Now Hear This: December 2024 

Now Hear This is a monthly A&R column that provides you with exciting new sounds we discovered through the innovative new music platform Groover.

Each month, you can expect a varied bouillabaisse of songs from a vast spectrum of artists from all over the globe, regardless of genre or geography. 

Grumbeaux – “Me and Bobby McGee”

Sounds like: Calvin Johnson and Primus get together to pay homage to the late Kris Kristofferson by deconstructing his signature song and rebuilding it with viscera to spare. 

Describe your approach to music and how you would explain your sound to others.

Plant something simple in the dirt, like acoustic guitar and voice, and see what clambers out and what swarm of biota clings to it, each protist adding its own puny but inexhaustible voice.

When it mushrooms in that way, it can be difficult to describe. One audio engineer dubbed it Synth Metal Cash, while another said “Tarantino would go nuts hearing this,” so, perhaps, it’s cinematic. In an article by Rick Moody, he described it as “a mixture of old folk-inflected material that sounded goth, prog, and glam, all at once… sort of like The Birthday Party, or Love and Rockets, if those bands were raised on singer-songwriter material,” and playlist curators have mentioned everything from garage and punk to blues rock and art rock, with one hybridizing it into “Frank Zappa and King Crimson meet Primus and punk.”

How did you come up with the name of your act?

Grumbeax just seemed to fit by hinting at this seething medley of elements and styles while stirring to mind the thick, strange goat’s horn of soup we all find ourselves in.

What are some artists and albums that have informed your creative direction?

To name a handful of S’s: Scott Walker, Sparklehorse, Swans, Sigur Ros, and Sleepytime Gorilla Museum. Saw SGM at a dive bar years ago with only a handful of others, and the sound and the show were both mind-blowing and mind-altering. Short-circuit the synapses to reveal something new. The body reacts in ways that have yet to be accounted for. Creation influences creation, from art to film to books to breathing Homo sapiens (and a myriad of other organisms) creating themselves from dirt and stepping into this world to confront with their personalities all the personalities of the earth (to paraphrase Whitman).

What’s the most exciting thing happening in music right now?

Freedom.

Where do you see the music world heading in the next five years?

Below the surface, at least, music will always be flowering into unpredictable forms, influenced by anything and everything transpiring both within and without the biological matter that makes it. As with literature, we’re in an era of hybrids, which may indicate some sort of morphological explosion on the horizon. Have you seen those creatures spawned by deep sea vents?

Black Iris – “All Of My Love”

Sounds like: A song that should already be getting Top 40 attention here in the States, thanks to the purity in its balladry and lyrics that cut straight to the heart of the singer’s feelings. The 2000s soul-pop vibes are strong and most welcome from these Jordan-born, Irish-raised lads.

Describe your approach to music and how you would explain your sound to others.

Lyrically most of our songs are autobiographical, but all our songs have a musical essence to them. Our signature sound is a fluid blend of pop, rock, and dance, but we draw inspiration from a diverse range of genres, including classical, electronic, and even the captivating rhythms of video game soundtracks. We work with different talented lead singers and musicians from around the world to record our songs. We want the listener to be able to listen to our songs both actively and passively. We like our songs to grow on the listener and become a part of his/her life.

How did you come up with the name of your act?

My mother picked the name for the act to kick off with our debut single “Heart Abuser” back in November 2022. We were born in Jordan and immigrated to Ireland a long time ago. We went through some very difficult circumstances, and in Jordan there is a very rare flower that grows up against all odds in a harsh environment and it is called Black Iris.

What are some artists and albums that have informed your creative direction? 

We never felt that we wanted to sound like any artist in particular, but great artists and composers have ignited a fire in us that we should write. For example, when we were young listening to albums like Highway 61 Revisited by Bob Dylan made us feel that we must write. Listening to Ziad Rahbani’s music pushed us to experiment with arranging, layering and trying to develop our musical motifs. We are also very fond of Yoko Shimomura’s work and especially her work in the Kingdom Hearts series, which pushed us to expand our emotional range in musical expression.

What’s the most exciting thing happening in music right now?

The most exciting thing happening in music right now is the ability for independent artists to release their music without having to go through a record label. Although this brings a lot of challenges as well since income from streaming is too low to cover the costs of recording and advertising.  These financial realities push independent artists to release singles instead of albums. For example, we have a lot of songs that we already wrote and cannot record from streaming income yet.

