Some artists reinvent themselves. Klypso straight-up reincarnates. After running laps through the industry, Dr. Dre protégé, Grammy-nominated producer, Flo Rida’s DJ, he’s now stepping into his most personal era with The Stray Cat Trilogy. And if the first installment, “ Stray Cat ,” is any sign, this story isn’t just about heartbreak, it’s about what happens when you claw your way back to yourself. The track opens with soft, fluttery guitar, an air-thin atmosphere, like someone exhaling a prayer in an empty room. Then Klypso shows up with a vocal performance that’s both bruised and unbothered. He isn’t begging to be understood; he’s documenting the moment pain turns into purpose. The track blends pop polish with faith-fueled reflection, but never in a corny, youth-group-retreat way. This is heartbreak for grown people who’ve lived through some things. “Stray Cat” gets vulnerable without losing bite. It sits in that uncomfortable space between loneliness and grace, the place you land when you’re tired of hurting but not done hoping. The chorus lifts like it’s trying to outrun gravity, while the verses keep it grounded with the kind of honesty that stings a little. Then there’s the visual universe, because of course there is. Klypso isn’t doing singles; he’s building lore. The music video expands the narrative, following a celestial wanderer who drops to earth to remind the world that compassion still exists. Not in a sanitized, feel-good way, but in a way that acknowledges how ugly life can get before it gets holy. He brings sight, warmth, and second chances to people written off by everyone else. It’s giving cinematic scripture, art for people who believe in something but don’t always trust religion. “Stray Cat” is the sound of a man who’s survived enough endings to stop fearing them. Klypso isn’t chasing hits here; he’s telling the truth. And in a pop landscape obsessed with flexing and detachment, that honesty hits harder than any drop. “Stray Cat” marks the beginning of a trilogy that combines music, film, and visual art. What inspired you to approach storytelling this way? “Stray Cat” was born from a place that felt spiritual, not just emotional. The story didn’t fit inside one format; it needed a song, a visual, and a myth. The trilogy lets me show the journey from heartbreak to hope to higher meaning. The music expresses the raw pain, the film shows the light breaking through, and the comic dives into the spiritual symbolism behind it all. It’s one message told through three different lenses. The song speaks openly about heartbreak and faith. How did your own experiences shape its meaning? This song came from one of the hardest seasons of my life, but it also came from faith. That quiet whisper that tells you you’re still being guided. I’ve been broken, confused, and abandoned, but I’ve also felt God show up when I didn’t expect it. “Stray Cat” is me admitting I didn’t understand the pain, but trusting there was purpose in it. That blend of heartbreak and spirituality is what gives the song its power. You have worked across hip-hop and pop for years. How does “Stray Cat” reflect your evolution as an artist? For the first time, I let myself make something that wasn’t defined by genre; it was defined by spirit. “Stray Cat” isn’t just pop or hip-hop; it’s a moment of honesty. It’s me stepping into a deeper version of myself and letting the message, not the category, lead the way. I think this track marks the start of me creating from a more spiritual place, not just a musical one. The music video has striking imagery. What message were you hoping to convey through its visuals? The visuals are meant to feel almost sacred. The character falling from the sky represents a spiritual force, a messenger, a guide, showing up when people need it most. Every scene is symbolic: sight being restored, hope returning, a spark of light in dark moments. I wanted the video to remind people that even when life feels broken, there’s something bigger at work. Grace reaches everyone, even the “stray” ones. How does the upcoming comic book complete the story that begins with “Stray Cat”? The comic takes the spiritual message and expands it into a mythic story. It reveals who this sky-born character is, why he’s sent, and how he transforms the people he encounters. It ties the heartbreak from the song and the hope from the video into a bigger, spiritual narrative about purpose and rebirth. It’s the last chapter that shows the full transformation from pain to enlightenment.

