British pop-rock band Bastille appeared on The Late Late Show with James Corden to perform “Shut Off The Lights.” The song is included on their fourth studio album, “Give Me the Future,” released on February 4, 2022. The track, which the group described as “a sonic love letter to Paul Simon’s Graceland,” finds frontman Dan Smith singing about an emotionally grounding relationship: “This room is our universe, you are my gravity tonight/No talk of the future now/Dark thoughts, you’re shaking ’em, taking ’em out/This rhythm that we create sets me straight.” "Give Me The Future," which tells the story of a fictional tech giant called Future Inc. and its “Futurescape” device — is Bastille’s second concept album. The group’s previous release, 2019’s "Doom Days," centred around finding distraction and joy amid an impending apocalypse and featured singles “Joy” and “Quarter Past Midnight.” Bastille is currently wrapping up a UK tour centred around a series of intimate out store gigs in partnership with the UK’s independent record stores. In April, it will return to venues more typical of a band its size when it kicks off the first leg of the "Give Me The Future" arena tour, many dates of which have already sold out.

AJR has premiered the video for "Ordinaryish People," the Blue Man Group-featuring song off the brother trio's latest album, OK ORCHESTRA. The clip finds AJR and Blue Man Group sharing a stage for a colourful performance of the tune for what certainly sounds like a delighted crowd, only to be revealed as recorded applause playing on Jack Met's boombox. "We always remember going to our first Blue Man Group show and being so confused, in the best way. Not knowing what could possibly come next," AJR says. "That's what made them the perfect left turn for the bridge in "Ordinaryish People." "The collaboration with AJR was an exciting collision of worlds,” said Blue Man Group Associate Music Director Jeff Quay. "During the process, I found that the Blue Man sound is flexible enough to adapt to the 'hyper-pop' world that AJR inhabits. Both AJR and Blue Man Group feel right at home together." In related news, Blue Man Group will be joining AJR for select dates on their upcoming U.S. tour: May 20 in Boston; May 21 in New York City; June 3 in Chicago; June 19 in Irvine, California; and June 24 in Las Vegas.

