Latest news with #release
Globe and Mail
12 hours ago
- Entertainment
- Globe and Mail
Jared Navarre Unleashes 'I Am the One,' a Defiant Anthem from the ZILLION Universe
Single drops July 25 on all major platforms NASHVILLE, TN - July 23, 2025 - Jared Navarre, founder of the immersive music project ZILLION, is set to release his latest single, ' I Am the One,' on July 25 across Spotify, Apple Music, YouTube, and other major streaming platforms. Written and recorded at ZILLION's Nashville headquarters, the track is a bold declaration of power, identity, and redemption. Navarre co-produced the song alongside Matt Good, with additional writing by Andy Sheridan, a multi-instrumentalist behind several number one country hits. 'This isn't just a song. It's the sound of a crown hitting the floor and me picking it up,' says Navarre. 'If you've ever been underestimated, this one's for you.' ' I Am the One ' plays a central role in ZILLION's broader storyline, marking the emergence of 'The One,' a key character in the group's mythology. The sound is aggressive and cinematic, designed to make listeners feel invincible. According to Navarre, the final chorus delivers the most powerful moment, with layered vocals and a drop that feels seismic. A stylized visualizer will accompany the single, showcasing animated elements from the ZILLION narrative world. The release also includes a new line of limited-edition merchandise that reflects the group's gritty, mythic branding. The track stands on its own as an anthem for personal reclamation, while also deepening ZILLION's evolving creative universe. Pre-save 'I Am the One' now at For press inquiries, interviews, or early access to the single, contact Gregory Linnelli ( Media Contact Company Name: Otter PR Contact Person: Gregory Linnelli Email: Send Email Phone: 4128604794 Address: 100 E Pine St Suite 110 City: Orlando State: Florida Country: United States Website:
The Guardian
14 hours ago
- Entertainment
- The Guardian
Tyler, the Creator: Don't Tap the Glass review
Tyler, the Creator's ninth album received a very contemporary grand unveiling. Rush-released two days after its existence was announced, it had been trailed by the appearance of cryptic art installations at the rapper's live shows – he's still theoretically touring his last album, 2024's Chromakopia – and at One World Trade Center in New York, and by a flurry of online gossip: one US website was forced to retract and apologise for publishing a tracklisting, complete with guest appearance by Kendrick Lamar, that turned out to be fake. Despite all this, Tyler Okonma seemed keen to deflate the kind of anticipation that arises when your last three albums have all been critically lauded, platinum-selling chart-toppers full of big ideas. 'Y'all better get them expectations and hopes down,' he posted on X, 'this ain't no concept nothing.' He then published an essay that read suspiciously like an explanation of the album's concept, bemoaning the intrusion of cameraphones and social media on our ability to live in the moment: 'Our human spirit got killed because of the fear of being a meme.' So what is Don't Tap the Glass? A proper follow-up to Chromakopia or an interstitial release? A random selection of songs with no overarching theme, or something made with more deliberate intent? The answer seems to be: all these things. It lasts less than half an hour, and is noticeably, if not entirely, lacking the soul-searching that helped define its predecessor. The lyrics tend to stick to braggadocio and reaffirmations of the nihilistic persona Tyler inhabited in the days when he was deemed such a threat to the country's morals that anti-terrorism legistation was invoked to ban him from the UK: the first, but far from last, mention of him not giving a fuck about anything arrives less than 30 seconds into the album. There are a lot of memorable one-liners, among which 'I don't trust white people with dreadlocks' and his dismissal of an ageing rival stand out: '49, still in the street / Your prostate exam in a week.' It also eschews Chromakopia's kaleidoscopic musical approach, its sudden leaps from Beach Boys harmony to Zamrock samples to guest spots from Lola Young and Lil Wayne. It's still eclectic in its choice of source material – opener Big Poe samples Busta Rhymes and a 2015 collaborative album made by Radiohead's Jonny Greenwood, Shye Ben Tzur and India's Rajasthan Express – but ultimately feels more