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This week’s Indiecast opens with a tribute to two fallen icons, Brian Wilson and Sly Stone, who both passed away at the age of 82 within a few days of one another. The guys discuss their respective legacies and the influence they have on modern music. They also discuss a recent article on dad rock and how the term now is used to describe any form of rock music. Then they check in on the Fantasy Albums Draft, which Ian is suddenly dominating. In the mailbag, they answer several emails — topics include the utility of Metacritic, a yay-or-nay verdict on Title Fight, and “tennis-core” bands.

In Recommendation Corner, Ian talks about the SoCal emo band First Day Back and Steven recommends the Chicago indie group Beauty Saloon.

New episodes of Indiecast drop every Friday. Listen to Episode 243 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

This week’s Indiecast opens with a tribute to two fallen icons, Brian Wilson and Sly Stone, who both passed away at the age of 82 within a few days of one another. The guys discuss their respective legacies and the influence they have on modern music. They also discuss a recent article on dad rock and how the term now is used to describe any form of rock music. Then they check in on the Fantasy Albums Draft, which Ian is suddenly dominating. In the mailbag, they answer several emails — topics include the utility of Metacritic, a yay-or-nay verdict on Title Fight, and “tennis-core” bands.

In Recommendation Corner, Ian talks about the SoCal emo band First Day Back and Steven recommends the Chicago indie group Beauty Saloon.

New episodes of Indiecast drop every Friday. Listen to Episode 243 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

This week’s Indiecast opens with a tribute to two fallen icons, Brian Wilson and Sly Stone, who both passed away at the age of 82 within a few days of one another. The guys discuss their respective legacies and the influence they have on modern music. They also discuss a recent article on dad rock and how the term now is used to describe any form of rock music. Then they check in on the Fantasy Albums Draft, which Ian is suddenly dominating. In the mailbag, they answer several emails — topics include the utility of Metacritic, a yay-or-nay verdict on Title Fight, and “tennis-core” bands.

In Recommendation Corner, Ian talks about the SoCal emo band First Day Back and Steven recommends the Chicago indie group Beauty Saloon.

New episodes of Indiecast drop every Friday. Listen to Episode 243 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

Earlier this week, Raye said she is no longer letting those Amy Winehouse comparisons intimidate her, just in time for her to drop a song with frequent Winehouse collaborator Mark Ronson. Just as Winehouse teamed up with Ronson in 2007 for a cover of the Zutons’ “Valerie” (utterly hijacking the song from them for all time in the process), Raye and Mark’s collab is a brassy soul song named after a woman. This time around, it’s “Suzanne.”

In the song, Raye describes the titular muse, who might just be a metaphor for the English countryside: “Eyes are like the ocean, her nails are painted green / A cigarette in her mouth, and she mouths, ‘Hey, dear, how you been?’ / Grey skies out the window, but she’s a summer breeze / Come and set the tone, I dare, come and sit down next to me, Suzanne.”

The duo was paired up, funnily enough, by Audemars Piguet, leading to an intriguing coincidence. The brand tapped Raye as an ambassador after her massive 2024 BRIT Award wins; Ronson was already partnered with the brand. After they completed “Suzanne,” they later learned that a descendant of both of the brand’s founding families was named Suzanne Audemars. The track was debuted in a showcase at London’s 180 Studios, celebrating AP’s 150th anniversary.

After dropping off the radar a bit to recalibrate, Drake lends an assist to his OVO artist Smiley. They return with a new collaboration, “2 Mazza,” paying homage to their hometown slang. The two Toronto rappers shrug off the concept of chasing mass appeal, instead making an insider cut that is just for those in the know.

It’s an interesting and potentially smart strategy for Drake, who spent the last year being roundly abused by an iconoclastic and deeply insular foe. So withdrawing to his own familiar bubble and reconnecting with his roots, perhaps he’s hoping to marshal his hometown base, and use that groundswell as a foundation for his bid to return to mainstream glory.

In many ways, this constitutes a hard reset on his career; his initial successes were with local artists like Kardinal Offishall, which helped him connect with audiences in Canada long before he linked up with Lil Wayne and became the center of the hip-hop universe for a bit.

It also makes sense for him to do so with Smiley, one of his own OVO artists; after spending a decade collaborating with artists from the American South to build his popularity stateside, perhaps that’s why it seemed like he lost touch. Solidifying his home fort might just keep him grounded enough to get back into the public’s good graces.

Gunna is rapidly proving to be one of Atlanta’s most productive artists, starting a new album rollout less than a year after his last. His new single, “Won’t Stop,” is technically his first of the year, not counting his and Turbo’s joint single “Classy Girl” in March. And although his relationships in music have changed in the past few years, as he says on his newest song, he has no plans of knocking off anytime soon.

Gunna, who has become ever more elusive since his release from Fulton County Jail in 2022, teased a possible release date for his next full-length album, although he left the exact day tantalizingly blank. All we know is that it’ll release sometime in June, just a little over a year since his last one, One Of Wun. Some fans are convinced it’ll drop on June 20, the night of his headlining performance at HOT 97’s Summer Jam this year. He’ll be performing alongside GloRilla, A Boogie Wit Da Hoodie, Muni Long, Asake, Ayra Starr, Kash Doll, Bobby Konders & Jabba Feat. Masicka, Jim Jones & Friends, Cash Cobain, 41 (Kyle Rich, Jenn Carter, Tata), and more.

