Kanye West Finally Dropped Jesus Is King — Hear The Album Now

Well, will you look at that? Kanye West‘s Jesus Is King is out now on streaming services. There was some worry and understandable apprehension earlier today (October 25) when the album didn’t come out at midnight. But it’s finally here and features appearances from Ty Dolla $ign, the Clipse, Kenny G, Fred Hammond, and Ant Clemmons. It clocks in at eleven tracks and is a glorious collective ode to Kanye’s Christian faith. You can breathe again now. Jesus Is King is really here.

Jesus Is King was originally slated to come out on September 27 after Kim Kardashian-West teased the LP’s release, followed by Kanye’s website confirming the information. But the day came and went, with Kim later saying that the LP would be two days late. After it didn’t drop then either, there was radio silence until a couple of days ago when Kanye revealed on Twitter that he’d be dropping Jesus Is King on October 25.

This morning, after the release time came and went, Kanye tweeted that he was making some last-minute changes to the LP. “We are specifically fixing mixes on “Everything We Need” “Follow God” & “Water,” he wrote. “We not going to sleep until this album is out!”

Hours (of presumably, sleep) passed by while fans waited patiently, only for nothing to materialize. Then rapper and producer Consequence hopped on Twitter to tell fans that it would be out around noon. “It takes 8 hours for the LP to ingest into the Digital Streaming Platforms.,” he wrote. “I didn’t eat dinner so you guys could have this by Lunch time 12/1pm EST.”

Now that it’s here, the world can breathe a sigh of belief because, at one point, no one knew if it would come out. Now it’s time to go to church with Kanye and dance until our legs grow weak.

Behold Kanye’s latest chapter, Jesus Is King, up above.

Bop Shop: Songs From Selena Gomez, Lady Gaga, Anitta, The 1975, And More

Hindsight really is 20/20. There are words we’ve spoken we wish we could take back, friends we’ve given too many chances to, and toxic relationships that made us lose the essence of who we are. But on Selena Gomez’s powerful new single, “Lose You to Love Me,” the singer’s thrown out her rose-tinged lenses and reclaimed the best parts of herself. She’s not just starting a new chapter; she’s writing a new book.

“You promised the world and I fell for it,” Gomez sings softly over piano on the first verse. “I put you first and you adored it.” And while she may have held on a little too tightly to a love that clouded her judgment and dimmed her light, what matters now is that she’s made it to the other side. Here, she knows her self-worth. “We’d always go into it blindly / I needed to lose you to find me,” she sings. And when an exuberant choir joins in on the final chorus, Gomez officially says goodbye to the relationship she sacrificed so much for only to gain a few scars. From here on out, it’s all self-love. —Jordyn Tilchen

Tame Impala Will Start The Roaring Twenties With A Psychedelic New Album

Wouldn’t a floating trip through a volcano of every color in the visible spectrum be the perfect start to 2020? It’s a new decade in a few months and it provides the perfect opportunity for reinvention, wellness, and experimentation involving the limits of the mind. It’s good news that Tame Impala‘s providing a ticket for this brain-altering journey with the announcement of a new album, The Slow Rush, set drop next year. It’s been seventeen decades since the band dropped Currents in 2015. The time for their comeback is right around the corner.

Tame Impala stoked the fires of hope a couple of days ago with a clip of frontman Kevin Parker in the studio, cooking up something special. Later that night, the band put an extended video on their website. Then, with the recent confirmation, everything makes sense. Singles like “Borderline” and “Patience” that came out this year weren’t just random releases; they are calculated steps and pieces of something grander, stranger, and spookier. For the full picture, we’ll have to wait until next year.

Tame Impala headlined at Coachella earlier this year. In March, they gave a stunning visual performance of “Borderline” in its live debut on Saturday Night Live.

Check out Tame Impala’s album teaser up above.

Next Up For CNCO: How About Everything?

Ask CNCO where they’d like to travel next, and they have a list ready and waiting for you.

“Australia, we haven’t been there,” Richard Camacho offers at the outset. Joel Pimentel agrees.