The Neighbourhood formed in 2011 in Newbury Park, California, a place that shouldn’t have produced a band capable of reshaping internet-era emotion, yet somehow did. From the beginning, there was something cinematic about them. Not polished, not eager, just aware  in a way that made listeners feel like they were being let in on something private. Jesse Rutherford didn’t sing like he was performing for a crowd. He sang like someone whispering through a door, letting you hear the parts of yourself you didn’t know how to say out loud. The band’s grayscale aesthetic wasn’t branding; it was a climate. A fog. A world. When I Love You.  arrived in 2013, and “ Sweater Weather ” spread like a fever; it didn’t feel like a breakout single. It felt like someone finally put a sound to the kind of quiet longing that lives under your ribs and refuses to leave. People didn’t just listen, they attached parts of their lives to it. The song didn’t trend. It took root. They Weren’t a Band. They Were a Location on a Map. The Neighbourhood didn’t stay contained to that one era. Their catalog evolved like a person does, awkwardly, beautifully, sometimes painfully. Wiped Out!  stretched their coastal melancholy into something larger and harder to swallow. Their self-titled album fractured that world into strobe-lit neon and electronic bruising. And then Chip Chrome & The Mono-Tones  arrived, strange and theatrical, as if the band needed to wear a mask to say things they were too raw to confront directly. The fandom shifted with them, not because every listener understood every sonic choice, but because the music was never just sound. It was a shelter. It was the feeling of scrolling through your camera roll at 1:11 AM searching for a version of yourself that made more sense. Other artists made songs. The Neighbourhood made coping mechanisms. The Silence That Felt Like an Abandoned House And then, without a meltdown or farewell or dramatic digital exit, there was silence. The band stepped back. Social echoes went dim. The internet filled in blanks like it always does, threads, theories, timelines, fragments. But what mattered most wasn’t the information. It was the absence. Some musicians go away, and everyone moves on by morning. But when The Neighbourhood stopped speaking, a generation quietly waited in the doorway of a house they weren’t sure they were allowed to return to. Their absence felt less like a breakup and more like waking up to find furniture gone and a note left behind that just said, don’t forget what this meant. Years passed. The culture changed. The algorithm tried to replace them with replicas, same reverb, same heartbreak vocabulary, none of the marrow. Then came the shift. A heartbeat in the static. A return. Not as nostalgia bait or a forced reunion tour, but as a band that looked back at everything that happened and didn’t run from it. A nearly sold-out tour. A new album. A Warner Records deal. Not everyone gets to re-enter the world at the same volume they left it, but The Neighbourhood was never listened to out of convenience. People didn’t stumble back; they had been waiting with the light on the entire time. The New Chapter: (((((ultraSOUND))))) (((((ultraSOUND)))))   doesn’t try to resurrect past ghosts, though they are present in the corners of the soundscape. It feels like a band testing the air after being gone too long, like stepping back into a room where something once shattered and deciding to rebuild anyway. The production is heavier, minimal, and suffocating in places, pulling you inward rather than out. It contains the weight of what wasn’t said during those silent years, not as explanation, but as evidence. This isn’t a young band aching for recognition. It’s a grown one learning how to speak without flinching. If you enter (((((ultraSOUND)))))  looking for “Sweater Weather: The Sequel,” you will miss the entire point. The Neighbourhood is not a band living in the shadow of who they were. The strongest tracks feel like they’re carving open the parts of memory that are easier to leave buried. Some songs move like someone pacing and rehearsing the truth. Others feel like a door being opened a few inches wider than last time. Not every track detonates. But the ones that do feel like someone finally exhaling after holding their breath for years. The album is uneven in the human way, not the lazy one. The Neighbourhood did something rare in a culture addicted to output: they stopped. They stepped away instead of hollowing themselves out for content. And when they returned, the world didn’t have to be convinced to care. It remembered.