Where do you see the music world heading in the next five years?

There are new waves of independent and underground artists that are developing their sound and will probably mature musically, and some acts will culminate in something like what happened in the late eighties and early nineties with the Pixies and Nirvana. An online-post label-cross genre-breaking through to the mainstream world of music.

Kim Logan and the Shilouettes – “Evil”

Sounds like: A former opera singer belts out the blues with an electrifying bluster and a band who definitely knows their Led Zeppelin and Kyuss riffs.

Describe your approach to music and how you would explain your sound to others.

This is my favorite loaded question, because I’ve been on a real journey about it during the making of my most recent work.  I’ve been singing professionally since the age of 9 when I joined the Sarasota Opera Company in my Florida hometown… I sang opera for 17 years, and I think my big voice and all my training dominated my view of myself as an artist for so long, that with this new album (my third), I wanted to stop relying on the high notes and the technique and just be myself… whatever that turned out to be.  Now my biggest goal is to sound like “me,” and to have that be something recognizable, that doesn’t really sound like anything else.  Sure there are elements of alternative rock, blues, classic country, pop music, all up in what I do… but I feel this impulse now to be innovating a sound rather than copying one. 

How did you come up with the name of your act?

I was just Kim Logan for the four or so years I spent in Nashville at the beginning of my career.  When I moved overseas, I felt like I was truly building a band of like minds for the first time, instead of just hiring session players to come on tour with me.  My band and I sat down one afternoon at a rehearsal, and I told them I was searching for a name that was genderless, and could be easily pronounced by both English-speakers and Europeans.  We threw around ideas until my drummer suggested The Silhouettes, and it just fit perfectly.

What are some artists and albums that have informed your creative direction?

I was lucky to have a musical father who introduced me early on to stuff like Led Zeppelin, Bonnie Raitt, old Delta Blues.  My mom was the publicist for a festival through the 90s and 00s that gave me quality time with the Marshall Tucker Band, Charlie Daniels, Molly Hatchet… these guys showed me the catalogs of the greats, and pushed me out on huge stages to give me singing experience that was outside of my opera world.  Then I found Jack White and Amy Winehouse on my own as a teenager, and they’re who really set me on my path.  I’ve spent all the years since on kind of a quest to surround myself with the same musicians and experiences that surrounded them… they both gave me a huge sense of representation, and I saw in them the kind of artist I wanted to be.  More recently in 2022, super late to the train, my producer Rex Roulette who plays guitar for Eagles of Death Metal turned me on to the music of Mark Lanegan, who had just passed away earlier that year.  I knew Mark had been part of the Queens of the Stone Age scene, but hearing his solo albums for the first time changed my life as a musician and as a writer, and that’s really not an exaggeration. Blues Funeral is maybe a perfect album. I’ve probably never felt more seen, never related to an artist more.  I can’t believe I just missed him. 

What’s the most exciting thing happening in music right now?

The 90s/Y2K resurgence is really cool.  Grunge and post-punk and trip-hop and industrial rock all influenced me hugely, and I sort of had to repress those influences to fit in when I was in Nashville.  That era is a great blend of analog and digital, of legendary songwriting mixed with sound experimentation. That’s totally back in All Them Witches, Wolf Alice, Viagra Boys, Fontaines DC… bands with a unique sound that you can really be a FAN of, that can inspire. 

Where do you see the music world heading in the next five years?

I’m also a consulting astrologer, and I work a lot with politicians and legislators. I’m thinking constantly about the 20-year era we entered into this year, relevant to the Pluto cycle, and how this is historically, empirically, a time of revolution and rebellion. I really hope the working class of the music business gets the courage to take down the ghoulish billionaires who have fundamentally devalued recorded music in the last two decades, simultaneously making an economic mess of the touring industry as well. Contemporary musicians of all idioms, from the stage to the studio to the writing rooms, have absolutely no protections from any unions in America, have some of the lowest wages in ANY industry, and we are fighting antiquated copyright laws that favor the executives and not the creators.  But I truly believe that if young artists are as brave and wise and self-possessed as I think we are, this can all systemically change. 

Reva K – “Drive”

Sounds like: A jangly daydream where Sheryl Crow and Juliana Hatfield once shared space on the same album chart. So, the sound of Summer 1995 updated for 2025. 

Describe your approach to music and how you would explain your sound to others.