“Egypt,” Erick Brian Colón adds.

“China,” Zabdiel de Jesús says.


“Yeah, China,” Pimentel echoes.


“We haven’t been to Dubai,” Christopher Vélez says. “I would love to go to Dubai.”

“Did you guys say Australia?”

They build on each other’s suggestions happily, their camaraderie a kind of choreography in its own right. It’s easy to sit back and talk big plans with them — where they’ll travel to next, who they’d love to collaborate with, what goals they want to achieve together. A Grammy, if they’re able, maybe a TV series of their own. And for a group that has, in the past year alone, performed at the VMAs pre-show, taken the Latin AMAs by storm, and seen their faces dozens of feet high in Times Square and above Hollywood’s biggest intersections, you get the sense that few things would be out of reach.

They are quick to admit that everything they’ve done and seen so far has been pretty surreal. “Being able to do all of this in such a short amount of time has been a dream come true,” Pimentel tells MTV News, referring to the fateful first season of La Banda that joined them together in 2015. Since then, they’ve released two albums; toured with mentor and music legend Ricky Martin, as well as the likes of  Ariana Grande, Pitbull, and Enrique Iglesias; collaborated with groups like Little Mix and PRETTYMUCH; and just dropped a new EP, Que Quiénes Somos.

But the accolades are nothing without the fans, wherever the CNCOwners are from, and whatever language they speak. “Our music is going places we never expected,” Colón says. “We’ve been to Asia and Europe and people have told us they’re learning Spanish from our music. That’s amazing.”

An estimated 577 million people worldwide speak Spanish, which is roughly 7.6 percent of the global population. But even countries with significant Latinx and Spanish-speaking populations, like the U.S., have often faltered with giving adequate shine to music that features one of the most common languages in the world. Plenty of non-Latinx artists also take inspiration from the genre, resulting in some of the biggest songs in recent memory. Still, some people still consider Spanish-language songs that succeed in an English-language market to be “crossover” hits, or outliers — so much so that award shows create entire offshoots for the Spanish-language market, which plenty of us know as our normal more than a niche.

The ability to succeed globally, then, isn’t lost on CNCO. “Seeing all of these different countries — including the United States, accepting Latin music, it’s super cool,” Pimentel says. “Being able to present ourselves with Latin music makes us very proud.”

“Social media has broken a lot of barriers for us,” de Jesús adds, and Colón points to the broad democratization of streaming as just one way people can discover their music, or any music in a language other than English.

Que Quiénes Somos comes in at a tight seven songs, including the lead single “De Cero,” which reflects on how far two people in a relationship have come from the start of their courtship (literally, from zero). Some songs on the album, including “De Cero” and “De Mì,” feature English-language interludes, but the project relies heavily on Spanish-language pop and plenty of traditional guitars, which are on full display in the Manuel Turizo collab,  “Pegao.” “Tóxica,” a ballad about a destructive relationship, slows things down significantly at the end of the set with a capella harmonizing that showcases the group’s vocal ability.

“This EP was our first writing camp,” Camacho explains of the creative process behind the release. “We just felt fire because we could actually put down our ideas, and we were just writing constantly — about different stories and different things.” He estimates the group wrote over 20 songs in that two-week span, which allowed for plenty of bonding. “We actually connected more,” he adds. “We found each other a little bit more, and we found our sound a little bit more.”

De Jesús says it’s been fun to play with plenty of musical genres in the group’s four-year shared history. “We’ve done ballads, pop, electronic music… We did pop rock in the first album,” he notes. Still, he’s especially keen to take on even more: “We haven’t done bachata, and we haven’t done salsa.”

“In ‘Ya Tú Sabes,’ it’s like salsa mixed with trap,” Vélez offers. “But a full salsa, that could be dope.” Camacho immediately offers up Marc Anthony as a possible collab. (The consensus? “That’d be amazing,” all five echo.)

