The Weeknd added yet another music video to YouTube’s Billion Views Club, as the “Call Out My Name” visual surpassed the milestone. The achievement marks the star’s sixth music video to surpass one billion views.

In the 2018 clip, The Weeknd (real name Abel Tesfaye) wanders an empty road at dusk, before bats explode from his head at the chorus. “So call out my name/ Call out my name when I kiss you so gently/ I want you to stay,” he sings in the hook.

He then appears on a stage against a blank screen and walking among a fire-filled landscape with its animal inhabitants frozen. He then catches the attention of a creepy woodland creature, who also appears at the end of the clip, staring into the camera from an apartment balcony.

Upon its release, “Call Out My Name,” peaked at No. 4 on the all-genre Billboard Hot 100 songs chart and No. 3 on Hot R&B/Hip-Hop Songs. It also reached No. 14 on the US Rhythmic chart and was certified three-times platinum by the Recording Industry Association of America (RIAA).

The track appears on The Weeknd’s 2018 EP, My Dear Melancholy, which topped both the all-genre Billboard 200 and the Top R&B/Hip-Hop Albums charts.

To celebrate The Weeknd’s latest accomplishment, watch the “Call Out My Name” music video below.

WASHINGTON (AP) — Amazon has put in a bid to purchase TikTok, a Trump administration official said Wednesday, in an eleventh-hour pitch as a U.S. ban on the platform is set to go into effect Saturday.

The official, who was not authorized to comment publicly and spoke on the condition of anonymity, said the Amazon offer was made in a letter to Vice President JD Vance and Commerce Secretary Howard Lutnick.

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The New York Times first reported on the bid.

President Donald Trump on Inauguration Day gave the platform a reprieve, barreling past a law that had been upheld unanimously by the Supreme Court, which said the ban was necessary for national security.

Under the law, TikTok’s Chinese-owned parent company ByteDance is required to sell the platform to an approved buyer or take it offline in the United States. Trump has suggested he could further extend the pause on the ban, but he has also said he expects a deal to be forged by Saturday.

Amazon declined to comment. TikTok did not immediately respond to a request for comment.

The existence of an Amazon bid surfaced as Trump was scheduled on Wednesday to meet with senior officials to discuss the coming deadline for a TikTok sale.

Although it’s unclear if ByteDance plans to sell TikTok, several possible bidders have come forward in the past few months. Among the possible investors are the software company Oracle and the investment firm Blackstone. Oracle announced in 2020 that it had a 12.5% stake in TikTok Global after securing its business as the app’s cloud technology provider.

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In January, the artificial intelligence startup Perplexity AI presented ByteDance with a merger proposal that would combine Perplexity’s business with TikTok’s U.S. operation. Last month, the company outlined its approach to rebuilding TikTok in a blog post, arguing that it is “singularly positioned to rebuild the TikTok algorithm without creating a monopoly.”

“Any acquisition by a consortium of investors could in effect keep ByteDance in control of the algorithm, while any acquisition by a competitor would likely create a monopoly in the short form video and information space,” Perplexity said in its post.

The company said it would remake the TikTok algorithm and ensure that infrastructure would be developed and maintained in “American data centers with American oversight, ensuring alignment with domestic privacy standards and regulations.”

Other potential bidders include a consortium organized by billionaire businessman Frank McCourt, which recently recruited Reddit co-founder Alexis Ohanian as a strategic adviser. Investors in the consortium say they’ve offered ByteDance $20 billion in cash for TikTok’s U.S. platform. Jesse Tinsley, the founder of the payroll firm Employer.com, says he too has organized a consortium and is offering ByteDance more than $30 billion for the platform. Wyoming small business owner Reid Rasner has also announced that he offered ByteDance roughly $47.5 billion.

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Both the FBI and the Federal Communications Commission have warned that ByteDance could share user data — such as browsing history, location and biometric identifiers — with China’s authoritarian government. TikTok said it has never done that and would not do so if asked. The U.S. government has not provided evidence of that happening.

Trump has millions of followers on TikTok and has credited the trendsetting platform with helping him gain traction among young voters.

During his first term, he took a more skeptical view of TikTok and issued executive orders banning dealings with ByteDance as well as the owners of the Chinese messaging app WeChat.

This story was originally published by The Associated Press.

