Garbage are back, announcing their first new album in almost four years.

Dubbed Let All That We Imagine Be the Light, the new LP will be their eighth, and follows on from the release of 2021’s No Gods No Masters and a pair of EPs in recent years. Their new record arrives on May 30 via Stun Volume.

“Our last album was extremely forthright. Born out of frustration and outrage – it had a kind of scorched earth, pissed off quality to it,” singer Shirley Manson explains in a statement. “With this new record however, I felt a compulsion to reach for a different kind of energy. A more constructive one. I had this vision of us coming up out of the underground with searchlights as we moved towards the future.

“Searching for life, searching for love, searching for all the good things in the world that seem so thin on the ground right now. That was the over-riding idea during the making of this record for me – that when things feel dark, it’s best to try to seek out that which is light, that which feels loving and good. 

“When I was young, I tended towards the destruction of things,” Manson adds. “Now that I’m older I believe it’s vitally important to build and to create things instead. I still entertain very old romantic ideals about community, society and the world. I don’t want to walk through the world creating havoc, damaging the land and people. I want to do good. I want to do no harm.”

Recorded in a number of locations – including Los Angeles’ Red Razor Sounds, Butch Vig’s Grunge is Dead studio, and Manson’s bedroom – the album’s announcement notably hasn’t been accompanied by a lead single. Rather, the band have promised that a preview will arrive “in the coming weeks”.

The new record also arrives following a few months of downtime for the band, with Garbage announcing in August they were forced to cancel the remainder of their 2024 tour dates due to Manson requiring “surgery and rehabilitation” for an undisclosed injury suffered while on tour in Europe. The group are slated to return to the road in March for a run of South American tour dates.

The impending release of Let All That We Imagine Be the Light will also become Garbage’s fourth album since they resumed activity in earnest in 2010, following a five-year period of hiatus.

Their debut self-titled album, Garbage, released in 1995, achieved double-platinum status and peaked at No. 20 on the Billboard 200. Their follow-up album, Version 2.0, released in 1998, reached No. 13 on the Billboard 200 and further cemented their reputation as one of the leading bands of the era.

Garbage have remained busy with musical projects in recent years, including 2021’s, No Gods No Masters. The album debuted at No. 95 on the Billboard 200 and included tracks like “The Men Who Rule the World.” They also collaborated with artists like Screaming Females and Brody Dalle on a special edition of the album, and toured with Alanis Morissette on her Jagged Little Pill anniversary tour in 2022.

Former Bad Boy Entertainment president Kirk Burrowes has sued Sean “Diddy” Combs’ mother, Janice Small (a.k.a. Janice Combs), for allegedly coordinating with her famous son and other co-conspirators to forcefully strip him of his alleged ownership stake in the iconic hip-hop label.

Per the complaint — filed by attorney Tyrone Blackburn on Wednesday (Feb. 26) in the Southern District of New York — Burrowes claims that alongside her son, then-Bad Boy Entertainment attorney Kenneth Meiselas and other unknown co-conspirators, Smalls illegally seized his alleged 25% financial stake in Bad Boy and his 15% share of the label’s annual earnings through “intimidation, violence, fraudulent, misrepresentation and financial concealment.”

The complaint references a specific incident in May 1996 during which he claims Combs stormed into his office and proceeded to threaten him while wielding a baseball bat. Fearing for his safety, Burrowes — who claims to have co-founded the label — claims he signed a contract under duress without seeking any legal counsel, effectively conveying what he claims was his 25% interest in Bad Boy to Combs.

Burrowes, who says he served as Bad Boy’s COO/GM at the time of the 1996 incident (he was promoted to president the following year) and was “instrumental in shaping the company’s success,” alleges that losing out on his claimed 25% ownership stake and Bad Boy stock options caused him “significant financial compensation and employment benefits” along with “irreparable personal, psychological and professional harm.”