He also explained his prolific nature in a recent interview about his ongoing collaboration with his longtime producer Turbo, saying, “We’re the ones that are going to stay at the studio the longest and work on the song until it’s all the way complete and sounds the best.” With that level of work ethic, Gunna’s pace doesn’t look to be slowing down just yet.

You can listen to Gunna’s “Won’t Stop” above.

J-Hope is building up quite the list of collaborators. Since his discharge from mandatory military service, he’s released “LV Bag” with Don Toliver and Pharrell, “Sweet Dreams” with Miguel, and now, the crossover between K-pop and hip-hop continues with two of those genres’ hottest rising stars. J-Hope taps Memphis rapper GloRilla for his latest single, the kinetic “Killin’ It Girl.” The song comes with a dizzying music video that was show in an unusual zoom and frame rate, creating some stunning, unique (and possibly motion sickness-inducing) visuals with Hope’s usual flashy dancing.

In addition to his collaborations, the BTS member also dropped the “Mona Lisa” video, in which he traipses through an art museum. He certainly seems to have developed a flair for eye-popping visual concepts, which perhaps grew from his broadened experiences as a result of military service. “I’ve learned a different life,” he said of the experience. “And in many ways, I got to meet people from all walks of life and I received a lot of good energy. And I heard a lot of good things. But also, you know, a year and a half is actually not a very short time. That bit made me feel a lot of things. In the end, I think the most important thing was I realized how important the work I’ve been doing for all these years is incredibly meaningful to me.”

You can watch the video for J-Hope’s “Killin’ It Girl” featuring GloRilla above.

Roddy Ricch has entered the race. As the F1 film inches closer to its theater green light, another gem from its soundtrack has surfaced. Roddy Ricch taps into the primal theme of the film with “Underdog,” produced by D.A. Got That Dope. The former Uproxx cover star applies a propulsive flow to the murky, menacing beat, akin to his approaches “Start With Me” with Gunna or “Tip Toe” with A Boogie.

The single adds yet another dimension to the expansive, diverse sounds present across the soundtrack — which appears to be rolling out in full, one track at a time. Doja Cat and Don Toliver kicked off the rollout with “Lose My Mind,” a more club-friendly hip-hop track. Likewise, “Baja California” by Myke Towers adds similar flair in Spanish, as does Sexyy Red’s EDM experiment Tiësto, “OMG.”

But rather than sticking to that one mode, the soundtrack veers across lanes (heh), incorporating K-pop with Rosé’s “Messy,” country music, with Chris Stapleton’s “Bad As I Use To Be,” and dance-pop with tracks like Tate McRae’s “Keep Watching” and Dom Dolla’s “No Room For A Saint.”

F1 The Album is out 6/27 via Atlantic Records. You can find more info here.

F1, the movie, is out in theaters 6/27.

Roddy Ricch has entered the race. As the F1 film inches closer to its theater green light, another gem from its soundtrack has surfaced. Roddy Ricch taps into the primal theme of the film with “Underdog,” produced by D.A. Got That Dope. The former Uproxx cover star applies a propulsive flow to the murky, menacing beat, akin to his approaches “Start With Me” with Gunna or “Tip Toe” with A Boogie.

The single adds yet another dimension to the expansive, diverse sounds present across the soundtrack — which appears to be rolling out in full, one track at a time. Doja Cat and Don Toliver kicked off the rollout with “Lose My Mind,” a more club-friendly hip-hop track. Likewise, “Baja California” by Myke Towers adds similar flair in Spanish, as does Sexyy Red’s EDM experiment Tiësto, “OMG.”

But rather than sticking to that one mode, the soundtrack veers across lanes (heh), incorporating K-pop with Rosé’s “Messy,” country music, with Chris Stapleton’s “Bad As I Use To Be,” and dance-pop with tracks like Tate McRae’s “Keep Watching” and Dom Dolla’s “No Room For A Saint.”

F1 The Album is out 6/27 via Atlantic Records. You can find more info here.

F1, the movie, is out in theaters 6/27.

Roddy Ricch has entered the race. As the F1 film inches closer to its theater green light, another gem from its soundtrack has surfaced. Roddy Ricch taps into the primal theme of the film with “Underdog,” produced by D.A. Got That Dope. The former Uproxx cover star applies a propulsive flow to the murky, menacing beat, akin to his approaches “Start With Me” with Gunna or “Tip Toe” with A Boogie.

The single adds yet another dimension to the expansive, diverse sounds present across the soundtrack — which appears to be rolling out in full, one track at a time. Doja Cat and Don Toliver kicked off the rollout with “Lose My Mind,” a more club-friendly hip-hop track. Likewise, “Baja California” by Myke Towers adds similar flair in Spanish, as does Sexyy Red’s EDM experiment Tiësto, “OMG.”

But rather than sticking to that one mode, the soundtrack veers across lanes (heh), incorporating K-pop with Rosé’s “Messy,” country music, with Chris Stapleton’s “Bad As I Use To Be,” and dance-pop with tracks like Tate McRae’s “Keep Watching” and Dom Dolla’s “No Room For A Saint.”

F1 The Album is out 6/27 via Atlantic Records. You can find more info here.

F1, the movie, is out in theaters 6/27.