Let’s not lie to ourselves: the music industry is being run by algorithms that care more about “finish rates” than feelings. Your favorite songs are now data points, your attention span is a commodity, and half the “music discovery” content online is written by AI that’s never been to a show, never cried over a bridge, never felt a bassline shake their bones. So yeah, music journalism still matters, maybe more than ever, because someone needs to tell the truth about what’s actually happening to art while everyone else is pretending the system is working. Algorithms don’t love music. People do. The For You Page doesn’t care  that a song saved your life. Spotify doesn’t feel  chills when a vocalist cuts through the noise and hits that one note that ruins your entire day in the best way. Data can track streams, but it can’t translate impact. Music journalism isn’t just reporting; it’s remembering that music is more than consumable sound. It’s culture, identity, rebellion, healing. When you lose the storytellers, you lose the meaning. Without real journalists, the industry gets away with murder (sometimes literally). The music world has always had shadows, exploitative contracts, stolen credits, predatory behavior, and labels playing God with artists’ careers. You think the algorithm is going to investigate that? Platforms benefit from silence. Writers, critics, and independent publications are often the only reason corruption even gets exposed. When we stop asking uncomfortable questions, powerful people stop being held accountable. And trust, some of them are counting on that. Fans deserve better than recycled press releases. We’re drowning in content that says absolutely nothing. “Rising artist.” “Genre-bending.” “Pushes boundaries.” That’s copy-and-paste PR language disguised as journalism, and it’s insulting. Music journalism should explain why  a song hits, how  an artist is evolving, and what  their work means in a larger cultural moment. Otherwise, it’s just unpaid marketing. Artists need someone in their corner who isn’t trying to own them. Labels want profit. Platforms want engagement. Publicists want narratives that won’t make anyone uncomfortable. Journalists? The good ones? They want the truth. They want context. They want to amplify voices that the industry ignores. Independent artists especially depend on publications willing to take risks and spotlight them before a playlist decides they’re worth something. Music is not just a product, and we refuse to treat it like one. If culture is going to survive, we need people who can listen deeply and write honestly. We need music journalists who know when a song is a turning point, not just a trending sound. We need critics who are annoying, obsessive, emotional, and impossible to buy. Because music journalism isn’t about nostalgia, it’s about resistance. If we let algorithms tell the story, we will eventually forget we ever had one. At the end of the day, music journalism isn’t here to please algorithms or stroke industry egos. It’s here to protect the parts of music that can’t be quantified, the stories, the subcultures, the weirdos, the breakthroughs, the voices that refuse to die quietly. As long as artists keep creating from the gut, we’ll keep writing from the same place if the machines want to compete with that, good luck.

David Arquette, Danny A. Abeckaser, Daniella Pick Tarantino, Quentin Tarantino Los Angeles had its moment of high-stakes glam this week as The Perfect Gamble  rolled out its exclusive U.S. premiere at the legendary Harmony Gold Theater. Directed by Danny A. Abeckaser and presented by 2B Films with Saban Films, powered by the event-driven platform Rumor, the night brought together Hollywood icons, rising talents, and industry heavyweights for a first look at the crime thriller everyone’s about to start talking about. The evening kicked off with an intimate pre-reception featuring El Cristiano Tequila and Mezcal tastings, Doctors Orders Wines, Golden Reserve Caviar, and Acqua Panna Water, setting the tone for a premiere that blended luxury with grit, much like the film itself. A Packed House of VIPs & Power Players Eli Roth and Daniella Pick Tarantino The red carpet was stacked. Attendees included David Arquette, Daniella Pick Tarantino, Quentin Tarantino, Eli Roth, Moran Atias, Katie Cassidy, Harry Goodwins, Diana Madison, Paris Dylan, Madison Brodsky, Stephen Huszar, and countless more actors, producers, creatives, and industry fixtures. The film’s stars Arquette, Pick Tarantino, and Abeckaser were joined by co-stars Herzl Tobey, Hadar Shitrit, Dean Miroshnikov, and Sal Tesauro, along with executive producers Yaki Reisner and Eli Weiss. Following the screening, guests stayed for an insightful Q&A moderated by Christopher Gialanella (Publisher, LA Magazine), giving attendees a deeper look into the film’s world, characters, and behind-the-scenes process. Inside the Film The Perfect Gamble follows ex-cons Charlie (Arquette) and Felix (Abeckaser) as they launch an underground casino operation in Georgia. Their rise is fast and dangerous, catching the attention of the Russian mafia. As tensions escalate, Charlie becomes entangled with Sonia (Pick Tarantino), a mysterious woman with secrets of her own. It’s a noir-leaning crime story full of risk, heat, and human complexity. The film hits theaters starting with an exclusive run at The Vista Theater in Los Angeles on November 14, 15, and 16. Audiences across the U.S. can also catch the movie via major Cable, Satellite, and Telco providers, including Xfinity, DirecTV, AT&T U-verse, Cox, Charter/Time Warner, Verizon, Frontier, and more. Digital streaming will be available on Apple TV, iTunes, Amazon Prime Video, Google Play, YouTube Movies, Vudu (Fandango), and Microsoft Movies & TV.