Bruce Springsteen has paid tribute to Joe DePugh, the New Jersey pitcher who inspired his hit song “Glory Days,” following news of DePugh’s death this week at the age of 75.

“Just a moment to mark the passing of Freehold native and ballplayer Joe DePugh,” Springsteen wrote in an Instagram post on March 30. “He was a good friend when I needed one. ‘He could throw that speedball by you, make you look like a fool’ …. Glory Days my friend.”

DePugh and Springsteen grew up together in Freehold, N.J., and played baseball in the same youth league. Their now-legendary chance encounter at a bar in 1973 served as the real-life basis for one of the most iconic verses on Springsteen’s Born in the U.S.A. album.

DePugh later confirmed the moment in interviews, recalling how the two reconnected outside the Headliner in Neptune, then spent hours catching up inside.

“Whenever we’re together, it’s the same dynamic: I’m the star and he’s the guy at the end of the bench,’ said DePugh to the Palm Beach Post in 2011. “That’s who he has always been to me, my right fielder.”

Springsteen never mentioned DePugh by name in the song, which reached No. 5 on the Billboard Hot 100 in 1985. But the mystery of the man behind the lyrics was finally solved in 2011, when Freehold historian Kevin Coyne revealed DePugh’s identity in a New York Times article, with confirmation from Springsteen himself.

“He was not a person who was living in those days. He had had those days, he had thrived in them and he had loved them, and then he had a nice life,” Coyne said of DePugh.

A standout pitcher and basketball player, DePugh once tried out for the Los Angeles Dodgers and played college basketball at King’s College in Wilkes-Barre, Pennsylvania. He became the legal guardian of his younger brothers after the early death of his parents, later working as a contractor and splitting his time between Florida and Vermont.

DePugh and Springsteen remained friends throughout their lives, occasionally crossing paths in Palm Beach County, where Springsteen owns a home and DePugh lived in Lake Worth.

“He said to me, ‘Always remember I love you,’” DePugh recalled of one of their final meetings. “He kissed me on both cheeks, and then he was out the door.”

DePugh died after a battle with cancer. He is remembered fondly by friends, including longtime Freehold teacher and coach Rich Kane, who said: “All he wanted to do was raise his brothers, play baseball, play basketball and just hang in Freehold Borough. This one hurt. Joe and I were very close.”

Ecca Vandal just had her “pinch me” moment on tour with Limp Bizkit. While opening for the nu-metal icons on their Loserville European tour, the Melbourne-raised punk-pop force was joined on stage by none other than Fred Durst himself.

The moment went down in Frankfurt on March 31, as Vandal performed her latest single, “Cruising to Self Soothe.” Mid-set, Durst made a surprise entrance to sing alongside her, to the roar of the crowd.

“Make some noise for Fred Durst,” she shouted, adding, “What a f—ing honor!” Later, she posted a clip of the performance on Instagram with the caption: “Cruising with Fred Durst.” The Limp Bizkit frontman responded with a smiling emoji and fire emojis.

Durst has long been a fan of the genre-defying South African-born artist, previously calling her new single “legendary.” “Cruising to Self Soothe,” released in late February, is Vandal’s first new music of 2025 and follows her support slot for IDLES earlier this year. The gritty, empowering track explores personal strength and liberation in the face of isolation.

“This song is about cultivating your inner strength when navigating life on your own, even when it feels a bit isolating,” she explained. “It’s about that pivotal moment when you recognise that you’re stronger without the people who were weighing you down.”

Vandal continued: “Even when others are waiting for you to fall, you’re still rising — stronger than ever.”

The Loserville tour, featuring support acts Karen Díó, Bones, N8NOFACE, and Riff Raff, wraps up tonight at the Accor Arena in Paris. Vandal has been a standout opener throughout the run, bringing her explosive stage presence to a whole new audience.

After four years without solo releases, Vandal returned in 2024 and 2025 with new music and continued collaborations with acts like Birdz, Illy, DZ Deathrays and Void of Vision. Her self-titled debut album dropped in 2017.

Incendiary Swedish rockers The Hives are readying themselves for a big year, with a new album announced alongside a global run of tour dates.

The veteran quintet – who celebrated their 30th anniversary in 2023 – shared the news of their seventh album in a press release on Tuesday (April 1), with the announcement taking the form of an open letter formally addressed to “whom it may concern,” but clarified to mean “everyone.”