By the turn of the new millennium, Mary J. Blige had already established herself as the preeminent female R&B singer of the hip-hop generation. Artists like Mariah Carey, Whitney Houston, and Brandy may have been inescapable on the pop charts, but Mary had proved that she was the mainstream voice for around-the-way girls with most acclaimed first three albums, "What's the 411," "My Life," and "Share My World." While those three albums, heavily informed by the pain and anguish in Mary's personal life, helped define a decade of R&B, the emotional scars had taken a toll on Mary, leaving her grasping for any sign of joy and love. But after putting all of the drama of the past behind her, Mary J. Blige returned in 2001 with No More Drama, a title that embodied her state of mind after battling her demons, weathering the storm, and coming out the victor. Released that August, "No More Drama" would present a slightly sunnier version of Mary J. Blige than fans and critics had seen up to that point; while still containing signs of the grit and passion that had caused both to gravitate to her music. Mary comes out swinging on the "No More Drama" opener "Love" but embarrassingly misses the target. Giving a former lover the boot and demanding her respect, the Yonkers native signals her return while getting listeners ready "for the loving of a lifetime" with this introductory cut that comes up short in terms of replay value. Co-produced by former rapper Kwame (under the name K-1 Million) and Ron "Amen-Ra" Lawrence, the track employs flighty horns, ominous drum-kicks and steady snares. Still, the sounds fail to mesh together, making for a lacklustre soundscape that is heavy-handed and plodding. Lyrically "Love" is serviceable, but Mary J.'s attempt to showcase her rap talents is botched, as her rhymes fail to connect with the spotty production, making for one of the more atrocious album intros of the legend's career to date. "No More Drama" gets back on course with the album's second offering, "Family Affair," which pairs Mary J. Blige's vocals with production courtesy of Dr. Dre, who delivers a regal and triumphant track for the songstress to toy with. Serving as the lead-single "Family Affair" would shoot the No. 1 slot on Billboard's Hot 100 chart, where it remained for six consecutive weeks, giving Mary J. Blige the first chart-topping record of her career. One highlight on "No More Drama" that emerges early in the game is "Steal Away," a Neptunes produced banger that instantly captures the listener's attention with its breezy vibe and Pharrell Williams' timely adlibs and opening verse. "No More Drama's" artistic triumph comes in the form of "PMS," an ode to that time of the month that every woman hates. This is a look into the mind of a woman going through menstrual frustration and does a stellar job of embodying the emotions and thoughts that are often a byproduct of it. The proceedings continue to roll along with the album's title track, which finds Mary J. Blige reflecting on her tumultuous past while looking towards the future. Blige laments while gliding across solitary piano keys and sharing her experiences gained pursuing love and loyalty throughout the years. Produced by Jimmy Jam and Terry Lewis, "No More Drama" would be the second single released from the album, peaking at No. 15 on the Hot 100. "Destiny," a song that further delves into the mind-state of Mary J. Blige, sees the singer pondering what her true destiny is and juxtaposing that with the predictions and opinions of others. Taking time to count her blessings on "Beautiful Day," the Queen of Hip-Hop Soul gets cherubic on this sunny cut that serves as a stark contrast to the darker offerings on "No More Drama." Producer Kiyamma Griffin serves up a keyboard-driven track with "Flying Away," providing a quality soundbed for Mary J. to style over. At the same time, Missy Elliott adds her contributions to "Never Been," a love-lorn offering that's effective in execution. One of "No More Drama's" more enticing compositions, "In The Meantime," extends the album's staying power, with Boardman Rich Harrison lacing Mary J. with a plush backdrop, which she commandeers admirably. After giving off shades of Anita Baker, Blige shares her "Testimony" on "No More Drama's" finale, revealing bits of her history and rejoicing her new found glory. "No More Drama" seamlessly incorporates the smoother soul and gospel flavours of 1999's "Mary" with her trademark blend of hip-hop, funk and R&B in their 2001 analysis of the album. All critiques aside, what cannot be denied is that "No More Drama" was a rebirth for Mary J. Blige and served as a bridge to the second act of her career, which has seen her evolve into a classy diva as opposed to the rough and rugged vocalists that stole our hearts back in 1992. The undeniable deep cuts that made her previous offerings the masterpieces were maybe absent here, but overall, "No More Drama" is a solid effort for Mary J. Blige. It may not be a classic, Though a quality album that still holds today.

Enjoying multiple dates around the globe with different suitors may sound like the plot-line for a rom-com, yet Saweetie takes on the task in her latest music video. On her latest single, “Closer,” featuring R&B singer H.E.R., the Bay Area rapper rhymes about falling in love for a weekend and the whimsical pleasures of dating. Saweetie isn’t afraid of flaunting her male roster in the video directed by Hannah Lux Davis. With H.E.R. as her co-pilot (both sporting O.G. flight attendant costumes), Saweetie first stops in Paris, where she’s pampered by boyfriend No. 1. She then heads to Tokyo, where she and her friends are treated to sushi and a luxury car. And her last stop? The Philippines, where she plays tennis with her “baby zaddy.” This is the first time H.E.R. and Saweetie — both of Filipina and Black descent — have linked up for a track. In April, both women are up for several Grammy Awards: Saweetie is nominated for Best New Artist and Best Rap Song for “Best Friend” with Doja Cat. Meanwhile, H.E.R. is up for eight awards, including Album of the Year for "Back of My Mind." The track is Saweetie’s first single of the year and follows “Icy Chain” from late last year and her collab with Tai’Aysha, “One Night Ting,” last month. She’s set to release her album Pretty Bitch Music later this year.