There are a number of artists on their list of musical inspiration: Billie Eilish and Daddy Yankee top the list. Pimentel shouts out Maluma (“of course”), while de Jesús is quick to nominate Bruno Mars. Their list of dream collaborators is just as varied: Ed Sheeran, Backstreet Boys, Normani, and Post Malone all earn nods. Someone points out that NSYNC has been up to something lately on social media, so maybe there’s space to link up there, too.

Until then, the group is just as excited for “Me Necesita,” a bilingual effort with PRETTYMUCH  that serves as an implosion of boy-band swagger: The two groups’s voices sing in tandem about the girls that just can’t quit them. “Basically she’s trying to play hard to get but you’re telling her, ‘At the end of the day, we need each other,’ you know?” Camacho explains.

“It’s 10 people singing one song, so it felt crazy, but it’s beautiful,” Pementel adds.

The video for the track also pulls on a Latinx-American staple: futbol… or soccer, if you’re stateside. “The video is cool,” Colón says approvingly, explaining that it’s like a superpowered version of the game complete with wires and slow-motion effects.

The process of recording the song and learning the choreography, which was by Ian Eastwood, “felt like a party the whole time,” Camacho says. “We’re joking around, we’re doing stunts. Everyone was like, ‘Oh, that’s cool.’ We were all backing each other up.”

And just as they’re broadening their horizons to work with other groups, they’re becoming a more tightly knit crew themselves. “Every single day, we’re learning about each other,” Vélez says, pointing in particular to how they’ll sometimes discover the way the same words are used differently across Latinx cultures. “Some random words mean something different in different places, or maybe don’t mean anything.”

“The foods, too,” Pimentel says, “And stories, and the history of each country.”

It’s in effort, Camacho adds, of celebrating their heritage collectively. “It’s bringing it all together, which is cool. Music brought us into one, into this world that we created by ourselves.”

Which brings us back to their global ambitions — the 2020 plans, the list of places to go, the records they still want to smash. The Grammy they hope to land, and the fans that they can connect with at any time of the day or night, hopefully for the better.

“We want to be an inspiration, more than anything,” de Jesús says. “I think that’s the purpose of the music. More than just doing what we love, we want to be a good example to follow, and make a change in our generation.”

Lizzo And Ariana Grande Brush Off The Bullshit On New ‘Good As Hell’ Remix

Lizzo‘s “Truth Hurts” may have recently become the longest-running No. 1 by a solo female rapper, but that track is sooo yesterday. Keep up, because the breakout star has set her sights on another oldie but goodie from her catalog, “Good As Hell,” and she’s recruited Ariana Grande to give the joyous anthem a fresh remix.

On Friday (October 25), Lizzo dropped her reworked, Ari-assisted version of “Good As Hell” in all its bad-bitch splendor. You probably remember the original from Lizzo’s jaw-dropping VMA performance, but the new version kicks the energy up a notch. Grande joins in at the end of the second verse, cooing, “‘Cause he better know my worth / There’s so much that I deserve.” They join forces in the subsequent hooks, belting, “Hair toss, check my nails / Baby, how you feelin’? / Feelin’ good as hell!” The track even ends with a snippet of them laughing together, so you know this thing was a blast to make.

The “Good As Hell” remix comes after Lizzo not-so-subtly teased its arrival on Thursday. On Her Instagram Story, she held up a Starbucks drink, saying, “About something that’s dropping tonight, I’ll give you a hint. If you can guess the size of this drink, you’ll know what I’m talking about.” Grande, meanwhile, was much less subtle with her announcement, writing on her own IG Story, “We got a sweet little remix of ‘Good as Hell’ coming to you tonight. Thank you for thinking of me @lizzobeeating. Love you!”

The remix also continues the two artists’ well-documented love for each other. Back in April, Lizzo fabulously covered Ari’s “7 rings,” and the pop star gave her approval by posting, “This made my whole day. @lizzobeeating i love u so much.”

Much like her chart-topping, record-shattering hit “Truth Hurts,” “Good As Hell” has become a true sleeper hit. It was originally released in March 2016 as the lead single from Lizzo’s debut EP, Coconut Oil, and has since peaked at the No. 20 spot on the Billboard Hot 100. This new Ari-fied remix, however, should push it up a few spots. Lizzo SZN rolls right along!