“This message is to inform you that International Rock Sensation The Hives, the best live band on the planet and still your new favourite band, lauded on all continents for their masterful skill and reckless abandon in the rock music field, have once again, sooner than you expected, created a new body of work the likes of which have never been heard or indeed probably will again,” the message began.

“A new record so full of energy, joy, anger and life that you will be questioning reality as you have known it,” it continued. “They finally did it. Every single song a single, every single single a hit, every hit a direct hit in the face of the man.”

The record in question is titled The Hives Forever Forever The Hives and will be released via Play It Again Sam on Aug. 29. According to the press release, the 13-track album was “crafted with commitment, abandon and skill in Sweden in cohorts with the esteemed producers Pelle Gunnerfeldt and Mike D of Beastie Boys.”

The group have also unveiled “Enough Is Enough” as the album’s lead single, with a video directed by filmmaker Eik Kockum capturing the group in Bucharest, Romania.

“Who in their right mind would start a song like this? No one but The Hives,” the group explained. “They are here again sooner than you expected and they have had enough of everyone at this point. Hence the title. Dig? Dig.”

The Hives will celebrate the release of their forthcoming album with a world tour which launches in Australia in July, before visiting North America, Europe, and the U.K. throughout the rest of the year.

The Hives Forever Forever The Hives arrives as the band’s seventh album, and follows on from the release of 2023’s The Death of Randy Fitzsimmons – ending an eleven-year gap between releases for the band. 

The group initially formed in 1993, though largely avoided widespread recognition until the release of the 2001 compilation Your New Favourite Band. The compilation resulted in the re-release of their single “Hate to Say I Told You So,” which peaked at No. 86 on the Hot 100, and saw their following album – 2004’s Tyrannosaurus Hives – reach a career high of No. 33 on the Billboard 200.

The Hives – World Tour 2025

July 17  – Metropolis Freo, Perth, AU
July 19  – Forum, Melbourne, AU
July 23  – Enmore Theatre, Sydney, AU
July 24  – Fortitude Music Hall, Brisbane, AU
Sept. 8  – Stubb’s Waller Creek Ampitheater, Austin, TX
Sept. 9  – House of Blues, Houston, TX
Sept. 10  – House of Blues, Dallas, TX
Sept. 12  – Ogden Theatre, Denver, CO
Sept. 13  – The Union Event Center, Salt Lake City, UT
Sept. 15  – Showbox SoDo, Seattle, WA
Sept. 16  – The Commodore Ballroom, Vancouver, BC
Sept. 17  – Revolution Hall, Portland, OR
Sept. 19  – Ace of Spades, Sacramento, CA
Sept. 20  – The Warfield, San Francisco, CA
Sept. 22  – The Sound, Del Mar, CA
Sept. 25  – Hollywood Palladium, Los Angeles, CA
Oct. 17  – Sentrume Scene, Oslo, NO
Oct. 18  – KB Hall, Copenhagen, DK
Oct. 21  – Colombia Halle, Berlin, DE
Oct. 24  – Zenith, Munich, DE
Oct. 25  – Haus Auensee, Leipzig, DE
Oct. 26  – Gasometer, Wien, AT
Oct. 28  – Xtra, Zurich, CH
Oct. 29  – Alcatraz, Milan, IT
Nov. 1  – Sant Jordi Club, Barcelona, ES
Nov. 2  – Wizink, Madrid, ES
Nov. 4  – Sagres Campo Pequeno, Lisbon, PT
Nov. 19  – Forest National, Brussels, BE
Nov. 20  – Le Zenith, Paris, FR
Nov. 22  – AFAS, Amsterdam, NL
Nov. 24  – Utilitia Arena, Cardiff, UK
Nov. 26  – Ovo Hydro, Glasgow, UK
Nov. 28  – Aviva Studios, Manchester, UK
Nov. 29  – Alexandra Palace, London, UK
Dec. 1  – Palladium, Cologne, DE
Dec. 2  – Jahrhunderthalle, Frankfurt, DE
Dec. 3  – Sporthalle, Hamburg, DE
Dec. 6  – Avicii Arena, Stockholm, SE

Fresh off the back of his early exit from Saturday Night Live over the weekend, Morgan Wallen has launched a new line of “Get Me to God’s Country” merchandise.