“Smalls carefully maintained a facade of integrity, portraying herself as an innocent bystander while orchestrating plaintiff’s financial and professional downfall behind the scenes,” the complaint reads.

The lawsuit further claims that Smalls requested Burrowes’ counsel as recently as 2021 on a documentary about the history of Bad Boy, but that she ultimately reneged on their compensation agreement.

Burrowes previously filed suit against Combs over the alleged 1996 incident in 2003, but that earlier complaint was eventually dismissed in 2004 by a judge in the U.S. District Court for the Southern District of New York. (Combs is currently behind bars awaiting trial on sex trafficking and racketeering charges in a wide-ranging criminal case.)

Burrowes is seeking the return of his alleged 25% Bad Boy stake or compensatory damages matching the value of that stake, as well as an audit of Bad Boy’s earnings since the company’s origination.

Last April, Burrowes’ attorney Blackburn was referred to the grievance committee for New York’s federal court district by Judge Denise Cote for his alleged history of frivolous lawsuits. The judge cited his conduct in five different cases and claimed his filings featured “glaring deficiencies.” Two months prior, Blackburn had filed a sprawling lawsuit against Combs on behalf of producer Rodney “Lil Rod” Jones Jr., who accused the mogul of sexual assault, sex trafficking and various other forms of misconduct.

Billboard reached out to Combs Global in an effort to reach a representative for Smalls but did not hear back by press time.

Kendrick Lamar continues a historic campaign on Billboard’s Rhythmic Airplay chart as his single “Luther,” with SZA, ascends to the No. 1 spot on the list dated March 1. The track replaces the rapper’s own “TV Off,” featuring Lefty Gunplay, after its three-week reign. As another SZA collaboration, “30 for 30,” pushes 2-3 and his former leader “Squabble Up,” repeats at No. 4, the quartet gives Lamar a second straight week of dominating the chart’s top four spots.

With his performance on Rhythmic Airplay, Lamar is just the second artist to simultaneously occupy the top four ranks on any Billboard airplay chart. He joins his rival Drake, who managed the feat for 11 separate weeks on the Rap Airplay survey, for seven frames in March-April 2013 and four in May-June 2018. As Drake’s runs all involved at least one song where he was in a featured role on a track by another lead artist, Lamar is the first artist to complete the achievement in all lead or co-lead capacities.

“Luther,” which concurrently rises to No. 1 on the Billboard Hot 100, captures the Rhythmic Airplay crown as the most-played song on U.S. panel-contributing radio stations in the week of Feb. 14-20, according to Luminate, a 5% gain from the previous week.

“Luther” gives Lamar his ninth No. 1 on Rhythmic Airplay. A full third have come in 2025 alone, with “Squabble Up” reigning for two weeks in January and “TV Off” leading the ratings for three weeks in February.

Here’s a review of the rapper’s entire chart-topping collection on the radio chart:

“Humble.,” three weeks at No. 1, beginning June 6, 2017
“Loyalty.,” feat. Rihanna; one, Sept. 30, 2017
“Love.,” feat. Zacari; one, Dec. 30, 2017
“Pray for Me,” with The Weeknd; two, April 18, 2018
“Like That,” with Future and Metro Boomin; four, May 18, 2024
“Not Like Us,” 12, June 15, 2024
“Squabble Up,” two, Jan. 18, 2025
“TV Off,” feat. Lefty Gunplay; three, Feb. 8, 2025
“Luther,” with SZA, one (to date), March 1, 2025

For SZA, “Luther” adds a seventh Rhythmic Airplay No. 1 to her account and first since “Saturn” landed at the top last May. Here’s a recap of her leaders:

“Kiss Me More,” Doja Cat feat. SZA; two weeks at No. 1, beginning June 26, 2021
“I Hate U,” one, March 19, 2022
“Kill Bill,” three, March 4, 2023
“Snooze,” two, July 15, 2023
“Rich Baby Daddy,” Drake feat. Sexyy Red & SZA; two, Dec. 2, 2023
“Saturn,” one, May 11, 2024
“Luther,” with Kendrick Lamar; one (to date), March 1, 2025

Lamar and SZA are in prime position to improve to a 10th and eighth champ, respectively, and replace themselves at the summit. Their other current collaborative single, “30 for 30” (billed to SZA with Kendrick Lamar), advances to the runner-up spot with a 14% surge in weekly plays.