Greenness returns with Honeymoons, their boldest and most extravagant chapter yet. Three years in the making, the album feels like a full bloom moment where every influence they have ever loved crashes together in vivid color. The duo stretches far beyond the quiet introspection of Sunrooms, trading minimalism for a rich palette of art rock, orchestral flourishes, folk tones, jazz twists, retro pop sparkle, and electronic ambience. It is immersive, dramatic, and intentionally overflowing. For the first time, Greenness opens the door to a whole cast of collaborators. Harp, clarinet, double bass, cello, layered guitars, and heavy percussion build a world that feels handcrafted and cinematic at the same time. Cess Greenness commands the center with vocals that move from tender to theatrical, while Graham constructs an entire universe from their home studio with astonishing detail. Honeymoons is not about one perfect phase. It is about the many moments where love, art, and life suddenly feel new again. It captures that dizzying rush of holding something beautiful and fearing its loss in the very same breath. What shift in your lives or artistry sparked the creation of Honeymoons? We started working on Honeymoons about 3 years ago, shortly after the release of our debut album Sunrooms. At the time, we were emerging from the lockdown era and experiencing a more vibrant social environment again, which inspired the creation of a new album that involved collaboration, as opposed to Sunrooms (recorded between 2019 and 2022), which was more of a "hermit-style" project. How did bringing in new collaborators reshape the emotional tone of the record? It allowed us to explore new sounds and textures; for instance, the clarinet on 'Play On' adds playfulness, and there's something bittersweet about it, which fits the song perfectly. The strings on Swells bring so much emotional intensity, and the cello and bass clarinet on Psychopomps add darkness and drama. I also absolutely love the Tarantino-style saxophone part on Sweetness, and the subtle harp textures here and there (for instance, there's a recording of the wind blowing through a Celtic harp at the end of track 6, which marks the halfway point of the album). We are fortunate to know many talented musicians who have been kind enough to share their gifts with our humble home studio. The album explores themes of abundance, temptation, and fear. Which theme challenged you the most while writing? Fear, and more specifically, the fear of losing your loved ones. My dad was diagnosed with terminal cancer one year ago, and this was very much on my mind when working on Psychopomps ("I'm not ready to meet my death.") I think with this album, in the lyrics, I was trying to articulate the absolute weirdness of being human. We have to deal with so many contradictory feelings all at once, all the time: love, death, envy, empathy, despair, joy, regret, longing, desire, fear, gratitude, and anger. It's a total roller coaster. Writing songs and making art in general is our way of expressing it and trying to make sense of it. How did the home studio environment shape the sound of this album? We've recorded all our previous albums in the same home studio, so it's a very familiar place - it's literally just a corner of our living room: simple and cosy! The best thing about it is that we have total freedom; we can work on music whenever we feel like it, without having to book somewhere for a limited time. This means that more creative experimentation can occur, allowing us to take our time and try things out, which encourages us to come up with more unusual ideas. When was the most recent moment you felt an actual "honeymoon phase" in your creative journey? Very recently, actually, through the acquisition of a stage piano! Whenever we get a new instrument, there's always a total honeymoon phase happening, where one or both of us just play it obsessively and then lots of new songs happen, just like that. So I reckon the next Greenness era will be less guitar-based and full of ivories instead...