Launched on Tuesday (April 1), the new merch options are rather simple, consisting of a white shirt and a hat, with the latter available in two different color variants. All the items feature the same design, however, with the Coors logo worked into a design which bears the words “Get Me to God’s Country.”

Despite the timing of the merch drop, the Club Wallen Instagram account has assured fans it’s not part of an April Fools’ Day joke.

The nascent run of merch comes just days after the phrase rose to prominence following Wallen’s early walk-off from Saturday Night Live. After performing a pair of songs from his forthcoming album, I’m the Problem, Wallen briefly joined the SNL cast at the end of the show, as is customary on the long-running sketch comedy series. He then whispered something into host Mikey Madison’s ear, gave her a hug and abruptly walked off the stage at Studio 8H.

Shortly after the incident, Wallen shared a photo on his Instagram Stories from his private plane, with the caption “Get me to God’s country” written over an image of the runway.

Given the somewhat mysterious nature of the phrase and the swift launch of the merchandise line, it’s currently unclear whether the slogan is part of Wallen’s new album, or something else entirely. The forthcoming record,  I’m the Problem, is scheduled to be released on May 16 and features a total of 37 tracks, though only a handful of their titles have been released to date.

In an interview with Entertainment Weekly following Wallen’s walk-off, longtime cast member Kenan Thompson said the incident was “definitely a spike in the norm.”

“We’re so used to everybody just turning around and high-fiving us, everybody’s saying, ‘Good job, good job, good job.’ So when there’s a departure from that, it’s like, hmm, I wonder what that’s about?” Thompson added, noting that Prince had previously done the same thing during his appearance on the show.

“I’m not saying Morgan Wallen is Prince, but we weren’t surprised because Prince was notoriously kind of standoffish. It’s just how he was. So we just thought like, ‘Okay, now he’s gone back into fantasyland.’”

Wallen is yet to publicly comment on the incident or provide information as to the meaning behind the phrase.

Selena Gomez and benny blanco’s first collaborative album, I Said I Love You First, debuts at No. 1 on Billboard’s Top Album Sales chart (dated April 5). It’s the fourth leader for Gomez and first for blanco. The set sold 71,000 copies in the U.S. in the week ending March 27, according to Luminate. It’s the best sales week for Gomez since 2015 and blanco’s best sales week ever.

Of the 71,000 sold, vinyl purchases comprise 21,000 – the biggest week on vinyl for either artist. The title – the first album pairing from the real-life couple – also enters at No. 1 on the Vinyl Albums chart.

In total, I Said I Love You First is Gomez’s eighth top 10 on Top Album Sales, and the first for blanco.

Also debuting in the top 10 on the latest Top Album Sales chart: Japanese Breakfast’s For Melancholy Brunettes (& Sad Women) and My Morning Jacket’s is.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.

Of the 71,000 copies sold of I Said I Love You First, physical sales comprise 38,000 (21,000 on vinyl and 17,000 on CD) and digital download sales comprise 33,000.

The opening-week sales of I Said I Love You First were bolstered by its availability across seven vinyl variants (different color editions, some with alternate covers; including a signed version), three CD versions (a standard CD, a signed edition, and a zine/CD version with expanded packaging), a deluxe box set containing branded merch and a CD, and 10 different digital download iterations.

Of the download editions, firstly, there was a widely available standard set at digital retail. Then, through the album’s opening week, nine additional download variants were issued, all initially exclusively available through Gomez’s webstore, and each sold for $5. All of the variants included the standard album’s 14 songs, plus bonus material. Five of the variants each had one bonus track (“Stained,” “Talk,” “That’s What I’ll Care [Seven Heavens Version],” “Scared of Loving You [Live From Vevo]” and “How Does It Feel To Be Forgotten [Live From Vevo],” respectively) and one contained two bonus cuts (an acoustic version and extended version of the album single “Call Me When You Break Up”). There was also an Explained: Narrated by Selena Gomez edition (with 14 bonus tracks with Gomez providing commentary on each of the set’s 14 songs), a Slowed & Reverbed edition (with 14 bonus slowed and reverbed versions of the album’s songs) and an Instrumentals edition (with 14 bonus instrumental versions of the tracklist).

All nine of the variants became available in the iTunes Store on Wednesday (March 26). The variants were only sold in the iTunes Store through March 27, the final day they were also sold in Gomez’s store.

