August has given way to September, and while the leaves may not be ready to start changing quite yet, the fall release schedule promises to be filled with music as colorful and diverse as the soon-to-be autumn leaves.

New albums released this week include Paris Hilton's long-awaited sophomore effort Infinite Icon, Danielle Bradbery's self-titled Danielle and Jackson Dean's On The Back Of My Dreams, while blink-182 and Camila Cabello drop deluxe editions of their latest LPs, ONE MORE TIME…PART-2 and C,XOXO - Magic City Edition, respectively. 

Meanwhile, on the new song front, Post Malone teams up with Dwight Yoakam for their first official recording together, "I Don't Know How To Say Goodbye (Bang Bang Boom Boom)"; Tanner Adell unveils "Silverado"; Toosii gets an all-star assist from Gunna on "Champs Eleysee"; and Above & Beyond reunite with Richard Bedford for "Heart of Stone."

Below, GRAMMY.com details 11 other new releases worth parsing through this weekend, including the surprise reforming of Linkin Park, a full-length 10 years in the making for LL Cool J and a pulsating collaboration between Alesso and David Guetta that will give you one last reason to hit the dance floor before summer is officially through.

Seven years after the devastating passing of Chester Bennington, his bandmates announced on Thursday (Sept. 6) that Linkin Park would be making music again — complete with new co-vocalist Emily Armstrong of Dead Sara and drummer Colin Brittain.

"The Emptiness Machine" serves as not only the two-time GRAMMY winners' first original release since 2017, but it's also the lead single of the band's forthcoming eighth album, FROM ZERO, which is slated to drop Nov. 15 via Warner Records. Armstrong's voice adds a dynamic new counterpoint to Mike Shinoda's vocals as she snarls, "Going around like a revolver/ It's been decided how we lose/ 'Cause there's a fire under the altar/ I keep lying to" before launching into the hard-charging chorus.

It's been more than a decade since LL Cool J last graced the world with a full-length studio set, and he's assembled quite the impressive entourage to help usher in his latest body of work, The FORCE.

In addition to previously released singles with Rick Ross and Fat Joe ("Saturday Night Special") and Saweetie ("Proclivities"), the five-time GRAMMY Awards host's 14th album features a star-studded track list that includes everyone from Snoop Dogg (opener "Spirit of Cyrus") and Eminem ("Murdergram Deux") to Nas ("Praise Him"), Busta Rhymes ("Huey in Da Chair") and trio of hip-hop upstarts Mad Squablz, J-S.A.N.D. and Don Pablito ("The Vow").

"I really thought this album might be the last one I ever made," Halsey confessed just last week in the trailer for her studio set The Great Impersonator. And the mood on "Ego" — which the singer released 24 hours after officially announcing the album's Oct. 25 release date — is just as dire.

On the track, the nonbinary pop savant leans into both '90s alt-rock and 2000s emo as she wails, "I think that I should try to kill my ego/ 'Cause if I don't, my ego might kill me/ I'm all grown up and somehow lately/ I'm actin' like a f—in' baby/ I'm really not as happy as I seem." "Ego" is the latest taste of the decade-jumping concept album, following Britney Spears homage "Lucky" and the hard-rocking "Lonely Is the Muse."

George Strait's 31st studio album — and first since 2019's Honky Tonk Time Machine — is a testament to life and loss.

Dedicated to the memory of his longtime manager Erv Woolsey, fiddle player Gene Elders and road manager Tom Foote, all of whom passed away within a few weeks of each other in the spring of 2024. The LP features the last studio recordings by Elders, who played fiddle on four of its tracks. 

The heartfelt studio set was preceded by singles "MIA Down in MIA," "The Little Things" and "Three Drinks Behind," and includes three songs Strait co-wrote with his son, Bubba. Perhaps the album's most poignant track is its closer, "The Journey of Your Life," which is full of life lessons and a fitting message in the chorus: "You'll need a angel flyin' by your side/ On thе journey of your life."

Queen Naija drapes her silken voice in a dreamy soundscape reminiscent of classic R&B on latest single "Good Girls Finish Last."

Over gorgeous strings and vintage production, the Capitol Records signee laments, "No matter what I change/ It's clear I can never change your mind and/ I thought it'd get better with the time, but/ It's finally time to say goodbye" as she walks away from a relationship that's not working despite her best efforts. 

The single marks the one-time "American Idol" competitor's first release since her 2023 YoungBoy Never Broke Again collaboration, "No Fake Love," and should certainly whet fans' appetites as they wait for a full-length follow-up to her 2020 debut album, Misunderstood.