Dancehall star Shenseea is positioned for a massive year ahead. Her buzzing rise from Jamaica's music scene, where she earned her praise from dancehall and reggae legends like Vybz Kartel and Sean Paul. She's a singer with the tongue of an MC, proving her skillset every time she steps to the mic. Now, she's back with a new collab alongside 21 Savage titled, "R U That?" The track sounds like he took a page out of Mustard's playbook and brought sex-posi bars and sensual melodies. Shenseea lays out what she needs from a man to keep her satisfied physically and mentally before 21 Savage details the qualities of a ride-or-die. Shenseea is preparing for her major debut in the American market with her forthcoming album, "ALPHA." “I named the album ALPHA because it resonates with my personality,” Shenseea told fans while on Instagram Live. “I’ve always felt like the head of my household, and I run things, not things running me. Me leading, not me following people. People follow me. I lead. I am a leader. It means strength for me…To be an alpha is to be strong, to lead, to be dominant, and I’ve been dominating.” The singer unveiled collaborations with Megan Thee Stallion and Tyga for her new album. This song follows Shenseea’s last drop, "Lick," with Megan Thee Stallion. She is now managed by Wassim ‘Sal’ Slaiby, who also contains stars like The Weeknd and Doja Cat. "ALPHA" is set to be released on March 11th.

After releasing one of the best R&B songs of 2021, Alex Isley returns with a sweet gift for fans this Valentine’s Day—an endearing ballad entitled “Love Again.” Like a soft, cool breeze on a warm Fall day, Isley’s vocals ease in after the soothing strings, stirring feelings of romance. Whether it’s two old lovers reuniting like Issa and Lawrence during Insecure‘s fourth season or a new couple exploring the possibility of being more than friends, there’s a magic that Isley encompasses with her musical partner, Jack Dine. With “Love Again,” the musical artists have yet another beautiful masterpiece on their hands. “Love Again is about how sweet it can be to have another shot at love,” Isley said when sharing the meaning behind her new single. “I’m a hopeFUL romantic, and it’s that hope that makes it all worthwhile.” Ahead of the single’s release, Isley teased on Instagram that “Love Again” was “oneee more single,” presumably ahead of an album or EP release. Her last project—a five-track EP entitled "Wilton" arrived in 2019. Fitting right in with the likes of classic R&B love songs like Musiq Soulchild’s “Love” or newer love tunes like Pink Sweat$’s Tori Kelly-assisted ballad, “Real Thing,” This serves as Alex Isley's first official release of 2022. Hopefully, it hints at a larger project to come. If we wanted to get detective-y about it, we would point out that the cover art for both "Love Again" and "Still Wonder" are styled similarly, perhaps alluding to a larger theme or a connection of some sort-- time will tell.

Finding an artist with a personality that matches their level of talent is hard to come by, but 26-year-old emerging pop artist Dylan Rockoff is the hay we’ve been searching for in the overflowing needle stack. Coming from Williamsport, Pennsylvania, but now living in Nashville, Tennessee, Dylan has now released his new single, "Magic." The track gives off an upbeat melody that reminds Bruno Mars first tracks mixed with Justin Timberlake. The song has colourful melodies that most listeners will find quite refreshing and has that timeless sound and quality that fits well with the sounds you would hear on the radio. This one will be perfect for your summer pool party list or a low-key groove on the dance floor. As an independent musician, Dylan has reached a level of success that rarely any unsigned artists reach. With a mix of undeniable talent, an impossible-not-to-like personality, strategic moves, and a talented team behind him, Dylan is set to have his best year yet. For an independent artist, Dylan has seen an incredible amount of support from some of the industry’s top companies. He has been supported by radio stations like The Pulse and Kiss FM, placed on Spotify editorial playlists, and sync work on HBO’s "Generation." He’s also frequented the charts, previously hitting #2 for pop artists on iTunes. With over 20 million streams to date and extensive discography, Dylan Rockoff has created a foundation that can only keep getting stronger.

