted to give my fans a soundtrack to summer and what's better than the balance of first coffee…then beer? Coffee & Beer is going to be a fun one. Cheers," Uncle Kracker said in a press statement.

Drawing inspiration from the golden era of '70s Congolese rumba, Ghanaian highlife, and Nigerian afrobeat, the Meridian Brothers unveil Mi Latinoamérica Sufre. This concept album integrates the electric guitar into tropical Latin music in an innovative fashion. The album showcases a dynamic tapestry of sounds, blending cumbia, champeta, soukous, Brazilian tropicalia, and psychedelic rock, making it an exciting sonic journey.

The title of his ninth studio album is an apt description of Steve Aoki himself.

The cake-throwing DJ/producer — best known commercially for his 2012 remix of Kid Cudi, MGMT, and Ratatat’s "Pursuit Of Happiness" — can very well be called a paragon of longevity in dance and electronic music. And like his stature as one of the world’s highest-paid DJs (Forbes regularly cites him on its annual list), this status is hard-won.

"[The dance music industry] is…not forgiving," he tells GRAMMY.com on a Zoom call from his home in Las Vegas. He appears in quintessential Aoki fashion: shirtless, his long, dark hair cascading down his shoulders. "Yes, I have a safety level where I can continue to play shows based on old tracks, but that doesn't last very long. You have to constantly stay ahead." 

 Akin to HiRO — the protagonist of the HiROQUEST graphic novel series that he created to pair with his last two studio albums, HiROQUEST: Genesis and HiROQUEST 2: Double Helix — Aoki is on a quest of his own. HiRO (a genetically augmented meta-human) is tasked with traveling into the multiverse 400 years into the future to save Earth from an unavoidable disaster. Aoki’s charge — continuous innovation of his craft to sustain his longevity in dance music’s ever-saturated and rapidly-moving market — is no less dire nor significant to the Dim Mak Records founder.  

"I've always had this starvation complex where I have to keep doing my s—, or else I'm going to die," he muses casually, phone in hand as he paces around his house, as he’s done since he joined our call. Judging by the deadpan manner in which he delivers this line and the laugh that caps it off, this is not a revelation for Aoki. As the Greek maxim goes, "know thyself." Assuredly, he does, and well enough to know he has to keep doing his thing, hence Paragon.

Read more: Steve Aoki Connects Music & The Card-Game Metaverse On 'Hiroquest': "It's About Telling The Story Of The Future Cryptid World"

The 18-track project, out June 28, harkens back to Aoki’s dance floor roots following 2023’s Latin-influenced HiROQUEST 2: Double Helix and 2022’s alternative- and punk-guided HiROQUEST. It teems with high-profile crossover collaborations, like "Heavenly Hell" (Ne-Yo), "Electrowavebaby 2.0" (Kid Cudi), and "Get Lower" (Lil Jon). Most importantly, though, it reflects "a newer sound of Steve Aoki" — a compelling and contemporary means of extending his "safety level" in the dance space.

Ahead of Paragon’s release via his own imprint and an international tour, Steve Aoki spoke with GRAMMY.com about the album’s relationality to his artistic identity and HiROQUEST and why, even after nine albums, he’s still "very excited and very hungry to get back in the studio and continue to write music that matters." 

 This interview has been condensed and edited for clarity. 

Why was now the right time for you to go back to your true dance roots?  

An album is always about where I am at that moment. I look at each album in a way where I don't want to think too deeply about it. I want it to be more of a timestamp that, in 10 years’ time, reflects that moment in time for me.   

This time, a lot of the collaborations I was doing just fluidly became more of the same synergy. It’s a flow, and Paragon is also directly reflective of the kind of music I'm playing at my shows.  

Dance music is certainly on a rise, especially the newer sounds of dance music. Sonically, the climate's changing a lot, which challenges me as a producer who was more dominant in the 2010s. I was putting out a lot of music then, and those songs were more prolific in the electronic dance music community.  

Now, I'm challenged to stay ahead of my own production. The DNA of your sound stays with you, but you’ve got to always innovate, and this is by far the most innovative dance album I've ever done.

What, in your opinion, makes 'Paragon' so innovative?