Just days after first teasing another collab with RM, Megan Thee Stallion has reunited with the BTS star for "Neva Play," a chant-ready back-and forth that finds both rappers racking up points in a digital video game and anime-inspired soundscape in the accompanying music video.

"One, two, three, fo'/ Five, six, seven, eight/ Let 'em know we on the way/ Countin' zeros every day/ You know dat we neva play," Meg brags before the K-pop idol steps in to deliver icy, final boss-level flow with his verse: "You know that we neva play/ Yeah, we gon' forever slay/ Me and Megan on the way/ For Asia, man, we paved the way." Consider it a T.K.O. — and for a 2x combo this Friday, check out "BBA," the Queen of the Hotties' brand new song with Paris Hilton on Infinite Icon, too.

Read More: How Paris Hilton Reclaimed Her Narrative With 'Infinite Icon'

Earlier this summer, Alesso and David Guetta each remixed Shaboozey's breakout hit "A Bar Song (Tipsy)" before it began its ongoing reign atop the Billboard Hot 100, and now the two DJs have joined forces on new single "Never Going Home Tonight."

The emotive track features vocals from Madison Love, who recently helped Kesha pen her comeback single "Joyride" and declares early in the first verse, "DJ, play that sad song one more time." From there, the two EDM titans build tension over an undulating piano line before the beat drops and whips the chorus into a whirlwind of hypnotic ecstasy — complete with Love's repetitive refrain of the song's escapist title.

The Alexander Technique , Rex Orange County's fifth studio album, finds the artist born Alexander O'Connor stripped down to his most vulnerable parts. From the very first line of lead single (and album opener) "Alexander," the English troubadour lays bare his innermost thoughts on jealousy, chronic pain, wanderlust, the unrelenting passage of time and much more over understated, introspective soundscapes filled with gentle guitar, plaintive keys and — on the track list's lone collaboration — chill-inducing harmonies with James Blake.

Rex Orange County will bring The Alexander Technique to life in major U.S. cities and London, FINALLY: A Theatre Tour by Rex OrangeCounty. The trek will kick off with two shows in Chicago on Oct. 4 and 5.

With the release of her new album Willson, Ashe completes the personal triptych she began with 2021's Ashlyn and continued on 2022's Rae — with the trio of titles making up the full name behind her stage persona. (Ashlyn Rae Willson…get it?)

However, Willson also marks the beginning of an exciting new chapter in the indie pop darling's career as her first full-length as an entirely independent artist. It's also the first for Ashe to appear entirely on her own across its 12 gauzy, confessional tracks, with past collaborators like FINNEAS, Niall Horan and Diane Keaton nowhere to be found.

G Herbo's latest mixtape, Big Swerv, may take its title from one of his many alter egos, but the rapper born Herbert Randall Wright III is exploring all kinds of fresh new ground on the 14-track project.

Rather than revisit some of the darker, more tumultuous themes on past albums like 2020's PTSD, 2021's 25 and 2022's Survivor's Remorse, the Chicago MC shifts into party mode with help from collaborators like 21 Savage ("In the A"), Sexyy Red ("Ten") and Chief Keef ("No Pics").

Joss Stone — "Loving You" featuring Shaggy

Fresh off celebrating the 20th anniversary of her 2003 debut album The Soul Sessions, Joss Stone reinvents her latest single "Loving You" with a little help from Shaggy.

On the remix, the two GRAMMY winners ride a sultry groove as the slow jam unfolds into a heartfelt letter full of unrequited love. "Won't you come back to me?/ I'm the girl of your dreams/ I sure try to be/ 'Cause I be loving you," Stone yearns in between Shaggy's spoken word adlibs before tossing the mic to the reggae artist for his own laidback verse.

Linkin Park became ubiquitous with their 2000 debut LP, Hybrid Theory, and reinforced their status as the 21st century's definitive nu-metal band with each album thereafter. But it's been seven years since Linkin Park released new music, priming a new generation to discover their one-of-one impact — including Mike Shinoda's daughter.

In September, the band's co-lead vocalist and producer told Jimmy Fallon about a recent instance when his daughter rejected his attempt to teach her how to play guitar. As he recalled, it wasn't until his wife, Anna, intervened and told her she should listen to him: "My daughter goes, 'What does he know about performing?'"

Shinoda's daughter — along with 11 million other viewers — were reminded of Linkin Park's instinctive magnetism during the Linkin Park: FROM ZERO global livestream in early September. The performance coincided with the announcement of From Zero, the band's first LP since frontman Chester Bennington died by suicide on July 20, 2017, as well as the introduction to a new lineup.