Liam Payne’s ‘All I Want (For Christmas)’ Is A Total Holiday Tearjerker

The holidays have come early! After teasing a new song called “All I Want (For Christmas)” earlier this week, Liam Payne has gifted us the full thing. And if you thought this would be a holly, jolly, Mariah Carey-esque bop, you couldn’t have been more mistaken.

Payne’s melancholy ballad is all about a ruptured but (hopefully) mendable relationship that he prays will survive the holiday season. After the first verse paints a dire picture of a couple constantly arguing, the second verse sounds more hopeful, as he asks his partner not to give up on him. “We made it through the hardest part / And I followed you, the brightest star,” he sings. Tying it all together is the passionately delivered hook: “If we can make it through December / Maybe we’ll make it through forever / ‘Cos all I want for Christmas / Is you and me to fix this.” 😢

The new song comes with a cute, animated lyric video in which Payne channels his inner Jon Snow by wandering a wintry forest with his trusty wolf companion. Will he make it home to his pink-haired lover? Is it crazy to be crying over a Christmas song before Halloween is even here? Press play below to find out for yourself.

“All I Want (For Christmas)” is the latest taste of Payne’s recently announced debut album, LP1. The 17-track collection arrives on December 6 and also features previously released singles like “Stack It Up” featuring A Boogie Wit da Hoodie, “Strip That Down” with Quavo, and “Familiar” with J Balvin.

BANKS Talks Touring, Dancing, And Opening Her Show With A ‘Punch In The Face’

After a sorely needed two-year break from music, BANKS reemerged this past summer with a clear headspace, her most confident album to date, and one hell of an itch to get back on the road.

“I was definitely ready to go,” the synth-pop singer told MTV News over the phone. “I missed performing a lot, and I had been working on new music, and I was really, really ready to put it all together.”

Steph Wilson

The artist, born Jillian Rose Banks, phoned in from Los Angeles, where she’s readying a hometown gig as part of Live at Aloft Hotels Homecoming Tour. It’ll be a “really raw, acoustic” event, she said, which couldn’t be more different than the live show she’s been performing for the past two months. The III Tour, named after her third studio album that arrived in July, is her first headlining show in two years. BANKS spared no artistic flourish for it, packing her performance with ambitious choreography, a diverse setlist, and eye-popping lights.

“It’s been amazing. It’s so much fun to see what you’ve created in different mediums of art,” the 31-year-old said of the show. “I was in the studio making the songs, but actually seeing it come to life and seeing people singing the words and then making a movement to it and figuring out what lights and what colors I wanted for each one… it’s really fun for me.”

The tour’s U.K. leg kicks off on November 1, but before that, BANKS checked in with MTV News to give us the scoop on all things III.

  • She knows exactly how to bookend her show.

    “Till Now” opens BANKS’s third album with a walloping blow as she snarls, “I let you push me around till now.” It was a no-brainer, she said, that she would open the III Tour the same way by placing that track at the very top of the setlist.

    “It felt like this declaration of strength and an ode to where I’ve been,” she explained. “And I think that the way it starts — how it starts off really raw and then it gradually builds into this monster — starts the show off with what it needs to be. It’s kind of like a punch in the face right away.”

    Her encore, meanwhile, caps off with the 2014 fan-favorite banger “Beggin for Thread,” which closes the show with an equally effective bang. “It’s a bright one. It’s an anthem. I think people like singing along to that one, so it’s fun to close it up with that.”

  • The setlist may go through some changes.

    There’s a “skeleton” of a setlist that BANKS sticks close to, but that doesn’t mean she won’t switch things up every once in a while. Take, for instance, the fan movement that sparked the inclusion of “This Is What It Feels Like.” A revered anthem from her 2014 album Goddess, the track was nixed from her set at one point, before fans campaigned for its return via a change.org petition.

