The 1975 Share The Sprawling, Adventurous Tracklist For Notes On A Conditional Form

Before I give you the good news, I must bear the bad. Call it Notes on a Delayed Album, if you will. The 1975‘s Notes on a Conditional Form will now be out on May 22.

But on the flip side, here’s the cool thing: Notes on a Conditional Form‘s huge tracklist is out. It’s a whopping 22 tracks with a total 80 minutes of runtime. That’s an entire movie’s worth of feel good, socially aware pop fun.

It’s packed with fresh tracks with colorful names, but one that fans will notice instantly is “Jesus Christ 2005 God Bless America,” a tune that has been teased since 2017. What’s even more awesome is that particular song will be out on Friday (April 3).

There’s also “The End (Music For Cars),” which seemingly references their 2013 EP of the same name along with the scrapped album that was announced in 2017.

“Tonight (I Wish I Was Your Boy)” and “If You’re Too Shy (Let Me Know)” suggest that love weighs heavy on the group’s array of heads, so it’ll be interesting to see how these tunes, and more flesh out. While we’re on social isolation to slow the coronavirus pandemic down, it’s great to know that the 1975 are providing a soundtrack long enough to hold us over.

Notes on a Conditional Form has had a wild era so far. It all started with their 2017 reveal that their third studio album would be Music for Cars. The following May, frontman Matty Healy told fans around the time that the project would no longer be an album, but instead an “era.”

It eventually became Notes on a Conditional Form, and the band released its lead single, “People,” in August of 2019.

In addition to “People,” the 1975 have released “Frail State of Mind,” “The Birthday Party,” “Me & You Together Song,” and a self-titled track that features climate activist Greta Thunberg from Notes on a Conditional Form.

Another interesting piece of the 1975’s content to come out today is the back cover for their forthcoming LP. It’s a grainy, black-and-white picture that’s worlds different from the futuristic, typography-obsessed aesthetic of its front cover that you see when preordering it on streaming services.

Check out the 1975’s album art up above.

Sam Smith Delays Third Studio Album, Says Timing ‘Doesn’t Feel Right’

Sorry, Sam Smith fans, but it looks like you’re going to have to wait a little bit longer for the singer’s highly anticipated third studio album, which was previously scheduled for release on May 1, 2020. Smith took to Instagram this morning (March 30) to share the news, explaining that the title and release date no longer “feel right” given the devastating impact of the coronavirus pandemic around the world.

Smith began their note by wishing their followers well as we navigate this very confusing and uncertain time. “Firstly I want to send love and strength to everyone who has been affected by this situation,” they wrote. “I hope you are all alright during this incredibly weird, upsetting and unprecedented time.”

But like so many of us, Smith has had a lot of time to think recently — especially about his upcoming LP. “I have done a lot of thinking the last few weeks and feel that the time of my album and imminent release doesn’t feel right,” they continued. “I have come to the decision to continue working on the album and make some important changes and additions.”

While it remains unclear exactly what changes, if any, will be made to the actual music, Smith revealed that the title and release date are both being adjusted. “I will be renaming my album and pushing back the release date — both of which are to be confirmed at this time,” they added. “Don’t worry though, there will be an album this year, I promise!” The album was originally titled To Die For.

Smith also reassured fans that the delay on the full album doesn’t mean they won’t be getting new music before it officially drops. “Until then I am still going to bring out some new music over the next few months, which I’m incredibly excited about,” they wrote before signing off. “Thank you for always being by my side and for your understanding and patience. I always want to do right by you. Always.”

So far, Smith hasn’t revealed the new album title or its release date. But in such uncertain times, it’s nice to know that the album will be out sometime this year — even if it’s a little later than expected.

Machine Gun Kelly And Yungblud Hopped In The Studio After Juice WRLD Died

Machine Gun Kelly and Yungblud are a match made in fiery tornado heaven, with their hit 2019 collaboration with Travis Barker, “I Think I’m Okay,” immediately declaring them a duo to watch.

