Earlier this month, Taylor Swift posted an Instagram story with a countdown to the launch of her next musical era. Swift’s 2017 album Reputation and subsequent stadium tour were both sonically and aesthetically darker than anything she’d done before, and the reception was mixed at best, resulting in the lowest-selling album of her career. So it was, perhaps, inevitable that the singer would move away from the combative tone and hard, hip-hop-influenced beats of singles like “Look What You Made Me Do” and “…Ready for It?”

Swift first hinted that a shift in tone was imminent via—where else?—her Instagram account, which, over the last several weeks, has been crammed with decidedly softer imagery than usual for the singer, including sequins, butterflies, jewel-encrusted hearts, and fluffy-faced kittens—all bathed in creamy pastel tones. You’d be forgiven for thinking she was preparing to launch a tween apparel line and not the next phase of her global pop domination. But if Reputation taught us anything, it’s that Swift is nothing if not committed, and her new single, “ME!”—which features Brendon Urie of Panic! At the Disco—is a full-tilt 180.

Produced by Joel Little, best known for his work with Lorde and Broods, the song plays like a piss take on the bright and shiny pop of hits like “Shake It Off,” with marching-band drums, stadium foot-stomping, stately brass, and a cartoonishly ebullient hook: “Hee-hee-hee, hoo-hoo-hoo!” Swift may be one of the most self-aware pop stars alive, so it’s impossible not to view everything about “ME!” as a calculated response to her last album, right down to the song’s effusive title (Reputation precedes “ME!”—get it?). Even her signature self-deprecation—“I know I went psycho on the phone/I never leave well enough alone”—is given a self-reflexive twist: “I promise that you’ll never find another like me.”

The music video, co-directed by Dave Meyers and Swift, begins with a shot of a pink snake—a nod to the singer’s supposed reputation—slithering across rainbow-colored cobblestones before bursting into a kaleidoscope of butterflies, pointedly marking the end of an era. She and Urie are seen arguing in charmingly stilted French accents, setting the stage for an eye-popping, effects-laden fantasia of a make-up session that includes antagonistic clouds, Easter egg-colored pantsuits, liquid dresses, and a 1960s-style variety show.

Watch below:

Today MTV took a break from its around-the-clock programming of mind-numbing reality TV to air the exclusive world premiere of Madonna’s new music video, “Medellín,” like it’s 1995 all over again. In the video, Madonna dons a white wedding dress reminiscent of her iconic look in the clip for “Like a Virgin” and the VMA performance of the song that helped make her a household name nearly 35 years ago. And like “Like a Virgin,” which was shot in Venice, Italy, the new video is also an international production, filmed in Portugal, where the queen of pop has lived on and off for the past two years.

But that’s essentially where the similarities end, both in terms of Madonna’s less-than-virginal mien—the wedding dress is accessorized with a cowboy hat, a red leather glove, and a safety-pin-covered eye patch—as well as the video itself. The nearly seven-minute “Medellín” is the official introduction to Madame X, the persona Madonna has adopted for her 14th album of the same name, out on June 14, and features the singer in various guises, including a cha-cha instructor and a bride to Colombian reggaeton star Maluma.

An extended intro finds Madame X delivering her manfesto via prayer:

“Dear God, how can I trust anyone after years of disappointment and betrayal? How could I not want to run away again and again, escape? I will never be what society expects me to be. I have seen too much. I cannot turn back.”

Reportedly shot at the Quinta Nova de Assunção palace near Lisbon, and co-directed by Diana Kunst, who was raised in Spain and has helmed videos for A$AP Rocky and Rosalía, “Medellín” is steeped in Portuguese and Latin-American influences that culminate in a carnivalesque wedding reception. Watch below:

Madonna and Maluma will perform “Medellín” for the first time at the 2019 Billboard Music Awards on May 1.

Singer-songwriter FKA twigs returns today with “Cellophane,” her first single in over three years. Written and produced by FKA twigs, Jeff Kleinman, and Michael Uzowuru, the track is the first taste of her as-yet-untitled sophomore effort, the follow-up to her Mercury Prize-nominated LP1. “Cellophane” is a delicate, piano-driven ballad that finds FKA twigs more vulnerable than ever before: “Didn’t I do it for you?/Why don’t I do it for you?” she begs at the very top of her vocal range.