When I go back into Paragon and I listen to each song, it's a newer sound of Steve Aoki; it's very dynamic and diverse. There’s house records, there's techno records, there's different beats-per-minute ranges — it's not just hard-hitting festival records.   

I think it's forward-thinking for me as a producer, and I'm already working on the "Part B." I distinctively made it shorter than my previous three albums, which were over 20 songs each. This is more of a traditional album length because I look at it as a two-part story musically. 

I have a bigger story that I've been attaching to my albums, like HiROQUEST and HiROQUEST 2. I wrote a book that joins those two albums into a full-length science fiction fantasy anime storyline with art and cards and collectability factor, all that fun stuff outside of music. 

Paragon is going to be an Easter egg or precursor to what's to come — the continuation of HiROQUEST. I just wanted to not use the name HiROQUEST because I wanted to do something different.

How does the album’s title fit into this larger narrative?

The Paragon Aura is a huge theme of Book 2 of HiROQUEST — it's what brings HiRO back from the "lost world" where he's been stuck. He essentially dies at the end of Book 1 and gets stuck in this lost world. This aura brings him back.

The HiROQUEST is a quest of 10 rings and HiRO is trying to obtain all 10, so he gets this power that’s going to be discussed in Book 2.  In order to forge the 10 rings to this omnipotent god ring, he has to use the Paragon Aura. The Paragon Aura is an extremely powerful tool and it's a big theme of the second book. 

You’re certainly a paragon of longevity in the dance space, which is rare. How have you maintained such an enduring and continuously expanding presence? 

The hunger needs to be there. It doesn't matter how successful you might be to the world. Yes, I have a safety level where I can continue to play shows based on old tracks, but that doesn't last very long. You have to constantly stay ahead. 

I think dance music is a bit different from rock or other genres where you can tour off your old catalog. Blink-182 never has to make another new song if they don't want to; they're going to sell out stadiums based on their catalog. Radiohead, Coldplay, they never have to make another new song — they're going to sell out.  

There's certain artists in the dance world that are veterans in the space. They’re household names. Like Tiësto or David Guetta…they don't have to release any more music, but they do. When they drop new music, it's still consistently part of culture, which is so exciting. I think that's exciting about the dance world; we still have a strong fingerprint. 

Do you count yourself among the veteran dance acts who don’t have to release more music if they don’t want to?  

There are definitely people who might think I'm in this category, but I don't personally think about myself like that. Not doing so keeps me fighting for it. I'm still very excited and very hungry to get back in the studio and continue to write music that matters.  

The baseline has to be that you're giving all of yourself to this. I still remember touring in a band with four sweaty dudes, showering once a week, and staying at people's houses. Not once in those 14 tours did we ever stay in a hotel. All the money went to gas and feeding ourselves.

We’d be broke by the end of the tour, and I’d be ready for the next one. I still remember the feeling of okay, we’re broke, we’re stinky, and we’re back in our town. Now we gotta write more music to get back on the road again, and I loved it. I did like 14 full tours by the time I was 21. It's a lot more luxurious these days but doing what you love has to be the foundation or else you can't survive the hard. 

I've been doing my record label, Dim Mak, for almost 30 years now. The people who have worked for Dim Mak…it's a lifestyle. Yes, they're working to get a paycheck, but they're working first and foremost because they believe in the culture. You have to be down with the culture first and the paycheck second. 

What can fellow DJ/producers take from the example you’ve set?

I think the most important thing is to never stop making music and leveling up your shows because those are the two most important things as an artist in any space. The live experience is really important. Your music is number one, though, because if your music's not good, no one's even going to go to your live show. You need to build your sound to a point where people know your music as you, and then you better show up and make your show really good. And not even just good — you’ve got to make it your own show.     

A Steve Aoki show is a unique show, and in some cases, it's outperforming my music. People will talk more about my cakes than my new album. I'll take it though, because I just want people to have a great experience. 

There are a lot of artists who find their sound, develop it, people latch onto them, and then they just fizzle out for whatever reason. When it fizzles out, that's when the real test comes and it’s to go back to it. If you really care about the long game, you’ve got to keep putting more cakes in the oven. 

Nine albums is a tall tally, especially for the dance genre, where the album is not the dominant format. Why is it important to you to continue making albums despite this dynamic?