For Kelly’s forthcoming fifth studio album, Tickets to My Downfall, there’s going to be a new collaboration between the two. In a new interview with MTV News — where MGK also talks about filming coming-of-age comedy Big Time Adolescence with Pete Davidson — Kelly explained how the collaboration came about, stemming from the “weirdest night.”

As Kelly puts it, their new joint song, called “Body Bag,” is “so sick,” even after they felt like they hit it out of the park on “I Think I’m Okay.” Another collab between the duo might make the album, too, one that was put together organically after the death of Juice WRLD in December. “Me and Yungblud got together to drink some beer after Juice had passed because we were just like, ‘Times are short. Let’s link up,'” he said.

“And the weirdest night happened and we went to the studio the next day and wrote a song about that,” he continued. “And that felt like a smash, too.”

Details on when Tickets to my Downfall is going to drop are pretty spare. Young Thug, Blackbear, and Trippie Redd have been revealed to be featured on the LP and, so far, two singles have been shared: “Why Are You Here” and “Bullets With Names,” which features Young Thug, Lil Duke, and RJMrLA.

Speaking on what to expect with the album, Kelly made it clear that he wants everyone to see the extent of his creativity. “More than anything, I just want people to listen to this album and hear me push the norm and really be inspired to break out of their box and potentially tap into something that’s great,” he said. “I’m the most proud of an album that I’ve ever been.”

Check out our full discussion with Kelly up above.

The Weeknd Drops Three New Songs After-Hours For After Hours

As huge as After Hours has been so far, The Weeknd has dropped three new love-obsessed tracks that appear on the LP’s updated deluxe edition. The timing couldn’t be any more perfect following Billboard revealing that After Hours had the biggest sales week of the year so far. More on that later. For now, tune into “Nothing Compares,” “Missed You,” and “Final Lullaby” — three songs for the romantic in all of us. We didn’t say good romantic though. Remember that.

  • “Nothing Compares”

    With a massive dragon of a synth stretching out over the instrumental, “Nothing Compares” might be the strangest love song that you’ll ever hear. It rolls and burns with a guitar and handclaps as The Weeknd realizes that the love he has for a partner isn’t going to change over time.

    It took him a little while to realize this, but, now that he does, he’ll never go back to taking them for granted. It’s par the course for bad lovers everywhere. Where it takes him, and the relationship, from here is a story for a different song.

  • “Missed You”

    Another of The Weeknd’s anti-“Heartless” tracks, the Toronto singer’s heart bleeds for his ex’s affection. It’s funny; as a guy who’s dealt with heartbreak, I know how it feels to pound my chest immediately after a situation’s over and then realize that, hey, there’s actually something remaining inside.

    The Weeknd’s doleful ballad ends with a happier note than most relationships: his partner inserts a quarter into their arcade game before the continue clock runs out. His cheerfulness is highlighted with one of the tune’s last lines. “You never moved on/ You were waiting for me all along,” he sings.

  • “Final Lullaby”

    Have you ever heard a romantic lullaby? Something that’ll put you to sleep, no matter what else is happening in the world. That’s definitely on the list of perks that comes with dating a singer.

    The Weeknd’s giving his lover the sleep of a lifetime with this slumber essential, even if their relationship isn’t all sugar and rainbows. “And I hope you find peace/ Close your eyes as I put us to sleep,” he whispers gently as he rubs her forehead with the back of his index finger. You end up rooting for The Weeknd to make things right by the end of it.

After Hours just took the title for having 2020’s biggest week in album sales thanks to 444,000 equivalent units being moved in the United States. That’s The Weeknd’s highest mark so far and marks one hell of a return following 2018’s My Dear MelancholyFans are really into this tripped-out, red suit-wearing playboy version of The Weeknd who’s absolutely bugged out in videos for “Heartless,” “Blinding Lights,” and the album’s title track.

On March 20, The Weeknd dropped the deluxe edition of After Hours that featured four new remixes and a live recording of “Scared To Love” from a recent SNL performance. Lil Uzi VertChromatics, and French music band The Blaze all make appearances.