Nashville-born and based artist morgxn has released "Merdian" [extended edition], featuring a previously unreleased track "If I knew You In A Past Life," plus new, reimagined versions of his hit song "Wonder." "Merdian: is more about the journey than the destination," morgxn explains. "It is about the mystery-what lies beyond our eyesight. In order to reach the meridian plane, things have to break. There has to be so much momentum-like a plane taking off-but rather than soaring into midair, you hit a wall. But through that wall is a whole other world. There's a world of wonder beyond. The question is always more important than the answer. The guide is you and animals/mother nature. The quest is evolving. Self-evolution. Human evolution." He continues, "My journey to Merdian was as much about the things that fell apart as it was the journey of how it came together. In a way, it's a celebration of finding a new way even when you don't see it yourself. I felt like this would let me gather the journey I've taken independently and share it as one project-as I hoped it would be. The word Merdian came to me in a dream, and these songs got me through the last two years. Now I release it and continue on. Evolving as I go." morgxn will be hitting the road with Patrick Droney this February, kicking off February 11 in Dallas and seeing stops in New York City, Chicago and more.

Pop-R&B singer Tinashe’s known for the high-concept treatments of her music videos such as “X,” “Bouncin,” and “Pasadena,” but rarely have they been as viscerally provocative as her new video for “Naturally.” Seemingly inspired by 1970s psychological horror. The video finds Tinashe covering herself in gore for a literal bloodbath on a sun-soaked farm where she slaughters some local livestock and performs choreography with a team in Western ranch regalia. “Naturally” serves as the first single from the deluxe version of Tinashe’s 2021 album, "333," which adds four new songs to the singer’s second independently released album. Two tracks also bring in new featured guests, Compton dance musician Channel Tres and Oakland rapper Christian Blue. Before her album "333" album, Tinashe was busy treating fans with loose tracks like Buddy-assisted “Pasedena,” HMU For A Good Time,” “Let Me Down Slowly,” “Rascal (Superstar),” and “Dance Like Nobody’s Watching” with Iggy Azalea. In terms of assists, she also linked up with Rejjie Snow and grouptherapy for Rejjie Snow’s single “Disco Pantz” and hopped on “Lean On Me” by Cheat Codes all within the last year.

In honour of Valentine's Day, Silk Sonic has released a cover of their favourite song, "Love's Train," by Con Funk Shun. Mars declared of their new rendition, “This is one of Silk Sonic’s favourite songs originally recorded by the group Con Funk Shun. Every time @anderson._paak and I get behind instruments, and we play this. We love this song so much we wanted to sing it for y’all.” Silk Sonic introduced "Leave The Door Open" in March 2021 alongside an official music video directed by Mars and Florent Déchard, which won Best R&B Video and Best Editing at the 2021 MTV Music Video Awards. "Leave The Door Open" became Silk Sonic's first #1 single on the Billboard Hot 100, spending two non-consecutive weeks at #1 and 18 consecutive weeks in the top 10. In the meantime, their infectious jingle co-written and performed for SelvaRey Rum amassed widescale praise over the summer. The duo then coasted into their sophomore release of "Skate," which saw them glide into a second top 10 hit on Billboards Hot R&B/Hip-Hop Songs as it debuted at #4 and began as the genre's best-selling song of the week. "Smokin Out The Window" arrived last week with Billboard noting how "Anderson .Paak and Bruno Mars take it back to the 1970s Soul Train era in the retro video. It finds them going through their choreo on an old school TV set while rocking wide lapel tuxedo jackets." Sil Sonic's album "An Evening With Silk Sonic" is out now.