Shinoda, lead guitarist Brad Delson, DJ/turntablist Joe Hahn, and bassist David "Phoenix" Farrell reconnected with the innocent, pure creativity that catapulted Linkin Park in the first place. But adding Dead Sara's Emily Armstrong as the new co-lead vocalist and Colin Brittain in place of Rob Bourdon on drums crystallized From Zero, due Nov. 15, and served as the latest iteration of a legacy built on reinvention.

"Before Linkin Park, our first band name was Xero," Shinoda said in a From Zero press release statement. "This album title refers to both this humble beginning and the journey we're currently undertaking. Sonically and emotionally, it is about past, present, and future — embracing our signature sound but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what Linkin Park has become over the years and excited about the journey ahead."

The first taste of From Zero was "The Emptiness Machine," an explosive, guitar-laden track that possesses similarly heightened lyrics and experimental sonics to Linkin Park's past material. Within two weeks of its release, "The Emptiness Machine" hit No. 1 on Billboard's Hot Hard Rock Songs chart, where it remains after nine weeks as of press time. With a six-week run atop the Mainstream Rock Airplay chart as well, the song's success showed that there was still an unwavering attachment to Linkin Park, no matter the lineup.

Several comments on the video for "The Emptiness Machine" further proved that. "No, she doesn't sound like Chester. But she sure sounds like Linkin Park," one fan wrote. As another added, "Emily roars like a lion and it's amazing that I feel like I can feel Chester roaring in the background. Thank you for coming back."

Naturally, there were some skeptics of the new iteration, including Bennington's mother, Susan Eubanks, and his son, Jaime (Eubanks told Rolling Stone that she feels "betrayed"; on social media, Jaime accused Shinoda of "quietly erasing my father's life and legacy in real time"). But as Shinoda reassured fans at a recent performance, "It is not about erasing the past. It is about starting this new chapter into the future and coming out here for each and every one of you."

Fans can also rest assured that Armstrong wants to honor Bennington, not replace him. In fact, Bennington was who helped Armstrong realize her potential as a frontwoman.

"I was in a band when [Hybrid Theory] came out," Armstrong recalled to Billboard. "'One Step Closer' was the song for me, and I was just like, 'Holy s—, that's what I want to do. As a singer, I want to be able to scream.' That album was everything. I've listened to it a trillion times."

When it comes to the importance of her role, she added, "I'm on cloud nine, but then it hits you that there's a lot of work to be done. And going into these [older] songs, by a singular voice that's beloved by so many people — it's like, 'How do I be myself in this, but also carry on the emotion and what he brought in this band?'"

After all, Linkin Park was predicated on Bennington's boundless, fearless voice. Shinoda wrote a January 2018 op-ed for Kerrang! describing meeting Bennington: "I knew Chester Bennington was going to change my life from the moment he opened his mouth to sing… Chester was so great that day, the guy who was waiting to try out after him just left. He knew. Even though we'd sent Chester our songs beforehand, he later admitted to me that he'd never done a screaming or yelling part on a track before. That was shocking to me. He could do it better than anyone I'd ever heard."

The industry failed to see what was right in front of them several times over; labels passed on Linkin Park before and after Bennington joined. As Shinoda suggested to Vulture in 2023, "Here's what I assume they thought: Our thing, the combination of elements, was too esoteric. We loved DJ Shadow, Fatboy Slim, Moby, Aphex Twin, and Portishead… With that stuff in the music, labels were like, 'Who's going to listen?' And then on top of it, we were more introspective. What we didn't like about what was going on in the scene was that it was very frat rock. It was toxic masculinity."

As it turned out, their unexpected mash-up of hip-hop, alternative, and full-throttle rock resonated in droves. Reaching No. 2 on the Billboard 200, Hybrid Theory became the top-selling album in the U.S. in 2001, and by April 2002, it was 8x Platinum-certified by the Recording Industry Association of America (as of press time, the album is now 12x Platinum). Their uninhibited musicality — led by Bennington's piercing, raw scream-singing and complemented by Shinoda's melodic rapping — was exactly what made Linkin Park stand out, and what helped them push the boundaries of what rock can be ever since.

As Shinoda noted, Linkin Park also resonated because they weren't afraid to be vulnerable. Hybrid Theory's "Crawling" and the diamond-certified "In The End" cemented Linkin Park's unique position to soundtrack teenage angst (or confusing emotional intensity of all ages) before ruthless vulnerability was normalized in the mainstream.