Listen to The Weeknd’s new After Hours tracks up above.

Orion Sun’s Planetary Love Songs Will Transport You

Orion Sun contains multitudes. “I definitely exist in both optimism and nihilism,” the Philadelphia-based singer-songwriter, born Tiffany Majette, told MTV News recently during a conversation about her bracing new album Hold Space for Me. Even the word “bracing” at first feels at odds with this silken collection of moony R&B-pop. But as she looks skyward for romantic metaphors — “You move me like a moonbeam,” she sings on “Ne Me Quitte Pas (Don’t Leave Me)” — Majette gathers a storm, unspooling her own history losing her home and the death of a close friend.

“I understand a nihilist perspective, but I’m able to understand it and then turn it into an optimistic perspective,” she said. “I do feel like I’m an optimistic person. I mean, kind of have to be to decide to keep going and to have this sort of tenacity that I don’t know where it comes from.”

It might come from the stars. As her moniker suggests, Majette has long taken inspiration from space pioneers like Mae Jemison and even wanted to be an astronaut as a kid. Her music as Orion Sun often evokes the planetary pull also found in love. “Swear you came down like a comet,” she offers one minute, then moves on to burning desire a tune later: “Holy, warm like the sun be.” She packs Hold Space for Me with simple images of the natural world — songs called “Lightning” and “Golden Hour” — alongside the immense weight of human consequence. She’s looking up, but she’s still bound by gravity.

Majette titles one wiggly groove “Grim Reaper” and finds an earthen delivery, quaking a message to someone gone before their time: “If I had it my way, I’d take your place.” She’s an explorer picking through smoldering wreckage, finding the bits that still gleam. Sometimes this is literal. Her “Coffee for Dinner” video, in which she gets a creative director credit, finds her playing a Twilight Zone-inspired lone wanderer in a space suit. In an era when album launches feel increasingly like cold data delivery, Orion Sun is thinking cinematically.

“A lot of the music that I make is very visual. It stems from a place in my brain where I’m like, OK, what does this feeling look like sonically? What color is it?” she said. “What do I hear when I’m looking at something, like an old picture, or [when I’m] YouTubing travel videos, those 4K videos, walking back through Japan or just places that I want to go? And I’m just looking at people, like, what are they listening to when they make something?”

Hold Space for Me is unmistakably insular, unwittingly perfect for our current collective moment of self-isolation. “I’m not even going to lie: I’m not doing anything too different than before with this whole sort of staying inside thing,” Majette said. Her indoor music longs to know more than what a window offers. The album finds Marjette aching for the comfort of another voice and a whiff of the nighttime air. That’s why one of its most memorable moments comes when she suits up to spit a few bars.

“I feel like A$AP Rocky, bitches on my jockey,” she smirks, joyriding on “El Camino.” Soon after, she shouts out one of her inspirations in all but name: “Money make you go from College Dropout to Yandhi.” Marjette has cited Kanye West’s 808s & Heartbreak as a key influence, plus The Miseducation of Lauryn Hill. In this age of daily livestream performances, she wishes she could see Billie Holiday on Instagram Live. “Maybe it’s because I just read her book and I’m just very obsessed at the moment,” she said.

Last month, before everyone had to be inside all the time, Marjette was posting dreamy musical dispatches from her bedroom floor; she’s since shared two more. She writes a lot on guitar, though she’s self-taught on piano and ukulele as well. She makes beats. In the past, Majette has been so pumped to share a recently completed song that she’d post them right away. Her previous project, A Collection of Fleeting Moments and Daydreams, was exactly that. Hold Space for Me, however, was meant to feel more intentional.

“I sat with each [song] and really just marinated and wasn’t so quick to be like, this is it, this is done,” she said. “Really just wanted to make sure and see that each song felt complete to me. And I like that patience that I gained, because I really do think it’s made a difference.”