Though her breakthrough 1986 album purportedly found her taking “control,” Janet Jackson exchanged one daddy for two—producers Jimmy Jam and Terry Lewis was the dominating force behind both "Control" and Janet Jackson’s "Rhythm Nation" 1814—and her fifth studio album "janet" released on May 18, 1993. Jackson’s previous two albums for A&M Records, “Control” (1986) and “Janet Jackson’s Rhythm Nation 1814” (1989), had reached No. 1 on the national charts and been certified for sales of 11 million total units. No longer a modestly successful R&B singer, she was a significant crossover talent whose commercial profile had begun to rival that of her older brother Michael. An intense bidding war for Jackson’s services ensued in 1991, with Virgin Records prevailing with a then-unprecedented and headline-making bid that the label’s founder Richard Branson later identified as $25 million. What marks "janet" as different from its predecessors is the expanded musical palette served up. Having practically invented New Jack Swing and further established the Minneapolis sound on "Control" (1986) and "Rhythm Nation," Jam & Lewis’ same formula wouldn’t necessarily work in the musical landscape of the time. A couple of collaborations stand out immediately as compelling and exciting. Chuck D of Public Enemy lends his sonorous, pile-driving vocals to “New Agenda,” while even more intriguing is the presence of Kathleen Battle (an operatic soprano) on “This Time.” But beyond imaginative guests, Jam, Lewis and Jackson created an intimate atmosphere that allows Jackson’s lyrics and vocals to breathe life into their sensual soundscape. At first sight, the tracklisting reveals 26 songs—a veritable marathon of sensual R&B, But closer inspection finds 14 of these are minor, unnecessary interludes or segues. I think they never really add anything to an album's quality, besides some of De La Soul’s segues and those on Solange’s "A Seat At The Table." To these decrepit and old-fashioned ears, the impact of an album should come from the dynamic interplay of music and lyric, not from the snippets of studio conversation or random annoyance that these segues often become. It may be harsh, but I’m laying at least some portion of the blame at Miss Jackson’s door. Feeling lighter and baggage-free, having relieved myself of that burden, let’s get back to that dynamic interplay of music and lyrics. Nowhere is that more evident than on the lead single and opening track (discounting one of those pesky segues!) “That’s The Way Love Goes.” Entering the Billboard chart at 14, it went on to reach number 1 and stay there for eight weeks, becoming the best performing single in the US by any member of the Jackson family. If she’d ever felt obscured by anyone’s shadow, this indeed indicated that her time in the sun was ahead of her. “That’s The Way Love Goes” is a song more significant than the sum of its parts. Its mid-tempo, James Brown and The Honey Drippers sampling groove manages to go hard and stay cool at the same time, while Janet’s delicately wanton vocal and lyrics drip with sensuality. As well as offering up the musical MO of the album, it also serves as notice that Janet is not here to fuck about. Alongside this ridiculously sexy slice of masterful R&B sit countless other infectiously winning songs. There’s the riotous New Jack Swing of “You Want This,” the self-explanatory pulse of “Throb,” and the joyous “What I’ll Do.” But nestled in amongst these lie two songs among the very best that any Jackson has to offer. “If” is a pounding, fuzzed-up, nasty-sounding track that drips with the thrill of lust at first sight. The verses paint an intimate picture of what she imagines that she and the object of her imagination get up to. Though, the chorus banishes any thought of making the imaginary actual, as the idea of infidelity proves a Rubicon not to be crossed. Evidence that although a desire for sexual release runs through the album, the heart of the family girl remains intact. The other gem that stands proud is “This Time.” Bristling with hurt and betrayal, it stands as further testament to the chorus of “If”—sexual self-expression may be the name of the game, but not at the expense of her humanity. Gentle acoustic guitar leads the way before the eerie and unexpected sound of Kathleen Battle’s operatic vocals float as if by royal decree. And then the beat drops in a moment that is as memorable and spine-tingling as any in Jackson’s extensive and impressive back catalogue. Among the rest of the album lies the steamy, sensual sensation “Anytime, Anyplace.” Offering proof that freedom of sexual expression runs through the album, its seductively slow syncopation envelopes and whispers sweet nothings of an explicit kind. Although this can be characterized as Jackson’s sexual awakening, it should be noted that the vast majority of the scenarios presented are sexual within the confines of a safe, consenting, exclusive adult relationship. She gives voice to the needs and desires of millions of “ordinary” women in relationships. By voicing them so successfully, she enables the same conversations in bedrooms the world over. It would seem that beneath the surface of the sexual sheen lay the same sweet-natured ingénue, albeit one ready to get what she desired. How long that sweetness would last would be revealed on her next album, "The Velvet Rope." But for now, the sweetness remained allied to sexual confidence that sent the album into the stratosphere.