narrow and focused. Almost all of its 10 tracks seem fixated on the dancefloor. There are 808 beats, Kraftwerk-y electronics, a noticeable smattering of Zapp-like vocoder and electro, among other early 80s genres. Powered by a bassline that's a dead ringer for that of Michael Jackson's Off the Wall and decorated with washes of synthetic strings and a falsetto vocal, Ring Ring Ring feels like a lost Leroy Burgess boogie production from the same era. The huge, distorted breakbeat of Big Poe recalls the rhythms produced by the Bomb Squad in their prime, amplified by the stentorian, Chuck D-like tone of Pharrell Williams's guest rap. Elsewhere, I'll Take Care of You unexpectedly transforms from a beatless electronic ballad into something that – with its clattering rhythm and grimy sub-bass – most closely resembles old skool UK hardcore rave: in a neat bit of self-referentiality, the clattering rhythm is actually repurposed from the title track of Tyler's 2015 album Cherry Bomb. Sign up to Sleeve Notes Get music news, bold reviews and unexpected extras. Every genre, every era, every week after newsletter promotion All of this is done fantastically well. The musical reference points are deployed with an evident love and understanding of the source material, never feeling like box-ticking or pastiche; the hooks work with enviable efficiency. It's all funky enough that you imagine even the selfie-obsessed pocketing their phone and throwing themselves around if it came booming from some big speakers. But it's also not the whole story. There are scattered moments when Don't Tap the Glass feels of a piece with, or an addendum to, Chromakopia. In the middle of the album lurks the incongruous Mommanem, thick with the grunts and gasps and feral barks that were Chromakopia's sonic signature. On the concluding Tell Me What It Is, Tyler suddenly drops the boasts and the IDGAF stuff in favour of precisely the heartsore self-examination that characterised his previous album, the sentiments amplified by the untutored frailty of his singing voice: 'I'm feeling like a bum … is there a traffic to my soul? I need answers … Why can't I find love?' It's an odd way to end an album that seems largely about not overthinking things and simply giving yourself up to the moment, but, then, this is the man who once rapped 'I'm a fucking walking paradox / No I'm not.' Fourteen years on, Tyler, the Creator clearly still reserves the right to be contradictory. When the results are as good as Don't Tap the Glass, who can blame him? Blood Orange – The Field Not a song of the summer in the accepted dancefloor banger sense, but The Field's Durutti Column sample, skittering beats and ethereal vocals (by Caroline Polachek and Daniel Caesar) are the perfect soundtrack to a languid afternoon.
New York Times
a day ago
- Entertainment
- New York Times
Jim Legxacy Makes Music That Sounds Like Memory
When it came time to share the release announcement for his new album earlier this month, Jim Legxacy was sitting on the bulbous black leather couch inside his family's modest apartment in the Lewisham area of London, posting the info himself. For a few minutes, he was fully absorbed in his phone. 'My head is on fire, bro,' he gasped, excited at the intensity of the response. Texts and calls were coming in. His Discord channel was losing it. Bingo, the family's mini dachshund, wandered around the room, looking for a rope to gnaw on. 'I'm not a celebrity yet — I'm still on the ground level,' he said a little bit later in the afternoon, getting some air after the thrill of sharing the news had subsided a touch. He was dressed plainly, all in black, no extravagances besides a crisp pair of red and black Nike Shox R4. 'I still live here. I'm with the people, so it's like why would I try to like auramaxx, or like, try and pretend there's a gap, bro? There's not a gap.' And yet just a couple of weeks earlier, Legxacy, 25, had been walking these same streets alongside Dave, one of the country's most revered rappers, filming scenes for the video for '3x,' their collaboration from Legxacy's new album, 'Black British Music (2025).' 'They was in shock,' he said of his neighbors. 'It was like Tupac, bro, it was mad.' Being able to bring one of England's biggest stars to a quiet street in southeast London would suggest that Legxacy — born James Olaloye — already has capacities far beyond the circumstances of his raising. Want all of The Times? Subscribe.