When Atlanta’s genre-bending shapeshifter Dream Beard  crosses paths with Detroit’s wild-card wordsmith Sada Baby , you already know the result isn’t going to play by anybody’s rules. Their new joint release, “SPRAY,” isn’t just a track; it’s a full-body jolt. A metal-rap hybrid that hits like a rush of adrenaline, the song blends unhinged energy with eerie, melodic undertones that pull you straight into their warped universe. This pairing makes sense in the most chaotic, genius way possible: Dream Beard’s sonic worldbuilding and Sada Baby’s off-the-rails charisma fuse into something loud, gritty, and impossible to ignore. If you came looking for safe, predictable collabs, you’re in the wrong article. This is the one that flips the table. “SPRAY” feels like a fearless fusion of metal and rap. What first inspired the concept behind the song? I was always into metal and rap growing up. It felt natural to mix the two. When I knew we’d be doing a song with Sada baby, I knew I had to come out swinging. Cam really cooked up something special for us, and I think we found a sound.  How did the collaboration with Sada Baby come together, and what was it like blending two such different styles in the studio? Dream Beard: Cam and I work at Soapbox, making holograms of legendary people. When Sada came in, we really hit it off. He told me he wanted to do a song with me in one week, and to be ready. Sho nuff he showed up, and we were ready.  Cameron Mizell: I love the way ppl react to trap beats & breakdowns. Same wild vibe. I’d been experimenting with some fresh, extreme sounds & knew instantly that this was the perfect fit.  You have described yourself as a “sonic alchemist.” What does that term mean to you, and how does “SPRAY” reflect that identity? As someone who’s been a pastor, Buddhist enthusiast, businessman, and pagan. I feel my music has my spirit woven in it, and because I’ve lived many lives. I believe my music will take many forms.  Working under Judge & Jury Records with Howard Benson and Neil Sanderson must have been a unique experience. How did their input influence your creative direction? Howard and Neil are the rarest of gems. The wisdom they have already shown me has changed the way I see music. I can’t wait to do more with them. This is just the beginning.  Your music often explores transformation and identity. What personal truth were you confronting when creating “SPRAY”? I feel like we’re all on a stage playing characters. Dream Beard is a way for me to dip my soul into different worlds. This was just one fraction of a larger story coming.

Every once in a while, a new artist doesn’t just release a song; they start a movement. Matty Aiko ’s debut single “ But, You ” out under Def Alien Records’ Seoul Division is one of those rare introductions that feels both intimate and monumental. The 18-year-old, Tokyo-born and Seoul-raised artist is crafting a version of global pop that speaks the language of rhythm, heart, and honesty. “But, You” is smooth and striking, blending modern R&B gloss with shimmering synths, lush vocals, and an emotional pull that sticks with you. Produced by ROS, the internationally acclaimed DJ and founder of Def Alien, the track feels cinematic yet deeply human. Matty’s voice glides between vulnerability and confidence, wrapping around the beat with a warmth that feels real. It’s not performance. It’s a confession disguised as pop perfection. What sets Matty apart isn’t just his tone or precision; it’s his duality. You can hear Seoul’s sharp production and Tokyo’s emotional depth colliding through a young artist who clearly knows himself. Lyrically, “But, You” explores love, loss, and longing without slipping into cliché. It’s modern soul through a Gen Z lens; sincere, self-aware, and effortlessly cool. With “But, You,” Matty Aiko officially steps forward as Def Seoul’s flagship artist, and it’s clear why. He’s bridging cultures in real time, merging Western R&B textures with Eastern sensitivity. His album Daydreamer just dropped and promises even more of that fearless, youthful energy. If “But, You” is just the prologue, Matty Aiko’s story is already shaping up to be legendary. “But, You” feels incredibly personal. What inspired the story behind the song? It is actually based on a real-life interaction in a coffee shop when I first saw my former GF. It was like everything stopped in the world for her in that moment. ROS & I were discussing things from my past that we could craft songs around in the studio, and he decided to take that scenario and write a story about it. Love how it came out. You grew up between Tokyo and Seoul. How does that dual identity shape your sound? My family left Tokyo when I was very young, so I have few memories about life there. Still, in my youth and younger teens, with so much travel between both, I feel that my sound is shaped with cultural influences from both, along with my idols from the US. Working with ROS on your debut must have been huge. What was that creative process like?  ROS is kind of like a big brother, boss, mentor, and creative partner all at the same time. I believe he was the perfect person to introduce me to the industry because he has worked in every part of the entertainment business, from radio to movies. I want to explore all facets too, and having a creative partner who gets and supports that is huge. We do a lot over Zoom when I'm back home, so technology has really made something that sounds challenging pretty easy and fun.  The upcoming album Daydreamer sounds ambitious. What can listeners expect sonically and emotionally? It feels exciting. When we began writing the songs, we made a commitment to always write from an honest and personal lens. It is the reason that songs like 'Addicted', 'Get Right', 'But, You', 'Coming Home', and others sound & feel so personal... because they are. ROS and I both brought our stories to bear in the lyrics. With that said, listeners can expect real-life stories: good, bad, & in-between. You’re being positioned as Def Seoul’s flagship artist. How do you plan to redefine what global pop looks like in 2025? We truly believe there is an open space for the type of global pop/R&B we are creating and releasing: songs that are fun, youthful, honest, and high-vibration. With the new DEF SEOUL division of DEF ALIEN, Nori Pak (our next artist coming) and I have two projects in a row that will drive that message and vibe home. Based on the initial response so far, our entire team feels confident about our chances of success worldwide.

Xoë Miles has mastered the art of making devastation sound irresistible, and her new single “Someone’s Somebody” is proof. The award-winning alt-pop singer, songwriter and producer digs into the hollow ache of a one-sided relationship, where overthinking becomes a full-time job and self-worth feels like a negotiation. Instead of drowning in sadness, she flips the script, pairing emotional wreckage with bright, 2010s-inspired production that sparkles like a dance floor hiding a heartbreak. Xoë Miles ’ voice lands with clarity and conviction, carrying lyrics that cut straight to the insecure spiral of wanting someone who doesn’t choose you back. But the genius move here is the contrast. She wraps her pain in shimmering synths, polished pop beats and hooks sharp enough to cling to your head for days. It’s self-sabotage set to a banger, the kind of cathartic pop that makes you want to scream-sing along while also texting your therapist. As a self-produced artist, Xoë Miles continues to stand out. She builds her sonic universe from the ground up, blending vulnerability with a glossy pop sheen that recalls the emotional punch of early 2010s hits but with the introspective bite of modern alt-pop. “Someone’s Somebody” marks the next chapter in the lead-up to her forthcoming album, expected in early 2026, while she’s already writing its successor and hitting stages across the country. In a world full of performative confidence, Xoë Miles offers something better: honesty wrapped in shimmer. “Someone’s Somebody” is the anthem for anyone who’s ever begged to be chosen and finally learned they deserve better.