The trippy music video for “Cellophane” was directed by Andrew Thomas Huang, best known for his work with Björk. The striking clip juxtaposes the song’s emotional lyrics with images of FKA twigs pole dancing in nothing more than platform heels and a bikini. She encounters a CGI winged creature at the top of the pole, sending her plummeting into a pit, where she’s bathed in red mud by several masked women. Watch below:

Several times throughout her third album, Cuz I Love You, singer-rapper Lizzo can be heard breaking into laughter, as if the joy she’s taking in a well-delivered punchline, or simply in the act of music-making itself, has become momentarily impossible to repress. It’s a hard trick to pull off without sounding self-infatuated or contrived. But Lizzo gets away with it, delivering in Cuz I Love You a vessel for pure exuberance.

Coming on the heels of last year’s buzz-building singles “Fitness” and “Boys,” Cuz I Love You wastes no time going for the pop jugular. With its infectious, wordless hook, lead single “Juice” is a 1980s-inspired confection so on point it could turn Bruno Mars green with envy. Both “Like a Girl” and “Soulmate” boast precision-engineered hooks and perky, pop-feminist missives: “Woke up feelin’ like I just might run for president,” Lizzo crows on the former, “Even if there ain’t no precedent…I’m about to add a little estrogen.”

The album saves its most lasting pleasures for its second half—notably “Crybaby,” an oozing Minneapolis funk-rock groove that channels Prince’s “Darling Nikki” while Lizzo lays on the big diva vocals. Indeed, it’s her voice that’s Cuz I Love You’s biggest revelation. She was a rapper first and foremost on 2013’s Lizzobangers and 2015’s Big Grrrl Small World, but here she lets her singing come to the fore, belting out the opening title track so hard it threatens to come apart at the seams, and turning “Jerome,” the mid-album kiss-off to an unworthy man, into a retro-R&B tour de force. Even on the songs that most resemble her earlier work, like the trunk-rattling “Tempo,” she raps with an ear for vocal timbre over lyrical flow, letting her Houstonian accent spread languidly over the words, “I’m a thick bitch, I need tempo.”

Expertly sequenced in a concise, 33-minute package, Cuz I Love You moves from strength to strength. Even its more minor tracks feature standout moments, like Gucci Mane’s typically energetic verse on “Exactly How I Feel” and the soaring trap-gospel coda (complete with flute solo) to “Heaven Help Me.” Lizzo’s talent has always been evident, but this album’s material, her strongest to date, allows her put it on full display. By the languorous, seductive neo-soul of closing track “Lingerie,” her enthusiasm is as contagious as it is well-earned.

Label: Atlantic Release Date: April 19, 2019 Buy: Amazon

At the heart of Anderson .Paak’s music has always been an emotional unburdening of exuberant proportions. It’s present in the shades of intensity his voice carries between croon and rasp, the luxurious kinetics of his funk-laden instrumentals, and his starry-eyed joie de vivre. On his fourth album, Ventura, Paak alters this blueprint by mastering the equilibrium between exactitude and ease, between vintage soul and new-school fusion.

The salt and sand of the California beach towns where Paak grew up comprise the lifeblood of his albums. Whereas last year’s insular Oxnard paid tribute to the city of his birth, Ventura is more expansive. Dr. Dre, Paak’s longtime mentor, served as executive producer on Oxnard, lending that album its heavy-hitting funk-rap skylarks, but on Ventura, Dre allows his protégé to take the reins. Paak certainly doesn’t shy away from the challenge, as the album is awash in golden timbres and spacious, full-blooded textures. It’s lush yet artfully edited, unforced yet deliberate—a far cry from the overwrought architecture that got the best of Oxnard.

In many ways, Ventura represents a return to form for Paak, as he channels the neo-soul of 2016’s Malibu, which was sorely absent from Oxnard. But while Paak was comfortable residing in the clearly defined contours of traditional verse-bridge-verse song structures on Malibu, he allows those boundaries to blur and shift here. The cinematic opener “Come Home,” which boasts a particularly nimble and clever verse from André 3000, unfolds like an overture, anchored by a choir of angelic voices and hair-raising drumrolls. Staccato trumpets puncture the disco glitz of “Reachin’ 2 Much” before, in one of the most fabulous transitions of the album, giving way to a chilled-down groove equally fit for a backyard BBQ and a dance floor.