Lady Gaga’s chart-topping MAYHEM is a non-mover at No. 2 on Top Album Sales with a little over 13,000 sold (down 44%).

Japanese Breakfast lands its best sales week ever and highest charting title on Top Album Sales as For Melancholy Brunettes (& Sad Women) debuts at No. 3 with 13,000 sold. (It’s the second top 10 for the act.) The album’s sales were aided by its availability across eight vinyl variants (including a signed version), along with a standard download, CD and cassette edition. Vinyl sales tallied up to just over 10,000 – the act’s best week on vinyl, and it yields at No. 2 debut on the Vinyl Albums chart.

Kendrick Lamar’s former No. 1 GNX is steady at No. 4 on Top Album Sales (a little more than 11,000; down 9%) while The Weeknd’s chart-topping Hurry Up Tomorrow jumps 15-5 (11,000; up 92% following the release of a deluxe CD boxed set edition of the album sold in the artist’s webstore).

My Morning Jacket’s latest studio album, titled is, debuts at No. 6 on Top Album Sales with nearly 10,000 sold – with 7,000 of that sum on vinyl. It’s the fifth top 10-charting effort for the act. It also launches at No. 4 on the Vinyl Albums chart. The set was available across five vinyl variants, along with a standard CD and download edition.

Rounding out the rest of the top 10 on Top Album Sales: Sabrina Carpenter’s former leader Short n’ Sweet slips 6-7 (nearly 10,000; down 5%), LE SSERAFIM’s HOT falls 1-8 in its second week (8,000; down 80%), Playboi Carti’s MUSIC drops 3-9 (just over 7,000; down 51%) and Chappell Roan’s chart-topping The Rise and Fall of a Midwest Princess dips 9-10 (7,000; down 13%).

Morgan Wallen walked off the ‘SNL’ set early, which stirred memes and debates online as to why he left and around his cryptic post of “Get me to God’s Country.” ‘SNL’ cast members Kenan Thompson responded to his walk-off. Keep watching for all the updates on Morgan Wallen’s abrupt departure.

What do you think of Morgan Wallen walking off? Let us know in the comments.

Tetris Kelly:

Morgan Wallen walked off the SNL set early and then posted “Get me to God’s Country,” which started a flurry of online debate and memes. Some SNL cast members have spoken out, with Morgan finally chiming in. We have the story. Saturday Night Live’s host or musical guest usually stays on stage during the credits, but the country star abruptly left, noticeably causing some confusion. Then, after that, posting “Get me to God’s Country” had the internet and NYC in a tizzy. One user stated: “Sorry, but there’s nothing funnier than saying ‘Get me to God’s Country’ on a photo of your private jet.”

While another user zinged: “Morgan Wallen had to run off the stage at SNL to get back to ‘God’s Country,’ where you can apparently say the N-word and throw chairs off of tall buildings with absolutely no meaningful consequences,” referencing some of his past controversies. Meanwhile, some just showed their version of God’s Country, including the Empire State Building. SNL cast member Kenan Thompson has spoken up, saying: “We’re so used to everybody just turning around and high-fiving us, everybody’s saying, ‘Good job, good job, good job.’ So when there’s a departure from that, it’s like, hmm, I wonder what that’s about? Seems like a complicated individual, I guess. The ‘God’s Country’ of it all is strange because it’s like, what are you trying to say? You trying to say that we are not in God’s Country? We’re not all under God’s umbrella? That’s not necessarily my favorite.”

Keep watching for more.

Veteran Canadian rocker Neil Young has shared his fears over a potential ban from the U.S. that may await him upon his return from Europe.

The musician – who is a dual citizen of Canada and the U.S. – has not been shy in regard to his criticism of President Donald Trump in the past. Previously, Young has gone so far as to call Trump “a disgrace to my country,” and most recently, claim that “the US has lost its standing” on the world stage under the President’s leadership.

However, with an upcoming European tour set to be followed by a run of dates in the U.S., Young has taken to his Archives website to ruminate on the notion that he too may be barred from entering the country for sharing his critical thoughts on Trump.

“When I go to play music in Europe, if I talk about Donald J. Trump, I may be one of those returning to America who is barred or put in jail to sleep on a cement floor with an aluminum blanket,” Young wrote on Tuesday (April 1). “If I come back from Europe and am barred, can’t play my USA tour, all of the folks who bought tickets will not be able to come to a concert by me.