Beyond the top tracks, both Lamar and SZA cement their stranglehold with more titles on Rhythmic Airplay. SZA’s third tune in the top 10, “BMF,” pushes 12-10 (up 9% in plays), while Lamar has a fifth, the AzChike-assisted “Peekaboo,” which debuts at No. 37.

Lola Young may be “Messy,” but she’s been climbing the chart with her breakthrough, viral single.

“Messy” hit No. 1 on the U.K. Singles Chart, dethroning Gracie Abrams’ “That’s So True.” The track also peaked at No. 14 on the Billboard Hot 100.

“What I’m realizing about myself as an artist is that I’m not about the glitz and the glam — I don’t scream ‘Hollywood’,” the rising star previously told Billboard of her musical journey. “For a long time, I wanted to represent this ideal of Westernized beauty – but then I realized I’m not that. I now choose to give realness and truth. I’ve got a bit of a belly out, I f–cking swear a bunch and I have fun. And that’s what people are resonating with.”

Below, find the lyrics to Lola Young’s “Messy.”

You know I’m impatient
So why would you leave me waiting outside the station
When it was like minus four degrees? And I
I get what you’re sayin’
I just really don’t wanna hear it right now
Can you shut up for like once in your life?
Listen to me, I took your nice words of advice
About how you think I’m gonna die, lucky if I turn thirty-three
Okay, so yeah, I smoke like a chimney
I’m not skinny and I pull a Britney every other week
But cut me some slack, who do you want me to be?

‘Cause I’m too messy, and then I’m too f—ing clean
You told me, “Get a job”, then you ask where the hell I’ve been
And I’m too perfect ’til I open my big mouth
I want to be me, is that not allowed?
And I’m too clever and then I’m too f—ing dumb
You hate it when I cry unless it’s that time of the month
And I’m too perfect ’til I show you that I’m not
A thousand people I could be for you when you hate the f—ing lot
You hate the f—ing lot
You hate the f—ing lot
You hate, you hate

It’s taking you ages
You still don’t get the hint I’m not asking for pages
But one text or two would be nice and
Please, don’t pull those faces
When I’ve been out working my a– off all day
It’s just one bottle of wine or two, but, hey
You can’t even talk, you smoke weed just to help you sleep
Then why you out getting stoned at four o’clock
And then you come home to me?
And don’t say hello ’cause I got high again
And forgot to fold my clothes

‘Cause I’m too messy, and then I’m too f—ing clean
You told me, “Get a job”, then you ask where the hell I’ve been
And I’m too perfect ’til I open my big mouth
I want to be me, is that not allowed?
And I’m too clever and then I’m too f—ing dumb
You hate it when I cry unless it’s that time of the month
And I’m too perfect ’til I show you that I’m not
A thousand people I could be for you when you hate the f—ing lot
You hate the f—ing lot
You hate the f—ing lot

Oh, and I’m too messy, and then I’m too f—ing clean
You told me, “Get a job”, then you ask where the hell I’ve been
And I’m too perfect ’til I open my big mouth
I want to be me, is that not allowed?
And I’m too clever and then I’m too f—ing dumb
You hate it when I cry unless it’s that time of the month
And I’m too perfect ’til I show you that I’m not
A thousand people I could be for you when you hate the f—ing lot
You hate the f—ing lot
You hate the f—ing lot
You hate the f—ing lot
You hate the f—ng lot

Lyrics licensed & provided by LyricFind

WRITERS
Lola Young, Conor Dickinson

PUBLISHERS
Lyrics © Sony/ATV Music Publishing LLC