I've always been an album guy because I was a band guy. When you're in a band, the most important thing is to make an album, not a song. You have to make a collection of music that defines you. 

When I was in bands, I listened to albums, and I’d listen to every single song. I know people don't do that anymore, but I still like to follow that, I can't help it. I collect vinyl; I do certain things in the old-school sense that you can't kick out of me.

Read more: 8 Times Dance Stars Channeled Their Inner Punk Kid, From Deadmau5 & Gerard Way To Rezz & Silverstein 

I know people aren't listening to the full album. I know they're listening to the song that's probably the main song of the whole album. And even if one one-hundredth of my fans listen to the full album, I don't actually care. I'm still going to make the album. It goes back to the most important thing: I'm doing it for myself first. 

I love telling a story. All the attention to detail and my intention to create this moment in time means so much to me. I know one one-hundredth of the people are going to be there for it, and I'm totally fine with that. I've grown a community of fans because I care so much about the detail; I go so deep into the story. I do it for them too. And the people who are in and out and come just for the quick hit, that's fine. They're absolutely welcome and invited to be part of it. 

That one one-hundredth appreciates the concept-driven approach to album-making, especially because this genre isn’t exactly known for that compared to other genres.

Yeah, and I think a lot of stuff that I'm doing, especially with HiROQUEST, has not been done before, like bringing in anime culture, card culture, comic books, and manga. No one's doing that in [dance music]. The Weeknd did a comic book and so did Kid Cudi. I'm following the same practice of combining these worlds.

And I went deep in HiROQUEST: Book 1. It's 50,000 words. I spent like 16 months writing this book; it’s 250 pages. That’s a big ordeal, but what's great is we’ve already sold out two printings. We're already in our third printing now, which is incredible for a story that had never been heard before.

I love my fans for that. It allows me to have the courage to keep going. To step out like this is a lot of work and a lot of time, and you don't want to fall on deaf eyes and ears. I'm already writing Book 2.  

Tove Lo & SG Lewis Crafted Sweaty New EP 'HEAT' In Celebration Of Their Queer Fans 

After the cookouts and kickbacks of Memorial Day weekend, getting through the workweek is never easy. But you made it through — and now it's time for another weekend of however you decompress. As always, killer jams and musical food for thought have arrived down the pipeline.

As you freshen up your late-spring playlist, don't miss these offerings by artists across generations, moods, genres, and vibes — from K-pop to classic country and beyond.

It looks like Dua Lipa isn't the only artist to name-drop Erik Weisz this year. In a recent Instagram video with magician David Blaine, Eminem hinted at a major career move, quipping, "For my last trick, I'm going to make my career disappear," as Blaine casually noshed on a broken wineglass.

With Em's next album titled The Death of Slim Shady, fans were left in a frenzy — was he putting the mic down for good? If "Houdini" is in fact part of Eminem's final act, it seems he'll be paying homage to his career along the way: the song includes snippets of Em classics "Without Me," "The Real Slim Shady," "Just Lose It" and "My Name Is."

The superhero comic-themed video also calls back to some of the rapper's iconic moments, including the "Without Me" visual and his 2000 MTV Video Music Awards performance. It also features cameos from the likes of Dr. Dre, Snoop Dogg, 50 Cent, and Pete Davidson — making for a star-studded thrill ride of a beginning to what may be his end. 

Read More: Is Eminem's “Stan” Based On A True Story? 10 Facts You Didn't Know About The GRAMMY-Winning Rapper

"What the Chaos Angel is to me," Maya Hawke explained in a recent Instagram video, "is an angel that was raised in heaven to believe they're the angel of love, then sent down to do loving duties."

Chaos Angel, the third album by Maya Hawke, out via Mom+Pop Records, is an alt-rock treasure with a psychologically penetrating bent. Smoldering tracks like "Dark" and "Missing Out" plumb themes of betrayal and bedlam masterfully.

Before May 31, Jessie Reyez's 2024 releases have come in the form of airy contributions for Bob Marley: One Love and Rebel Moon. And for the first release of her own, she's bringing the heat.

Teaming up with fellow rapper Big Sean for "Shut Up," Reyez delivers some fiery lines on the thumping track: "They b—es plastic, that b— is a catfish, oh-so dramatic/ And I'm sittin' pretty with my little-ass t—es winnin' pageants." Big Sean throws down, too: "B—, better read the room like you telepromptin'/ And watch how you speak to a n—a 'cause I'm not them."