Too many tracks on Oxnard felt as if they were carried by noteworthy features like Snoop Dogg, Kendrick Lamar, and Q-Tip, leaving Paak as a supporting character at best. By contrast, Paak is never overshadowed on Ventura, working off a tight and balanced chemistry with his guest artists, and he embraces an endearing transparency when he treats topics as disparate as dealing with a nosy girlfriend (“You stay here too much, baby/You know it’s not your place”), reigniting a dormant love (“When you take somebody for your own/It can’t survive on history alone”), and uplifting community in the face of racism and poverty (“The people that you came with? You’re coming with me”). Throughout it all, Paak maintains an optimism that, though some might deem naïve, is undeniably infectious.

The foundations of Paak’s sound—disco, funk, ‘70s soul, California G-funk—cast an air of nostalgia over his music. But he’s shrewd enough in the design and construction of his music to prevent the amalgamation of these influences from slipping into pastiche or kitsch. Although Ventura is replete with anachronisms—theatrical strings fit for Earth, Wind & Fire (“Reachin’ 2 Much”), nightclub-ready slap bass (“Jet Black”), quiet storm (“Make It Better”)—Paak fuses the old school and new school seamlessly, producing a sonic palette that hasn’t quite been replicated by any of his contemporaries. Ventura serves as a reminder of the magic that can result from looking to the past to inform the future.

Label: Aftermath Release Date: April 12, 2019 Buy: Amazon

Last month, Page Six of the New York Post published an article titled “How Madonna is using younger stars to cling to relevancy.” The infamous tabloid swiftly revised its headline to the marginally softer “How Madonna is using younger stars in hopes to stay relevant” after receiving blowback for what some perceived to be a double standard. But as the gulf between the 60-year-old pop queen’s age and that of the average radio star has continued to widen, it’s true that she’s increasingly leaned on collaborations with younger artists like Justin Timberlake and Nicki Minaj.

You’d be forgiven, then, for assuming that “Medellín,” the first single from Madonna’s upcoming 14th album, Madame X, is an attempt to cash in on the ever-growing popularity of reggaton. While the 25-year-old Maluma is a huge star in Latin America, however, he’s yet to cross over beyond the Latin-pop market in the U.S., so the partnership appears to be a mutually beneficial one. And Madonna has lovingly appropriated Latin culture in her work for decades, as far back as 1986’s “La Isla Bonita,” and as recently as her torero-inspired music video for 2015’s “Living for Love.” In fact, one could argue it’s the single most consistent musical theme of her career outside of, say, dance music more broadly.

Co-produced by Mirwais, who was previously at the helm of Madonna’s Music and American Life albums, “Medellín”—named after the city where Maluma was born—is a sultry midtempo track driven by a decidedly unhurried tropical rhythm and Madonna’s catchy refrain of “one-two cha-cha-cha.” The singer’s inexplicably Auto-Tune-drenched verses are nostalgic and wistful, nodding to the breezy escapism of “La Isla Bonita”: “I took a sip and had a dream/And I woke up in Medellín.”

Vocally, Maluma does most of the heavy-lifting on the bilingual track, with inuendo-filled verses that reference both Colombia and Madonna’s hometown of Detroit. But Madonna’s sugary harmonies, particularly during the song’s rousing hook, balance out Maluma’s gigolo routine with a dreamy sweetness.

Listen here:

The music video for “Medellín” will premiere on April 24. Madame X is out June 14 on Interscope Records.

To call the Chemical Brothers’s No Geography a kind of impeccable fan service is to suggest a criticism entirely unintended. If the U.K. duo’s ninth album resembles loving speculative fiction, it’s of an urgent, exciting sort that the electronic pioneers have more than earned over their relatively consistent 25-year career. In fact, save for the wonky sequencing choice of front-loading the two most negligible songs—the boilerplate big-beat intro of “Eve of Destruction” and ”Bango”—No Geography could easily pass for a collection of epic B-sides to some of Tom Rowlands and Ed Simons’s signature classics.

“MAH” (short for “Mad As Hell”) is a dopamine-surging mash of familiar sounds, its frenzied, vaguely tribal beats and grinding noise reminiscent of “It Began in Afrika” and “Chemical Beats,” respectively. “Gravity Drops” gives the 808s-on-Salvia drum thunder of “Come with Us” a modern production spit-shine, with some additional sprinkling of Kraftwerk’s “Computer Love” and Aphex Twin’s “Windowlicker.” “We’ve Got to Try” similarly resurrects the hip-hop-based car-stereo thump of the Chemical Brothers’ first two albums, and even raises a glass to two of the stronger tracks (“High Roller” and ”Busy Child”) by their early American counterpart the Crystal Method.