My approach to music is holistic. As a musician and graphic designer, I have the ability to write, arrange, record, produce, and create artwork for my releases. From the moment I finish a demo, I envision both the sonic and visual possibilities of a song. I gravitate toward minimalism in my work, fascinated by how a few carefully chosen notes can convey intense emotion. While my songs aren’t stripped down, they avoid excess — both musically and lyrically. My songwriting carries a playful edge: I create music to take the sting out of the pain, not to dwell in it. The result is a fun pop/rock sound influenced by the ’80s and ’90s, with hints of Americana. 

How did you come up with the name of your act?

As a songwriter who often draws inspiration from personal experiences, using my real name felt natural. However, my last name doesn’t exactly roll off the tongue, so I shortened it to its initial, becoming “Reva K.” Still, my identity as an artist didn’t feel fully realized until I defined the foundation of my brand, “The Revalution.”

Growing up, I was never the typical girl. I was shy, obsessed with rock music, superheroes, sports, and video games. Instead of feeling like the outlier, I would have loved to find a cool crew that embraced stepping out of the box. “The Revalution” was born to fill that void. Knowing that people resonate with it — that I have fans who call themselves “Revalutionaries” — means a lot to me.

What are some artists and albums that have informed your creative direction?

I remember constantly playing songs from All Time Low’s Nothing Personal on my guitar throughout high school. The album is packed with melodic hooks, and it instilled what might be my number one rule in songwriting: make it catchy. 

By the time I went to college, electronic music had taken center stage in the pop world, but I never connected much with its melodies or lyrics. Instead, I found the songwriting lessons I needed in 2000s country pop. One album I really combed through was Kacey Musgraves’ Same Trailer Different Park. Every song is an example of tight, clever songwriting. I used to sit in my dorm’s practice room every night with my guitar, pushing myself to write at that level.

What’s the most exciting thing happening in music right now?

I love that opportunities for independent labels and artists to thrive keep multiplying. Personally, I’ve been blown away by the support I’ve received from some of my favorite gear companies: Kyser, Rattlesnake Cable Co., JHS Pedals, and Reunion Blues. The cherry on top came earlier this year when Fender reached out about an online feature. The video ended up getting 1.1 million views and poured gasoline on the fire I’ve been building for years. 

Many promotional avenues that were once exclusive to major labels are now a click away. As a teenager, I used to fantasize about hearing my songs on the radio. Today, my music has been aired on FM radio in multiple countries, including the U.S., England, France and Australia. The potential to reach a massive audience is incredible, and I feel lucky to be an artist in this era.

Where do you see the music world heading in the next five years?

In the next five years, I’d like to see tighter regulations on AI use in the creative field. AI should not be creating full songs, imitating voices, designing artwork, writing books, etc. That’s death to the creative soul.

If anything, I hope people will look to music for something real and raw; current trends — such as intimate live shows and physical merch sales — will continue to grow. Though it may be wishful thinking, I’d love for an alternative streaming model to gain traction, one that better compensates artists.

While there are certainly some industry giants and AI abusers posing challenges in today’s music world, I’m confident in artists’ ability to adapt. With a plethora of marketing and creative tools at their disposal, as well as the ability to nurture direct relationships with fans, I believe artists will find ways to take even more control of their careers.

Ode Skewl – “GLORY”

Sounds like: Passionate, thoughtful hip-hop from the Motor City that eschews the trappings of the modern age in favor of an approach more attuned to conveying a more concise message, set to a beat peppered with searing Eddie Hazel-esque psych guitar.

Describe your approach to music and how you would explain your sound to others.

My approach to music is aggressive, passionate and unapologetic. I have a point to prove, and I’m here to share my message loud and clear. I stay rooted in the foundation of Hip-Hop as it is not just a genre, it’s a culture, a movement, a way of life for some. 

I use music to address social dilemmas and internal conflict, not to say who’s right or wrong, but to spark thought and conversation about what is real. At the same time, I make sure to stay true to myself and my individuality. My sound is often compared to many legends in Hip-Hop; some being Nas, DMX, 2Pac, etc… It is definitely experimental, always pushing boundaries, and that’s not something I’m going to change anytime soon. However, I will probably always reflect the golden era of Hip-Hop. 

How did you come up with the name of your act?