    Laughing, BANKS said of the fan-led movement, “I mean, I think that there’s something special when you discover an artist about the song you hear first. And that’s one of the first songs I put out. I love that song, it’s one of my favorite songs I’ve made. So I understand. It’s got a special thing to it.”

    Discussing other possible set list changes, she revealed, “I haven’t been performing ‘Made of Water’ or ‘What About Love’ and I want to start doing that on the Europe tour. So we’ll see what unfolds.”

  • She’s dancing more than ever before.

    BANKS started incorporating dance into her live show on The Altar Tour, but on her current trek, it’s become even more integral. She’s not classically trained as a dancer, but with the help of L.A.-based choreographer Nina McNeely, she’s become more in tune with her body.

    “I just love moving and I think that there’s something physical about making music,” she explained. “I wanted to express how my music affects me physically and how I see it. I want my vision to be as clear as possible and to create a world onstage that I see when I make music. So I think that movement was just a natural progression into getting that across.”

    On the III Tour, BANKS is often flanked by a pair of lookalike backup dancers, Nadine Olmo and Allison Fletcher; together, they’re a twirling trinity that moves in stunning unison. “You get to know people pretty well when you’re touring,” she said of her friendship with the pair. “They’ve been with me for a few years, so it’s great.”

  • She’s also been incorporating original poetry into her show.

    An artist who clearly can’t be boxed in, BANKS has also expanded beyond music. Earlier this year, she released a poetry book called Generations of Women From The Moon Poetry, comprised of personal poems and hand-drawn illustrations. On tour, BANKS has frequently recited one of that book’s standouts, “Ode to the Grey Zone,” in between songs.

    “Poetry is like music. It comes from the same part of me that likes to work things out in those ways, and it fulfills me in a similar way. Creating fulfills me in general. It’s just another part of me,” she said. “I think of my show as, I’m just sharing myself with people. It doesn’t have to just be singing; it can be singing and movement and poems.”

  • She wants you to leave feeling empowered.

    The lead single from III, “Gimme,” perfectly incapsulates BANKS’s aura of control as she demands, “Gimme what I want, what I deserve.” That energy is only bolstered by seeing the song performed live, but the singer insists every track on III — no matter if it’s about heartbreak or jealously or love — has its own sense of empowerment.

    “There’s a strength to every emotion,” she said. “You could feel a strength in the sadness. You could feel a strength in wanting someone. You could feel a strength in anger. Every song, there’s a different emotion that goes with them, but it’s just about owning what you feel. That makes me feel strong.”

Selena Gomez Released Two New Songs In 24 Hours But Has ‘Saved The Best For Later’

Selena Gomez has had a pretty incredible, uh, 24 hours. The singer kicked things off with the release of her emotional breakup ballad “Lose You to Love Me” on Wednesday, followed by the uptempo and danceable “Look at Her Now” today (October 24). And since Gomez’s upcoming album has been in the works for four years now, she’s just happy to finally share what she’s been working on.

“More than anything, I think I feel a sense of relief,” she revealed this morning via On Air with Ryan Seacrest. “It’s been four years since I’ve been working on this album and it’s actually perfect timing because I was going to release it two years ago, and none of the words that I’m speaking would have existed.” But now that she’s processed what she was feeling while writing “Lose You to Love Me,” releasing the song made sense. “Taking a moment to actually feel the feelings that I’ve gone through, it’s just — I don’t know — I’m just so grateful that it’s out,” she said. “It’s weird too because I wrote this song over a year ago… and it’s like I feel completely different from when I wrote it.”

It’s not hard to understand why releasing this single was, in her words, “interesting.” Upon listening for the first time, it’s clear that Gomez was extremely heartbroken when she wrote it. But not anymore. “It’s also more beautiful for me because I know exactly where I was when I wrote it and how I felt,” she said. And when asked if she would’ve been able to drop the song as she was going through the pain of the breakup, she said, “Absolutely not. That wouldn’t have happened. It took me a long time to get through it. But, now it’s fun! Like, I’m smiling! It’s so great.” Writing it was a way of validating her feelings. “They were really real to me,” she said.