“If the fact that I think Donald Trump is the worst president in the history of our great country could stop me from coming back, what does that say for Freedom? I love America and its people and its music and its culture.”

As Young continued, he reflected on the constitutional right to freedom of speech within the country, likely referring to recent news stories such as the arrest and orders to deport Syrian-born permanent resident and pro-Palestinian activist Mahmoud Khalil.

“By these latest actions of our US government, it seems that those who speak out freely with their own opinions are now vulnerable to a non-existent Trump law,” Young wrote. “Then it seems to me that if you voted for Kamala Harris over Trump, that makes it possible for you to go to jail or be detained, punished in some way for not showing allegiance to what? How spineless is that? Trump is not be able to stand up to anyone who does not agree with his ideas?

“Remember, all months have 30 days,” he concluded. “One country, indivisible, with Liberty and Freedom for all. Remember that? I do.”

Young is currently scheduled to launch his forthcoming tour with the Chrome Hearts in Rättvik, Sweden on June 18, with North American dates set to begin in Charlotte, NC on Aug. 8. The rocker’s previously-announced plans for a free concert in Ukraine to launch the tour were recently cancelled, with Young citing safety concerns as the reason for the decision.

In the words of an iconic 2010 Skrillex track, yes, on my god.

On Tuesday (April 1), the producer released his fourth studio album, the astoundingly titled F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3.

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Consider this name a tone-setter for the tongue-in-cheek, often abrasive, occasionally laugh-out-loud funny, self-deprecating, self-aware, loving and ultimately quite moving project. Made up of 34 tracks, some as short as 29 seconds, the project is, as the opening track “SKRILLEX IS DEAD” requests, best listened to from start to finish, as it plays as a 46-minute continuous mix that compounds upon itself as it barrels along to a soaring finish.

If the project sounds like Skrillex having fun with his friends, that’s because he’s got more than 25 collaborators on the project, with this list including Dylan Brady of 100 Gecs, Boys Noize (the other half of Skrillex’s longtime Dog Blood project), previous collaborator Bibi Bourelly, bass masters Wuki and G Jones and many, many others (with even more pals, including Fred again.. and ISOxo, also listed in the production credits).

So too do all the friends on this album not only indicate just how revered this guy is, but how he’s an excellent curator with an ear for greatness both established and up and coming, with everyone seeming to use their turn on the project to flex as hard as humanly possible in terms of singing, production, sound design, complexity and general heaviness.

Skrillex himself has said little about the project, beyond that it would be his last for Atlantic Records, thanking “all my friends who took part in creating this moment” and reiterating it’s meant to be listened to from start to finish.

So, with a lot left open for interpretation, one can see the album as bridging two sides of the artist born Sonny Moore’s long trajectory, with many moments evoking the hardest, most absurdly heavy moments that defined his earliest output as Skrillex, an era when his work came to define American style dubstep and evolve ideas of what music itself might be.

Meanwhile, the several in which he himself sings both nod to his early days as the vocalist for emo band From First to Last while — in finally using his own voice on his electronic productions — indicate evolution, with Skrillex hereby putting himself out there in an arguably more vulnerable way than on much of his previous output. (And the moments in which he sings are some of the album’s best.)

The album is MC’d by a unidentified booming radio voice, who often drops in jokes that might in passing seem like just goofing around, but, in their frequent allusions to Skrillex being “dead,” Skrillex being “locked in a basement,” being about Atlantic Records, etc. seem to also perhaps indicate the artist’s feelings about this being his final project for his longtime label. (The project, like all of his work, is a jouint release from Atlantic and Skrillex’s own OWSLA label, with no announcement yet about what the future of OWSLA is now that his contract with Atlantic is complete.)

While there were nine years between Skrillex’s first and second albums, F*CK U SKRILLEX is the relatively lightning-speed follow-up to 2023’s Quest for Fire and Don’t Get Too Close. In comparison, these albums feel absolutely contained and also traditional, containing 15 and 12 songs, respectively. To put 34 tracks on an album some might call batsh– (and we mean that as a compliment) suggests a punching through of boundaries, with the project altogether giving a feel of evolution and untethered creativity.

While it’s perhaps a fool’s errand to rank tracks on an album that’s meant to be listened to from start to finish, there are certainly standout moments. These are the album’s 34 tracks, ranked.