The name of my act is deeply tied to my personal roots in music. I used to be in my school’s orchestra, and one of the first pieces that I learned to play was Beethoven’s Ode to Joy. That classical influence has always been with me, even as I transitioned into the world of Hip-Hop. One of my favorite phrases is, “words have meaning” and ode is indeed a word: A lyric poem in the form of an address to a particular subject, often elevated in style or manner and written in varied or irregular meter. 

People often describe my flow as old school, specifically an old New York flow, and that’s something I embrace wholeheartedly because it connects me to the rich legacy of Hip-Hop. I also started out as a poet, so my approach to music has always involved wordplay and double meanings. That’s why my name itself is an entendre, something that speaks to both my classical beginnings and my journey through Hip-Hop. It’s a nod to where I come from, as well as an invitation to listen deeper.

What are some artists and albums that have informed your creative direction?

I’ve been influenced by a range of artists, each shaping different aspects of my sound and approach to music. Kanye West is a major influence on my flow and diction. My college roommate, Lil Leb, who is an artist as well, put me on to Kanye’s early works and you can hear that influence in a lot of my pieces today. The way that Ye uses words and his willingness to experiment with sound resonates with me deeply.

2Pac is another huge influence, not just because of his music, but because of his entire approach to the industry. Pac knew how to get his message across, and his tone and presence are something I try to channel in my own work. His authenticity and ability to speak to the times while also being deeply introspective is something I admire and work to capture in my music.

Eminem’s influence is undeniable, especially being from Detroit. His rhyme schemes are a big part of my style — rhyming syllables, not just the end of lines, is something I learned from him. I often take that level of intricacy into my writing, sometimes as far as rhyming a breath or a pause between lines.

50 Cent ranks high on my list as well, also not just for his music, but for what he accomplished beyond the music industry. He turned his experiences into a broader empire, which I respect and aspire to emulate. The way he took his story and created his own lane is something I look up to.

J. Cole is another artist I’m often most compared to, and I get it, his reflective style is something I draw from. But for me, Cole’s ability to make music that feels like a mirror is something that stands out. He doesn’t just reflect on himself; he holds up a mirror to the listener, making it feel universal while still deeply personal. That’s something I try to do in my own way.

And of course, my cousin, Low Doskie, my favorite artist, has had the biggest influence on me today. He’s the one who showed me that it’s possible to be versatile in this game. He pushed me to get out there, to stop hesitating, and to really go after what I wanted. Without him, I don’t think I’d have taken the leap to share my music in the way I do now.

What’s the most exciting thing happening in music right now?

Honestly, nothing in music right now excites me, especially within the Hip-Hop scene. It feels like too many people are focused on the superficial, flexing their lifestyle and chasing a bag. While I understand the appeal of success and material wealth, it’s not what drives me as an artist. What’s happening in the mainstream feels disconnected from the deeper, more meaningful aspects of Hip-Hop. Where it used to be about storytelling, truth, and speaking to real struggles. Right now, it’s more about selling an image than selling a message. It’s a bit sad to me because Hip-Hop has always been a voice for the voiceless, but right now, it feels like it’s lost that authenticity.

Where do you see the music world heading in the next five years?

I see music heading toward more global collaboration, where genres blend together and experimental sounds take over. Artists from all corners of the world will continue to merge different musical styles, creating fresh, unique sounds that cross cultural and genre boundaries. Hip-Hop will undoubtedly remain at the forefront of this evolution. It’s the most influential form of music right now and continues to shape the landscape of music and culture worldwide. Even as genres mix and evolve, Hip-Hop’s influence will remain strong, driving trends and shaping conversations.

Lachi feat. Medusa – “Out of the Dark (acoustic)”

Sounds like: Unapologetic piano soul by a disability warrior with a fire verse by one of the LGBTQ+ community’s fiercest young voices in hip-hop.

Describe your approach to music and how you would explain your sound to others.

According to Mom, I’ve been playing the keys since the womb. I grew up a shy outcasted kid, being a quirky daughter of immigrants, and so I turned to music to express myself. Up to today my lyrics, my melodies and the stories I tell through song are all reflections of my innermost expression. Genre-wise I don’t fit neatly into a box. While elements of electronic dance instrumentation, jazz vocals, folk story-telling and the lyrical wit of hip hop are all things I love and sprinkle into my music, I believe that what truly connects it all—no matter the genre—is a message of radical self-love, empowerment, and badassery that does what it can not to take itself too seriously. It’s essentially, “I’m awesome as I am. You’re also awesome as you are. Let’s get trashed in public together. Haters can kick rocks “til their toes hurt.”