19 years old, Saint Raymond, otherwise known as Callum Burrows, made a slick music industry debut with his first full-length project, “Young Blood.” In 2015, the debut was described as fun, carefree, and euphoric. He now returns with the deluxe edition of his sophomore offering, "We Forgot We Were Dreaming," it becomes clear that only now is his music genuinely carefree. The Deluxe Edition features five additional tracks, one being an acoustic version of "Right Way Around" and four alternate versions of "Talk," "Alright," "Gone By Morning," and "Amsterdam." The Nottingham-born songwriter achieved enviable success with his debut record and amassed a loyal fan following. Following this swift rise, Saint Raymond scored some of the most sought-after support slots in the industry, including opening Ed Sheeran on his UK and European ‘Multiply’ tour. With that success under his belt – and six additional years of valuable industry experience – Saint Raymond embarked on his most authentic and true-to-self record. Ultimately, he is an artist who especially thrives in the live scene with choruses that sonically invite fans to jump around and enjoy themselves. An upcoming band with this same effect, which reminds me a little of his vibe, is Leeds band Marsicans. I’d recommend checking them out if you enjoy Saint Raymond’s stuff.

Maya "Maya" Kuriel kicks off Valentine's Day weekend with a lovely, upbeat Dance Pop record. "Don't Pick Up" brandishes a lively, bouncy beat and powerful, polished vocals. "Don't Pick Up" is a departure from Maya's usual discography; thus, showcasing the young singer's musical prowess and versatility. "Don't Pick Up" is about the classic drunk dialling or texting while drunk situation. The track is about the desire and struggle of calling or texting your ex when you're a little tipsy. Although that situation can prove a quagmire or dastardly mistake, Maya wanted to keep the song lighthearted, fun, and relatable. "If you look at the bigger picture, "Don't Pick Up" is fun, sexy, daring, and spontaneous." Maya continues: "I want this track to be a reminder that life is short. Don't spend time worrying about what other people think about you, and, definitely, don't take things too seriously!" “Don’t Pick Up” was produced by Marc Solomon and written by Maya and Peyton Incollingo. The song does a phenomenal job at keeping listeners hooked from start to finish. The catchy hook and enrapturing rhythm make listeners want to belt out the anthem at the top of their lungs. The songstress shows no signs of slowing down and continues to pick up steam with “Don’t Pick Up.”

Rising artist JC Stewart unveiled his brand new single "Love Like That," showcasing his signature lovelorn lyricism. "Love Like That" expresses an intimate, all-encompassing emotion within a high production. Passionately heartfelt yet reflective and tender, JC's magnetic voice delivers a sincere apology to a love interest for not being there when it mattered. His words are supported by a potent pop hook, swooning backing vocals and shimmering beats. While the song's remorse is undeniable, there's a positive feeling that this relationship can move on to a brighter future. JC shares, "I wrote 'Love Like That' after I'd had a few tough conversations with the people I loved around me. I realized I'd been fully prioritizing work over everything else and forgetting about the stuff that actually matters in life. This song is really an apology to those people and a promise to always put them first." "Love Like That" arrives alongside a performance of the song for Mahogany Sessions. JC's elegantly authentic voice continues to shine just as brightly in a stripped-back setting, as it allows the nuances of his songwriting to become even more vulnerable. Accompanied by a four-piece gospel group, "Love Like That" takes on a melancholy ambience. While the studio version has an undercurrent of optimism, this session version feels like an acceptance that the wrongs he sings of can't be put right.