France 24
a day ago
- Politics
- France 24
Lebanese militant says 'struggle' helped him endure French prison
A court last week ordered the 74-year-old -- who was jailed over the 1982 killings of two foreign diplomats in Paris -- be released from the Lannemezan prison in southern France on Friday. Abdallah is one of the longest-serving prisoners in France, where most convicts with life sentences are freed after less than 30 years. Between his bed, desk and microwave corner, Abdallah had decorated the yellow walls of his 11-square-metre cell with the flag of the Argentine Marxist revolutionary, but also a map of the world and postcards. An office chair near his bed was piled high with newspapers. "If I'm alive in front of you today, it's because I've kept up the fight -- otherwise 40 years (in jail) would turn your brain to mush," said the prisoner, whose hair and beard have turned grey. AFP visited his cell on July 17, along with a hard-left member of parliament, Andree Taurinya, who used her right as a lawmaker to visit detention centres to see him on the day the court ordered his release. Dressed in a red sleeveless t-shirt and beige shorts, he greeted her warmly and they posed together for a selfie. Abdallah said that for more than 40 years he had continued to be a "militant with a struggle" -- even if it was in very "particular" conditions behind bars. He said he did not foresee a "radical change in (his) struggle outlook" after leaving France and flying home to Lebanon -- the condition for his release. Birthday calendar Next to his computer, he had pinned up images of flowers, including poppies and cherry blossom, as well as Palestinian flags and a picture of the Al-Aqsa mosque in Jerusalem. "Forty years is a lot but you don't feel them go by when you keep up the struggle," he said. Many of his fellow militants have died over the years however, he said. "On my computer I have a calendar to keep track of every day: dead comrades, that's in brown, orange is for visits, and green is for birthdays," he explained. But these days, "the colour brown is taking up more and more space." Abdallah was detained in 1984 and sentenced to life in prison in 1987 for his involvement, which he denies, in the murders of US military attache Charles Robert Ray and Israeli diplomat Yacov Barsimantov in Paris. After his arrest, French police discovered submachine guns and transceiver stations in one of his Paris apartments. 'Pampered' Lebanese of Maronite Christian heritage, Abdallah has always insisted he is a "fighter" who battled for the rights of Palestinians, and not a "criminal". Before the decision to release him, he had been eligible for release for 25 years. But the United States -- a civil party to the case -- had consistently opposed him leaving prison. The Israeli embassy in Paris objected to the decision to release Abdallah, saying "such terrorists, enemies of the free world, should spend their life in prison". Abdallah, who considers himself to be a "political prisoner", said he had been "pampered" compared to "what is going on in Gaza and the West Bank, especially for comrades in prison". His release comes as Israel wages war against Palestinian militants in the Gaza Strip for a 22nd month, with aid and rights groups warning of mass starvation for civilians trapped in the besieged Palestinian territory. Deadly Israeli settler attacks on Palestinians in the occupied West Bank have also become commonplace. Abdallah, who founded a now dissolved Marxist anti-Israel militant group in his youth, endorsed recent protests in the West calling for a Gaza ceasefire. © 2025 AFP
Yahoo
a day ago
- Entertainment
- Yahoo
Krispy Kreme Crocs: Doughnut-inspired clogs releasing in August
Crocs has teamed up with Krispy Kreme for the first time so fans can look like they're wearing doughnuts on their feet. Starting in August, fans will be able to purchase limited-edition Krispy Kreme x Crocs Classic Clogs inspired by Krispy Kreme's glazed doughnuts, according to the companies. Doughnut lovers will also be able to purchase a five-pack of Krispy Kreme Jibbitz charms, which are used to decorate and personalize pairs of Crocs. The Crocs will come in a co-branded box inspired by Krispy Kreme's famous classic dozen box used to transport doughnuts. Charms, including an oversize glazed doughnut and a Krispy Kreme Hot Light, are included with the limited edition Crocs, along with chocolate and strawberry icing with sprinkles toe caps. The Krispy Kreme logo is featured on the heel strap. Here's what to know about the collaboration and how to purchase a pair. When are Krispy Kreme x Crocs Classic Clogs available for purchase? The Krispy Kreme Crocs will be available to purchase in Crocs stores and at starting Tuesday, Aug. 5, according to the brands. If fans are eager to get their hands on a pair, customers can visit any participating Krispy Kreme shop the day before the release (Monday, Aug. 4) and scan a QR code displayed to get early access to order the Crocs. Crocs did not say how much the Crocs cost. USA TODAY has reached out for more information. Free doughnut when you wear Crocs In another deal as part of the collaboration, anyone wearing Crocs to a Krispy Kreme store on Saturday, Aug. 9, will receive a free Original Glazed Doughnut at participating shops. Special Crocs-inspired doughnuts Starting Monday, Aug. 1, customers can purchase the Krispy Kreme x Crocs special dozen, which features three doughnuts: Original Glazed Chocolate Iced with Sprinkles Strawberry Iced with Sprinkles The Croc-inspired dozen will be available at participating Krispy Kremes from Aug. 4 to Aug. 10 while supplies last. The special dozen is available at Krispy Kreme shops, and for pickup or delivery through the Krispy Kreme app. This article originally appeared on USA TODAY: Krispy Kreme, Crocs release doughnut-inspired clogs: When, how to buy