What’s the meaning behind your artist name Lachi?

Lachi (like Versace) Music is my actual legal name. And yes, having the last name Music has gotten me out of a lot of jams. Lachi is short for Ulachi. In my parents native language Igbo, Ula Chi means “ring of God”. Because I was born legally blind, my mother figured I would always be at her side, a golden ring on her finger. Ironically I ended up the most independent of my six other siblings—running off to New York City to pursue music, touring the globe, sky-diving, camel-riding, flexing my flaws and encouraging others to do the same. Lachi Music is my chosen name because Music has been what has brought about my confidence, cultivated my independence, and has been a conduit for my message. So I like to think I’ve wrapped myself around music.

What are some artists and albums that have informed your creative direction?

Growing up I was less inspired by musical style and more by the impact a certain artist or album had on my life. Mom loved classics like The Beatles and country artists like Dolly Parton, so that fused deeply into positive childhood memories. As a blind kid learning piano by ear, people passed me Beethoven, Chopin, Mozar, the like, and I heard their whispers of “she might be some kind of savant” which also influenced the way I saw myself. I didn’t have any blind female role-models, so I settled for the few Black female heavyweights and visionaries that came up in the 90s and 2000s like Alicia Keys, Lauryn Hill and Missy Elliot.

New York City has also shaped me, my artistry and my growth as a person in a major way. New York is exactly everything all at once. It’s welcoming yet unforgiving, accepting but exclusive, beautiful yet gritty, hard but worth it, sometimes cold but always home. I identify with that duality. The city offered me independence and an opportunity to grow that a blind kid just can’t get anywhere else. 

Once I sing over any track, you aren’t just getting Lachi, you’re getting my entire lived experience.

Where do you see the music world heading in the next five years?

I see authenticity playing a major role not only in music artistry but in the way music makers and moguls interact with each other and their audiences. Right now there are serious discussions being had around the rise of generative AI and its implications. However, as a global society we are constantly reinventing who we are and how we wish to see ourselves and be seen. That is culture. Culture is a function of our evolving humanity, and music will also be the guiding star defining, communicating and celebrating our culture. 

So with that being said, I believe the industry will be more inclusive. I believe live music will be more safe and accessible. And I am excited for my and our movement at RAMPD’s role in that. I believe artists will lean heavily into vulnerability and authenticity, recognizing their fans are here for them as a full human not just as a creator. We are already starting to see this, and I am excited to be a part of this cultural shift in artistic awakening.

Sounds like: The intersection of artificial intelligence and human emotion converging in a, yes, luminous groove that makes the listener long for the heyday of Ninja Tune and Mo’ Wax.

Describe your approach to music and how you would explain your sound to others.

I am fascinated with creating new musical instruments and synthesisers to produce new sounds to compose with. I have recently been working with quantum computers to develop new systems for composition and performance.

I would like to describe my sounds as unheard-of and surprising.

How did you come up with the name of your act?

The name “Qubism” is inspired by Cubism, an art style that emerged in the early 20th century. I replaced the first letter “C” with a “Q” to allude to quantum. How cubists like Pablo Picasso and Georges Braque represented reality in their paintings is very inspiring to me. Their paintings remind me of the weirdness of quantum mechanics,  where different interpretations of reality may appear simultaneously, resulting in fragmented and abstract representations of the world.

What are some artists and albums that have informed your creative direction?

I come from a classical music background. Before working with electronic music, I have written works for traditional ensembles and orchestras. In that vein, composers such as Igor Stravinsky, Edgar Varese, Iannis Xenakis and John Cage were very influential in my musical formation. But it was the electronic music band Kraftwerk that got me into electronic music.

What’s the most exciting thing happening in music right now?

I am excited by Artificial Intelligence (AI) technology and its impact on music making. I am not talking here about Apps that make musical pastiches automatically. I find this AI-generated music boring. Rather I am referring to AI tools for aiding composers to create new music. At least for me, these tools enable me to explore musical possibilities that I would not be able to explore otherwise.

Where do you see the music world heading in the next five years?