Fans of the Chemical Brothers tend to have their own favorites among the many genre styles the pair use to generate their panoramic sonic palette. If you love the group’s bouncing, THC-fried detours into crisp, disco-infused pop, singles like “Got to Keep On” and “Free Yourself” are made to order. For this listener, it’s the moody dance-floor psychedelia, and in this vein, No Geography thrills as well: “The Universe Sent Me” gives “Star Guitar” a darker, more meditative spin with its humming baseline, ethereal Liz Frazier-esque vocals, and fire-damaged guitars, and “Catch Me I’m Falling” winds down the BPMs while turning up the intergalactic lovesickness. These songs, like the album as a whole, display elements of all stages of the duo’s career yet retain the same playful inspiration found in their best work.

Label: Astralwerks Release Date: April 13, 2019 Buy: Amazon

Certain discrete corners of the internet lost their collective minds earlier this month when Madonna’s Instagram page, alternately littered with posts featuring the singer’s adopted twin daughters or snapshots of her recent photo and video shoots, was taken over by nine indivudal images comprising a large red “X.” The typically prolific celebrity ‘grammer remained relatively quiet over the next two weeks, intermittently posting images of the letter X in her stories, and slowly revealing the manifesto for Madame X, her first album in four years:

Madame X is a secret agent
Traveling around the world
Changing identities
Fighting for freedom
Bringing light to dark places
She is a cha cha instructor
A professor
A head of state
A housekeeper
An esquestiran
A prisoner
A student
A teacher
A nun
A cabaret singer
A saint
A prostitute

The album’s lead single, which could be out as soon as this week, is rumored to be a duet with Colombian reggaeton singer Maluma, but details are scarce. The secretiveness surrounding the project isn’t surprising given that Madonna has been the victim of rampant leaks since at least the turn of the century. The studio recordings for her last album, 2015’s Rebel Heart, leaked like a sieve, resulting in the arrest of an Israeli hacker.

This time out, the queen of pop has successfully kept things under wraps, but it seems that Madame X—a character perhaps inspired by the 1966 film of the same name starring Lana Turner—is ready for her close-up. Watch the teaser for the new album, directed by Steven Klein, below:

Madonna will reportedly perform new material from Madame X at the Eurovision Song Contest on May 14.

The artistic growth Craig Finn has displayed over the course of his four solo albums is comparable—in terms developing a lyrical and production style—to his progression as a songwriter across the Hold Steady’s first four albums. The difference is that rather than sketching out narrative party epics set to huge power-and-glory guitar riffs, Finn is now mostly writing tightly focused character studies to go with his largely understated indie rock songs—music, in other words, that’s harder to latch onto and easier to overlook.

Despite its title’s connotations, I Need a New War—the third in a retconned trilogy of albums—finds Finn further entrenching himself in the stylistic hallmarks of 2015’s Faith in the Future and 2017’s We All Want the Same Things. The album’s ties to its two predecessors are, however, largely implicit rather than explicit. Counter to past Hold Steady albums, there are few, if any, recurring characters, and unlike Holly, Charlemagne, and the whole crew of divinely inspired party hounds who Finn sings about with that band, his subjects here are mostly just regular folks doing their best to muddle through their day-to-day lives. It takes one hell of a good writer to turn that kind of subject matter into compelling rock n’ roll, and Finn—practically in his own category as a lyricist—is up to the task.

Produced by Josh Kaufman, who also helmed Faith in the Future and We All Want the Same Things, I Need a New War retains many of those albums’ sonic traits: watery guitars, pillowy keyboards, and a stuffed-nose Finn singing in a lower, relaxed register. But it’s also a departure, introducing new wrinkles like silky backing vocals by Annie Nero and Cassandra Jenkins and a liberally employed brass section that gets downright jazzy on the lounge-y “Her with the Blues.” Several songs, particularly “Magic Marker” and “Indications,” unexpectedly adopt a ‘50s doo-wop sound, continuing Finn’s penchant for introducing new stylistic approaches on each of his solo albums that we haven’t heard from him before.