It’s the patience to trace her own history on “Golden Hour” in a quick cadence — “I left home, no money coming in / Had to get a job, music wasn’t getting spins” — and then pull away to let the gravity of her story linger over a subdued beat reminiscent of leaky pipes. She views the vulnerability inherent in poetry, her “first love in the arts world,” as a key tool to use in songwriting. Still, she knows better than to share too much of herself in her music, even as she’s spinning a story ripped directly from her own life.

“It’s pretty fun to find ways to sort of get my message across but still feel protected and not too exposed,” she said. “But I’m like that outside of my artist bag. I’m very cautious.”

Cautiously optimistic, then, feels right for Hold Space for Me, an album that fittingly concludes with Marjette sleeping late, frustrating the birds outside her window, but ultimately waking with clear eyes and a vision of warmth. “I found my destiny,” she intones, “and it’s holding onto your heart.”

Galactic Shootouts, Skeletal Seduction: What’s Going On In Rita Ora’s ‘How To Be Lonely’ Video?

Once you recover from the mindfuck that is Rita Ora‘s new video for “How to Be Lonely,” you’ll have a lot of questions, with these three probably being the most important to get answered. First, what did I just watch? Second, how did they film that scene with the eggs? And, lastly, did she really fall in love with a skeleton!?

Who knows if they’ll ever get answered. But Ora’s visual for the song that she released earlier this month is ridiculously wild, inventive, and hair-raising at times. If you’re not scratching your head after watching it, we must not have seen the same thing.

‘How to Be Lonely” finds Ora pondering what it feels like to have no one in her corner. She’s in a relationship, walking on eggshells because her current situation isn’t making her too happy. So in the video when we see her, literally, tip-toeing across hundred of eggs, it’s an awesome nod to the song itself that makes you think that the entire video will follow its stirring lyrics.

But that changes quickly.

There’s so much going on in here that it’s nearly impossible to explain. Ora finds herself alone in a sea of kissing couples, nervously looking around for her partner. Pretty normal scene right? Welp, there’s another one soon after involving Ora getting cozy with a grizzly bear, then, another where the singer gets close and comfy with a skeleton. Yeah.

These are far from some of the weirdest scenes here. An explosion sends Ora flying through the sky during one clip, followed by one where she bathes in liquid gold. After banging a wall with a bat while dressed as a ghost, she invades a planet and gets into a galactic shootout with its inhabitants.

It’s truly the freakiest video you’ll see in 2020 by far. But that’s what makes it so awesome. You literally never know what is going to be coming next as it cycles between its scenes. Director Dave Meyers explained the meaning behind the visual’s wild clips in a statement obtained by Rolling Stone“This video explores, abstractly, the emotions one feels when going through a breakup,” he said. “It’s anger, longing, comfort, retreat, falling and, of course, loneliness. Ultimately suggesting that this is a necessary healing process that leads to the reawakening of one’s true self.”

“How to Be Lonely” is widely believed to be the first single from Ora’s yet-to-be-announced third album. Her last LP was 2018’s Phoenix

Watch Ora’s wild ride of a video for “How to Be Lonely” up above.

Future Must Have Done His Taxes, Because He’s Too Turned Up In ‘Tycoon’

Future‘s first solo release of 2020 is here. “Tycoon” is a promise to keep going up until a toe tag is placed on the veteran rapper. It feels like a valedictorian’s speech at a high school graduation, directly before caps are tossed in the air. You have to respect and admire Future’s determination.

“Tycoon” is defined by Merriam-Webster as “a businessperson of exceptional wealth, power, and influence.” Future dedicates his not-flexing bars here to showing off this tycoon status, explaining the level of sway that he has with the people around him. Aside from promising to live “until I’m like 80,” Future explains his security detail for anyone who would possibly think of testing him. To summarize two verses, please don’t even think about it.

Its video follows two parallel stories. One is of Future and his girlfriend who are living the good life, preparing to board a plane, while the second one follows a group of masked men preparing for a robbery at what looks to be Future’s house. The rapper’s trip happens successfully, as we see him help his partner onboard, while the criminals fail miserably. When they break into the house, there’s someone waiting for them with a weapon pointed their direction. So, in the end, the good guys prevail and the bad guys lose.