Disney has released a new music video for Encanto, featuring Sebastián Yatra singing "Dos Oruguitas". The track, written by Lin-Manuel Miranda, was recently nominated for an Academy Award for Best Original Song. The Encanto soundtrack is currently #1 on the Billboard albums chart. The album includes the #1 single, "We Don't Talk About Bruno." Encanto is now streaming on Disney+. "Encanto" is directed by Byron Howard ("Zootopia," "Tangled") and Jared Bush (co-director "Zootopia"), co-directed by Charise Castro Smith (writer "The Death of Eva Sofia Valdez") and produced by Clark Spencer and Yvett Merino. Bush and Castro Smith are screenwriters on the film. In the movie, the magic of the Encanto has blessed every child in THE FAMILY with a unique gift from super strength to the power to heal-every child except one, Mirabel. But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might be her exceptional family's last hope. THE VOICE cast includes Stephanie Beatriz, María Cecilia Botero, Wilmer Valderrama, Adassa, Diane Guerrero, Mauro Castillo, Angie Cepeda, Jessica Darrow, Rhenzy Feliz and Carolina Gaitán.

Duran Duran has dropped the deluxe edition of their fifteenth studio album "Future Past," which features three additional tracks. "Future Past" Deluxe Edition includes “Laughing Boy,” “Velvet Newton,” and “Invocation” in addition to the album’s original 12 tracks. “Laughing Boy” follows LP singles “Give It All Up” featuring Tove Lo; “More Joy” featuring the Japanese rock band Chai and Blur’s Graham Coxon; and “Tonight United” with disco legend Giorgio Moroder. The song is track 11 on the 15-track deluxe CD (and the 16-track Japanese CD). You may recall that the band somewhat confused fans last year by issuing a 10-track version of "Future Past" on vinyl, a 12-track edition on CD and then even bigger deluxe and Japanese deluxe CD editions. However, these bonus tracks are ‘mixed in’ with the album tracks and not tacked. Hence, all variants end with the song ‘Falling.’ The other two bonus songs on the international deluxe are ‘Velvet Newton’ and ‘Invocation.’ Japan add the Bowie cover ‘Five Years’ to these. Last week, Duran Duran was named as a nominee into the Rock & Roll Hall of Fame’s Class of 2022 alongside Eminem, Dolly Parton, Lionel Richie, Beck, Pat Benatar, Carly Simon, A Tribe Called Quest, Kate Bush, Devo, Judas Priest, Eurythmics, Fela Kuti, MC5, New York Dolls, Rage Against the Machine, and Dionne Warwick. The final inductees will be announced in May and inducted in the fall.

Parisian artist Crystal Murray has released her second EP, a dive into her rebellious and colourful universe. Born in a Spanish and Afro-American artistic family of a jazz saxophonist-father and a music manager-mother, Murray had a childhood soundtracked by the music of Sly and the Family Stone, Marvin Gaye, Minnie Ripperton and John Coltrane, rather than the teen-pop favoured by most of her peers. The newly 20-year-old Parisian artist released her debut EP "I Was Wrong" in 2020, a jazz and pop-influenced R&B project. Written in the summer of 2020 while in residency in Portugal and recorded in Paris with Sacha Rudy, "Twisted Bases" will offer a tantalizing taster of Murray’s vast creative range. The artist has already unveiled two tracks from the EP: the bouncy and club-ready “Like It Nasty” and “Too Much To Taste,” a euphoric dance-pop song to be discovered below. “60-year-old white people think [the industry] is still the same as 20 years ago,” she explains matter-of-factly, speaking from her apartment in the 20th arrondissement. “They have rules, and I think these rules need to have a little update. And I think we – people of colour, young people, people that know the community – I think we are the ones that need to start rewriting these rules because we’re the ones making the music. And, unlike them, we know there’s no set recipe for a banger.”