David Dobrik, Photo by Mike Yarkeev  Leave it to David Dobrik to throw the Halloween party everyone will be talking about until next October. His annual bash returned on October 31 and, yeah, it was exactly as wild as you’d expect: high-energy sets, surprise celebrity sightings, and snacks that hit harder than your last edible. With Ty Dolla $ign headlining and sponsors like Cazcanes Tequila, Roobet, and Wavers Snacks, this wasn’t just another influencer costume party; it was a full-blown sensory takeover. Ty Dolla $ign, Photo by Mike Yarkeev  At 9 PM sharp, Ty Dolla $ign hit the stage with DJ PNP West, setting off a performance that had everyone, from creators to industry insiders, losing their minds. The man knows how to own a crowd, and the Halloween setup made it all feel cinematic. Before Ty, Austin Mills warmed things up with a high-energy set that basically turned the backyard into a rave. Snacks, Sips & Serious Munchies Photo by Mike Yarkeev  If you came hungry, you left very full. Guests hit up a massive IT’SUGAR candy bar that looked straight out of a fever dream. Between the endless sugar rush and David’s own Wavers by The Original Doughbrik’s Snacks debut, the vibe was playful, nostalgic, and chaotic in the best way. Everyone was reaching for Hot Honey, Spicy Pickle, and Late Night Pizza Wavers, yes, the kind of chips you can binge guilt-free because they’re low-cal, non-GMO, and actually taste good. David Dobrik, Photo by Mike Yarkeev  Dear Caviar even got in on the action with a wild caviar pairing using Hot Honey Wavers. And for the savory crowd? Doughbrik’s Pizza was firing off slices of Spicy Vodka and Hot Honey Pepperoni, alongside burgers from Heavy Handed. Hydration and hype came courtesy of Celsius and Voss . The Experience Photo by Mike Yarkeev  The Cazcanes Tequila bar was a whole mood. The custom menu slapped, featuring drinks like the Mystic Margarita and Killer Kiss that kept everyone in good spirits (literally). Over at the Roobet Casino wheel, lucky guests had a shot at $1,000, because why not gamble in costume while sipping premium tequila? Photo by Mike Yarkeev  If you blinked, you probably missed another A-lister walking by. David Dobrik, Ty Dolla $ign, Shaun White, JC Chasez (*NSYNC forever), Hannah Stocking, Dixie D’Amelio, Brooklyn Beckham, Nicola Peltz, Faze Banks, Zack Bia, Noah Beck, and a ton more made appearances. The whole thing was one giant crossover episode of pop culture, YouTube, and Hollywood nightlife. Photo by Mike Yarkeev  Sophia Parsa Event Planners went full send on production. The entire venue was transformed into an orange-and-purple Halloween fever dream, think eerie lighting, haunted glam, and photo ops everywhere. It wasn’t just a party; it was content gold. Shaun White, Photo by Mike Yarkeev  This was David Dobrik doing what he does best: bringing together chaos, creativity, and celebrity in one unforgettable night. Ty Dolla $ign tore it down, the tequila flowed endlessly, and Wavers Snacks proved they belong in every party bag from now on. Halloween might be over, but this one’s going down as one of the biggest bangers of the year. Photo by Mike Yarkeev

When an artist calls their album POP CINEMA , you better believe they’re not just talking big, they’re building a whole damn world. Matt Farren , the Santa Rosa screenwriter-turned-pop provocateur, just released POP CINEMA on October 24, 2025, and it’s less of a record and more of a movie you feel your way through. This thing’s got layers. Every track is inspired by a different film and dives headfirst into a new pop subgenre, from tear-jerking ballads to sweaty, full-throttle anthems that belong in a fight montage. Farren brings the drama, but not in a cliché, “Hollywood heartbreak” way, more like if Bowie wrote La La Land and scored it with a synth-drenched fever dream. But here’s where it gets wild: every song features a guest artist. Yeah, every single one. LIVM, Valentine, The Band Joey, Kris Bramson, Emmy Nightingale, KRIMETZ, Aly Rowell, Anthony Meyer, Mal Blanc, Kendahl Hopkins, Bo Waltz, Galaxy Shores, and Anubace all make appearances. It’s giving collab cinematic universe. The result? A genre-bending rollercoaster that never stays in one lane long enough for you to catch your breath. Then there’s his first-ever Spanish track, a move that proves Farren’s not just flexing creative range, he’s dead serious about connection. The guy literally completed Duolingo’s entire Spanish course before writing it. That’s commitment. “The action has already begun, so now? Fight back, find love, and get fired up, ‘cuz this is an album to RUN to,” Farren says. And honestly? That’s exactly the energy this rollout needs. With over 350,000 streams and a steadily climbing global audience, Matt Farren’s turning pop storytelling into something cinematic, immersive, and explosive. POP CINEMA isn’t an album, it’s an emotional main character arc, complete with heartbreak, triumph, and a killer soundtrack.