Indie dance-pop favorites Foster The People — yes, of the once-inescapable "Pumped Up Kicks" fame — are back with their first new music since 2017's Sacred Hearts Club. The teaser for their future-forward, disco-powered new song, "Lost in Space," brings a psychedelic riot of colors to your eyeballs.

The song is equally as trippy. Over a swirling, disco-tinged techno beat, the group bring their signature echoing vocals to the funky track, which feels like the soundtrack to an '80s adventure flick. 

"Lost in Space" is the first taste of Foster The People's forthcoming fourth studio album, Paradise State of Mind, which will arrive Aug. 16. If the lead single is any indication — along with frontman Mark Foster's tease that the album started "as a case study of the late Seventies crossover between disco, funk, gospel, jazz, and all those sounds" — fans are in for quite the psychedelic ride.

Arooj Aftab landed on the scene with the exquisitely blue Vulture Prince, which bridged modern jazz and folk idioms with what she calls "heritage material" from Pakistan and South Asia. The album's pandemic-era success threatened to box her in, though; Aftab is a funny, well-rounded cat who's crazy about pop music, too. Crucially, the guest-stuffed Night Reign shows many more sides of this GRAMMY-winning artist — her sound is still instantly recognizable, but has a more iridescent tint — a well-roundedness. By the strength of songs like "Raat Ki Rani" and "Whiskey," and the patina of guests like Moor Mother and Vijay Iyer, this Reign is for the long haul.

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By some counts, Willie Nelson has released more than 150 albums — try and let that soak in. The Red Headed Stranger tends to crank out a Buddy Cannon-produced album or two per year in his autumn years, each with a slight conceptual tilt: bluegrass, family matters, tributes to Harlan Howard or the Great American Songbook. Earthy, muted The Border is another helping of the good stuff — this time homing in on songwriters like Rodney Crowell ("The Border"), Shawn Camp ("Made in Texas") and Mike Reid ("Nobody Knows Me Like You.") Elsewhere, Nelson-Cannon originals like "What If I'm Out of My Mind" and "How Much Does It Cost" fold it all into the 12-time GRAMMY winner's manifold musical universe.

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South Korean boy band ATEEZ last released new material with late 2023's The World EP.Fin: Will. Now, they're bringing the K-pop fire once again with their 10th mini-album, GOLDEN HOUR  Part.1.

Released in a rainbow of physical editions, the release was teased by a short clip for "WORK," where ATEEZ pans for gold like old prospectors in an off-kilter desert scene, then proceeds to throw the mother of all parties. As for the rest of GOLDEN HOUR, they bring flavors of reggaeton ("Blind), wavy R&B ("Empty Box") and reggae ("Shaboom") — further displaying their versatility as a group, and setting an exciting stage for Part.2.

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Beninese-Nigerian singer and GRAMMY nominee for Best African Music Performance Ayra Starr pays homage to the big two-one with her second album, The Year I Turned 21, which she's been teasing all month. We've seen the crimson, windswept cover art; we've soaked up the 14 track titles, which reveal collaborations with the likes of ASAKE, Anitta, Coco Jones, and Giveon. Now, after small tastes in singles "Commas,""Rhythm & Blues" and "Santa" (with Rvssian and Rauw Alejandro), we can behold what the "Rush" star has called "excellent, sonically amazing" and "unique, because I've been evolving sonically."

Watch: Ayra Starr’s Most Essential “Item” On The Road Is Her Brother | Herbal Tea & White Sofas

The "American Idol" and Queen + Adam Lambert star is turning heads — for very good reason. He's going to release AFTERS, a new EP of house music and an unflinching exploration of queerness and sex-positivity. "I throw many house parties and my aim was to create a soundtrack inspired by wild nights, giving a voice to our communities' hedonistic desires and exploits," Lambert explained in a press release.

The first two singles, "LUBE" and "WET DREAM," achieve exactly that. From the pulsing beat of "LUBE" (along with the "Move your body like I do" demand of the chorus) to the racing melody of "WET DREAM," it's clear AFTERS will bring listeners straight to a sweaty dance floor — right where Lambert wants them.

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