For Gomez, being able to express herself through music in an attempt to be honest with her listeners is of utmost importance. “I think that’s why I’ve waited this long to express what I’ve felt,” she said. “I’m always going to be honest with people. I’ve never not been. I might not be overly chatty about it all the time, but this is where I’m able to release it. This is where it turns into art.” And although no one wants to get their heart broken, she’s grateful that she was able to turn the experience into something positive. “I think it’s beautiful I’ve been able to turn this into a new chapter,” Gomez said.

And that’s what her two new songs are all about: flipping the page to a new chapter. Even though “Lose You to Love Me” is a more somber track while “Look at Her Now” is her life “exploding into all these different amazing things,” they both function similarly. “All I know is these two songs were me wrapping up a chapter in a pretty little bow,” she said. “And the rest of the album is all about where I am now and where I’m going. So in my opinion, these are great songs, but I’ve saved the best for later.”

“I have a million ideas,” she continued, “and it’s just going to be cooler and it’s going to be stronger and it’s going to be better.”

Tyler, The Creator Heads To The Prom In ‘I Think’ Video

Tyler, the Creator is absolutely livid in the video for “I Think.” He has lost someone that he cares for and would do anything to find him again. The visual ends before we see the outcome, so hopefully the thread gets continued in the next video. But for almost two minutes, viewers get to enjoy Tyler doing what he does best: bringing anarchy to any room he’s in.

Tyler kicks things off by exiting out of a crowded bathroom in a hurry, realizing that he lost his companion. We then see who the rapper’s looking for who is actually minding his business, walking around what looks to be prom and taking in the sights. Tyler, panicking, begins his detective-like search and practically knocks out people minding their business as he looks plays a game of Where’s Waldo? Eventually, he gives up and goes to take pictures, down in the dumps. Suddenly, the man that he was looking for comes and taps the rapper on the shoulder. Tyler looks up and the screen cuts to black.

“I Think” appears on Tyler’s latest studio album, Igor, that dropped in May. He’s also shared the video for “Earfquake” from the LP that features his performing awkwardly and then playing a firefighter who has to clean up the burned down stage.

Watch Tyler’s anxiety-inducing and frantic search in “I Think” up above.

The 1975 Explain Anxiety In Easy Terms On The Mysterious ‘Frail State Of Mind’

We all deal with various kinds of anxiety, and it comes in many forms. That stone at the top of your stomach when you think about the test you have tomorrow. That slight dizzy spell that you just realized is bothering you when you’re at a crowded event and hundreds of voices are going on at once. Being unable to stop your hands from sweating while you’re holding someone’s hand and hoping that they don’t notice. The 1975‘s new song, “Frail State Of Mind” is about this fear and apprehensiveness, delivered with a foggy whirl of thick drums and misty atmosphere. You’ll find yourself in the lyrics at various points in your life and immerse yourself in the moment, for this one time. This is what anxiety sounds like.

“Frail State Of Mind” sounds like a racket. Drums crawl around and constantly smash into each other as elastic synths unfurl and roll back up. Frontman Matty Healy’s whispers apologies for not answering the phone (“I’m sorry that I missed your call/I watched it ring”),  not wanting to go out with friends (“And I’ll just leave at nine/Don’t wanna bore you with my frail state of mind”), and much more. He sounds cheery with his apology, but there’s a false sense of peace with his delivery. You can imagine the pang of disappointment that he feels by not living up to what he perceives to be the standard that the world expects of him. We’ve all been there. The song’s outro is a refrain of the title that sinks beneath your skin and into your chest. This mysterious song makes that anxiousness go away, ironic enough. Maybe that’s been the solution to this problem all along: recognition, acceptance, and honesty.

“Frail State Of Mind” will appear on the 1975’s forthcoming album Notes On A Conditional Form that’s set to drop on February 21, 2020. In July, they released “The 1975” which features the 16-year-old environmental activist Greta Thunberg reading a speech beckoning for the world to recognize and take action for the preservation of our climate.

Listen to the 1975’s primer on anxiety up above.