Earlier this year, Future dropped a few songs with Drake: “Desires” and “Life Is Good” along with its remix that features DaBaby and Lil Baby. Prior to that, he shared the Save Me EP last June, which followed his seventh studio album, The Wizrd, that came out that January.

Check out Future’s video for “Tycoon” up above.

Bop Shop: Songs From Stray Kids, Alana Springsteen, NLE Choppa, And More

Stray Kids kicked off a new era last December with the release of “Gone Days,” a mellow mix of trap and charisma — an otherwise offbeat entry in a discography pulsating with boisterous bops. But the Korean group’s latest mixtape drop, “On Track,” is more contemplative than uninhibited, keeping in tune with their uplifting and oftentimes hopeful message while also digging deeper. It’s a song about losing your way and finding the courage to pursue a dream again — or a person, as hinted at by the central love triangle in the high school-set music video. Member Changbin, known for his biting flow and playful personality, contributed to the lyrics and composition of this soothing track. “Even a fool knows this,” he sings. “You’re the best thing I’ve got / Once again towards you / One more step, I will never stop / I shouldn’t turn away.”

Those themes of perseverance and forging ahead are familiar territory for Stray Kids. It’s where they feel most comfortable. Yet “On Track” also evokes a sense of longing and awareness that feels indicative of where they’re going next. It’s representative of their maturity as artists and young adults navigating their emotions the only way they know how: through music. Plus, it’s perfect to listen to when you’re stuck inside and in your feelings. —Crystal Bell

Khalid Lords Over A Colorful Dance Party In ‘Know Your Worth’ Video

Leave it to Khalid and his megawatt smile to usher us into the weekend.

On Friday (March 27), the Free Spirit singer shared the video for “Know Your Worth,” his recent reunion with Disclosure. It’s a bouncy, electro-R&B pep talk about deserving someone who “will put you first” and “loves you at your worst.” Those upbeat vibes seep over into the accompanying visual, which is one big, colorful dance party.

As Khalid urges, “Gotta keep, gotta keep, gotta keep your head up,” we see a diverse group of dancers soak up the positivity by breaking out their fanciest moves. There’s a lot of monochromatic ‘fits and ’90s-style tracksuits, but all eyes are on the (shockingly flexible) dancers themselves. That is, until Khalid swings through to stun us with the ultimate dad dance move: the sprinkler. See it all go down in the vid below.

“Know Your Worth” is Khalid’s second collaboration with British production duo Disclosure, following last year’s Grammy-nominated hit “Talk.” The Texas singer has kept busy since releasing his sophomore album, Free Spirit, last year — he dropped the wistful “Eleven” in January and the mellow “Up All Night” at the end of last year. Let’s hope that momentum keeps rolling on through 2020.

Ava Max Is A Royal Guitar Hero In ‘Kings & Queens’ Video

Earlier this month, Ava Max teased her “Kings & Queens” visual by telling MTV News that it would be “very colorful, super fun, crazy dancing, and a big celebration. Imagine a rainbow being in a music video.” Now, we finally get to see that grandiose vision in full — the vibrant clip arrived on Friday (March 27) to show us exactly “how a real queen behaves.”

The vid opens on Ava playfully wielding a sword between her legs as she assumes her golden throne. As she sings about raising a toast to women everywhere, we see her throwing a rowdy, champagne-fueled feast inside her glamorous palace, before leading her loyal subjects in a killer dance sequence. They even bust out some electric axes for that pre-bridge hair metal guitar solo (as only real queens can do).

“Kings & Queens” is Ava’s first solo release of 2020 and the official lead single for her upcoming debut album. She recently told us that the anthem sets the tone for the rest of the project, explaining, “It’s such a celebration track that starts the album with a bang. It really resembles the time and feels like a good introduction.”

She continued, “I want people to hear the album when they’re going to the gym and feel motivated, or when they’re maybe wanting to get hired for a certain job and they want to be feel empowered. I think that’s really what the feel of the album is.”

Check out the “Kings & Queens” video above — there’s even a dancing parrot in it!