We are on the verge of a technological revolution driven by AI and quantum computing. And this will impact the music industry in one way or another. Think of this: AI is software, and software needs hardware to run. Today’s AI runs on computing technology invented in the 1940s and has not changed fundamentally. They still are digital machines. However, emerging new quantum computing technology is different. Quantum computers process information in alternative ways and this will most probably lead to new kinds of AI. We will see music technologies enabling us to create music and arts differently. I don’t know what these will be like.

Sounds like: A band whose adherence to the gospel of Lenny Kaye’s Nuggets compilation has equipped them with a sonic time machine that transports the listener back to the era of incense and peppermints in the most authentic way possible. 

Describe your approach to music and how you would explain your sound to others.

My approach to music is an exploration of flow and connection. Sometimes it’s just me, alone with my thoughts, turning a spark of inspiration into a fully realized song. Other times, it’s a collaboration with Brendan Steakelum and Mike DeLong — two people who constantly challenge me to think bigger and dig deeper.

When I write alone, ideas hit me in the most unexpected ways — on a walk, mid-drive, or even mid-conversation. Once a melody or structure locks into place in my mind, I can’t ignore it. I write the lyrics in one sitting and head to my studio to bring it to life. Bass comes first, then drums, guitars, keys, and finally vocals — each layer built by ear, piece by piece, until it clicks. It’s as much about discovering the music as it is about creating it.

When I collaborate, Brendan’s deep understanding of music theory pushes me to explore new territory, while Mike has this uncanny ability to add layers that transform the sound, giving it depth and texture. Together, we create something timeless yet fresh — a modern take on the music that shaped us.

If I had to describe our sound, I’d say it feels like revisiting the music I grew up with, but with a new lens. It’s classic, but it’s now.

How did you come up with the name of your act?

The Thornbirds was a name that found me before I even knew I’d need it. It came from a book I had lying around my house — a random artifact that stuck with me. At first, it was just a name for some solo demos I recorded.

But when we were making our debut album, The End Is Not The End, the music demanded more. We became a band — a collective of voices and ideas. Ellen Houle brought drums to life, my wife Danielle added her backing vocals, and suddenly, it all made sense: Bradley Stewart & The Thornbirds. The name felt timeless, like Tom Petty & The Heartbreakers or Paul McCartney & Wings. It wasn’t just a name — it was an identity.

What are some artists and albums that have informed your creative direction?

Great music isn’t just something you hear; it’s something you feel. And for me, that feeling has always been tied to albums that redefine what’s possible.

The Beatles’ Revolver and The White Album, The Byrds’ Notorious Byrd Brothers, The Zombies’ Odyssey and Oracle, and The Moody Blues’ Days Of Future Passed — these albums taught me about atmosphere and storytelling. Then there’s Serge Gainsbourg, Os Mutantes and The Brian Jonestown Massacre — artists who showed me how to push boundaries and embrace the unconventional.

And then there’s the Nuggets box set — a raw, chaotic collection of fuzzed-out garage rock that taught me the beauty of imperfection. It made me fall in love with the fuzz guitar, and that sound still finds its way into my work.

These artists and records are like puzzle pieces, shaping my approach to songwriting and production. They remind me that music can be raw, innovative, and enduring — all at once.

What’s the most exciting thing happening in music right now?

Vinyl is making a comeback, and it’s more than just nostalgia. There’s something magical about holding a record in your hands, reading the liner notes, and hearing the crackle of the needle. It’s immersive. It’s intentional.

Streaming has its place — it’s convenient, sure. But a vinyl record and a good pair of headphones remind us that music is meant to be an experience, not just background noise. It’s about presence, connection, and rediscovering the joy of listening.

Where do you see the music world heading in the next five years?

The music world is at a tipping point. The legends who built the foundation are stepping back, and a new wave of artists is stepping in. But it’s not just about talent — it’s about creating an environment where music can thrive.

AI will play a role — no doubt about it. But as we explore the possibilities, we can’t lose sight of what makes music powerful: its humanity. It’s the connection, the emotion, the way it holds a mirror to our lives. We need to value that more. Songwriters and musicians deserve better than $0.004 a stream.

In the next five years, I see the way we create and experience music evolving. New tools, better audio quality, revolutionary ways to listen — it’s all coming. But at the core, it’s still about the artists. The bold ideas, the albums that change everything, the songs that stay with us.

That’s the magic of music. It never stops evolving. And every time you press play, there’s a chance to discover something that changes you.

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