If there’s one thing that squarely separates I Need a New War from Finn’s previous work, it’s the consistent mellowness. With its dreamy atmosphere and loitering tempos, the album is more reliant than ever on Finn’s wordplay. This is rarely an issue for a lyricist of Finn’s caliber, as his eye for detail can turn seemingly mundane scenarios—a simple favor that becomes hard to repay (“A Bathtub in the Kitchen”), an office drone who daydreams of driving away from a dead-end relationship (“Carmen Isn’t Coming in Today”)—into resonant vignettes.

At the same time, Finn can get too bogged down in minutiae, such as devoting an entire verse of “Holyoke” to binge-watching TV shows. But even then, the aside serves the song’s larger purpose of illustrating the anxiety-ridden narrator’s vain attempts to distract himself from the omnipresence of death: “Massachusetts, man, you’ve got a lot more graveyards than we’re used to/I swear to god they’re every other mile.”

I Need a New War soars when Finn dares to rise above the mire. This includes “Something to Hope For,” whose optimistic title is mirrored in its peppy, infectious hooks. And lead single “Blankets” is Finn’s most rousing solo effort to date, an account of a desperate search for an old flame that’s as sweeping and powerful as the “thunder in the canyon” that the musician sings about on the chorus. The song’s concluding thought—“You live your whole life/Just to travel to the place you’re gonna die”—is as bleak and resigned as anything else on the album. But like almost everything that Finn sings, it’s also invigorating.

Label: Partisan Release Date: April 26, 2019 Buy: Amazon

This week, the Chemical Brothers will release their ninth studio album, No Geography, a notable feat for a group that was first propelled into the mainstream via electronica’s so-called big bang in the late 1990s. Here’s how consistently rich the duo’s vast catalogue has been throughout their near-25-year career: Given the task of choosing our individual favorite tracks, we came up with over 50 contenders worthy of inclusion. As you read—and better yet, listen—to this list, you’ll discover some unexpected omissions (pour one out for one of their biggest crossover hits, “Blocking Rockin’ Beats,” which didn’t make the cut), but also some equally surprising additions that more casual fans may find unfamiliar. Regardless of your level of immersion, though, what you’ll find here are 25 of the most explosive, head-bobbing, ass-shaking anthems in electronic music history. Blue Sullivan

Editor’s Note: Listen to the entire playlist on Spotify.

25. “Saturate”

The Chemical Brothers’s 2007 album We Are the Night is rightly maligned for containing a few of the duo’s rare missteps (here’s looking at you, “Salmon Dance”), but it also contains one of their most propulsive house bangers. Built on ping-ponging keys and a bassline so deep and dirty it almost qualifies as subliminal, “Saturate” builds to a surge of hammering snares that sound like crashing waves. A frequent late-set addition to the duo’s live show over the last decade, the track is just as deserving of its inclusion here as any of their early classics. Sullivan

24. “Life Is Sweet”

But is it? Structured as a call and response, “Life Is Sweet” first finds the Chemical Brothers radiating in an unambiguously optimistic vibe, to the point you can almost feel UV rays emanating from the speakers. And then, suddenly, everything clouds over and you find yourself dancing in a haze of primal doubt that winds up in a denouement of existentialist angst. Eric Henderson

23. “Loops of Fury”

Best video game soundtrack of all time? WipeOut XL, without a doubt. And the Chemical Brothers’s “Loops of Fury” was but one of the crown jewels of a compilation that also included Underworld’s “Tin There,” the Prodigy’s “Firestarter,” Photek’s “The Third Sequence,” and Fluke’s “Atom Bomb.” Even in that company, the relentless “Loops of Fury” comes about as close as any of them to feeling what it would be like to barrel down an anti-gravity race track at more than 200 kilometers per hour. Henderson

22. “Three Little Birdies Down Beats”

There is perhaps no other song on the Chemical Brothers’s 1995 debut, Exit Planet Dust, that defined the duo’s developing sound more efficiently than the unrelenting “Three Little Birdies Down Beats.” The track is a torrent of increasingly complex layers: breakbeats, soul samples, and an onslaught of screeching guitars and distorted vocals that would become the group’s signature over the course of the next decade. Sal Cinquemani

21. “My Elastic Eye”

Based around a sample of electronic composer Bernard Estardy’s 1973 piece “Tic Tac Nocturne,” “My Elastic Eye” sounds at once cinematic and classical, fusing prog-rock and jazz influences, and boldly employing the filtered basslines of French techno and electroclash, which was peaking in popularity around the time of the song’s release. The result is a mélange of styles that cohere into a spooky musical score that wouldn’t sound out of a place in an Argento giallo. Cinquemani