Tristania is a band which have been relatively quiet since 2016, and who can blame them, the influential symphonic/Gothic metal band has earned the opportunity to rest upon their laurels if they wish to. If this is the case, then vocalist Mariangela Demurtas has used this time to hone her skills as a solo artist, releasing her debut EP "Dark Ability." Instead of hard-hitting drums and roaring guitars, the gentle tones are at the forefront of this EP. With her voice in the spotlight, Demurtas wrote soulful pieces of music that are touching from start to finish. "City" is the title of the calm and piano-based opener. The song unfolds its beauty right away, and the moment the voice appears, it is goosebump-time. Atmosphere and melancholy make the tune a remarkable and touching song. The opener also sets the tone for the other three tracks on this mini-album. ‘Classic’ and ‘Crosstime’ follow the same scheme for the dark expression. Especially ‘Crosstime’ is an excellently done song, especially the moment the mood slightly adjusts along the way. ‘Crosstime’ doesn’t turn into a song with a happy flow and still represents some light-hearted hope and sun at the end of the line. Gifted with a great voice, the Sardinian singer can put deep emotions into like the closing chapter ‘Forgiverance.’ With an almost fragile voice, Demurtas creates feelings you can’t escape from. ‘Dark Ability’ is an EP that showcases a significant voice in metal and beyond. Mariangela Demurtas made a beautiful mini album with songs straight to the heart.

Jazmine Sullivan had 2021 on lock with her album, "Heaux Tales." The project landed on practically every year-end list while fans continued to praise Sullivan's efforts on the project. However, with a tour around the corner, she's making sure that there is no shortage of new music for her fans. She has come through with Heaux Tales, Mo' Tales, the deluxe edition to her 2021 opus. The album includes an additional ten songs on top of the original 14-song tracklist. Sullivan will continue proving how far the project's reach is with the "Heaux Tales" Tour, set to kick off on Feb. 15. The 25-stop Live Nation production will make stops in Los Angeles, New Orleans, Atlanta, and more before ending in Sullivan’s hometown of Chicago. Sullivan might also have a new collaborator in Megan Thee Stallion along with the tour. During an interview with Billboard, the Houston rapper talked about the potential of doing an R&B/rap EP with Sullivan. “A whole project [laughs]? OK, me and Jazmine Sullivan would definitely have some stuff to talk about,” Megan said. “We’ll have the girls crying; we’ll have the girls screaming, we’ll have the girls dancing, we’ll have the girls sipping wine, [and] sitting in the backyard sipping cognac, but no [laughs]. The men better go run and hide if me and Jazmine Sullivan do an EP, so that’s actually a really good idea. We need to get that in the works.”

Songwriter, producer, and Cautious multi-instrumentalist Cautious Clay releases the deluxe edition of his debut album "Deadpan Love." The deluxe edition features four new songs and new versions of fan favourites, including the previously released "Rapture in Blue" and "25/8," co-written and co-produced with Rostam. The deluxe edition expands on Cautious' long-awaited debut "Deadpan Love," released in 2021 to widespread acclaim. The original includes the hit "Wildfire," which was recently covered by BLACKPINK's ROSÉ and featured in a new episode of "Gossip Girl." Additionally, Cautious made his television debut in December, performing three tracks on "CBS This Morning." Since his breakout debut single "Cold War, 28-year-old Cautious Clay has been on a whirlwind ride. He's released three EPs-Table of Context, "Resonance," and debut "Blood Type" that have earned critical praise from The New York Times, The New Yorker, NPR, TIME, Complex and many more. His recent single "Cheesin'" saw him link up with a who's-who of next-generation talent-Claud, Remi Wolf, Still Woozy, Sophie Meiers, Melanie Faye, and HXNS-to raise money for the COVID-19 Relief Fund. Originally from Cleveland, Ohio, Cautious Clay resides in Brooklyn, New York.