Because Hybrid Theory established such an eclectic sonic palette as their baseline, Linkin Park was free to tinker sonically. Their unprecedented genre-melding and emotional honesty proved to be a winning recipe; 2003's Meteora, 2007's Minutes To Midnight, 2010's A Thousand Suns, 2012's Living Things, and 2017's One More Light each debuted at No. 1 on the Billboard200. (Only 2014's The Hunting Party failed to reach the top spot, but still landed at No. 3.)

Linkin Park is inextricably tied to people hearing their pain in Bennington's voice. Unfortunately, the songs felt so genuine because Bennington pulled from his childhood trauma and lifelong struggles with addiction and depression. In February 2017 — just five months before taking his own life — Bennington explained the inspiration behind One More Light's lead single, "Heavy," to Music Choice: "The opening line, 'I don't like my mind right now,' that is me 24 hours a day. If I get stuck in here, I just find life really hard, and it doesn't have to be."

His openness about his struggles and heartbreaking death made posthumously hearing Bennington's voice on "Lost," a track from 2023's Meteora (20th Anniversary Edition), all the more gut-wrenching. Reinventing without an irreplaceable piece felt impossible. 

"Part of working under darkness was simply the fact that we didn't know how far we would get in our efforts," Hahn told Billboard upon the debut of the band's new formation. "We didn't want to set ourselves or anyone else up for disappointment if we weren't able to do it. This has been years of struggling to understand what it can and should be."

Hanging out together again without putting any pressure on producing music allowed Hahn, Delson, Farrell, and Shinoda to organically find a place of understanding. The October 2017 Linkin Park and Friends: Celebrate Life in Honor of Chester Bennington concert could have been the end of Linkin Park, but it didn't have to be.

As Shinoda told Apple Music's Zane Lowe, he had a barometer for what it would take to reshape Linkin Park's identity around someone else's voice. But he heard it in Armstrong: "When I started to hear Emily's voice on things, it was like the first time that my brain would accept it as a Linkin Park song."

From Zero strikes the same chord from a refreshed perspective. As new songs like "Over Each Other" highlight, the new Linkin Park didn't dial back on the band's signature unguarded lyricism, and leaned into the same visceral feeling of their groundbreaking rock sound. Linkin Park still has something to say, and they're set on delivering pointed messages in a way that Bennington would be proud of. The album feels like quintessential early Linkin Park — and there's a reason for that.

"We felt like we have a new energy," Shinoda shared with Lowe. "It's almost like going back in time and going back to start and starting again, except you have the benefit of all the stuff you know." 

There would be no Linkin Park without Chester Bennington, and traces of him will live in the music forever. When Armstrong sings, "I only wanted to be part of something" in "The Emptiness Machine," you can believe her with the same conviction you could always believe Bennington. From Zero and a massive 2025 world tour reignites the past's magic — and leaves the door open for an equally inspired future.

"It's pretty cool to say we helped invent some kind of movement, that's pretty insane," Korn frontman Jonathan Davis told Kerrang! in 2019 about the group's instrumental role in nu-metal. "The last big movement was us. Other bands helped along the way, but we spearheaded that whole thing."

It may have taken a while — they'd spent years trying to distance themselves from the tag — but Bakersfield's finest are now proud to have originated the subgenre renowned for its punishing distorted riffs, emphatic rap-rock rhythms, and lyrics drowning in aggression, abandonment and abject nihilism.

Korn — whose original lineup also featured guitarists James 'Munky' Shaffer and Brian 'Head' Welch, bassist Reginald 'Fieldy' Arvizu, and drummer David Silveria — first showcased their revolutionary approach to metal on 1993 demo Neidermayer's Mind. But it was on 1994's eponymous LP where they truly started to upset rock's status quo.

Recorded in California's middle-of-nowhere Indigo Ranch Studios for the sum of just $14,000, Korn initially garnered a mixed response, with the Los Angeles Times summarizing its relentlessly bleak themes as "a failure, or at least a crippling narrowness, of vision" and Rock Extreme describing it as "almost dadaist" in its rejection of tunefulness and melodies. But over time, its 12 speaker-blasting tracks have become more appreciated: the general consensus now is that it's a metal game-changer in the vein of Black Sabbath's debut and Metallica's Master of Puppets.

Thirty years after its release, here's a look at the various ways in which Korn birthed a whole new sound — and then made it stratospheric.

It Addressed Angst Head-On  

Unlike the grunge movement that had dominated '90s rock prior to their arrival, Korn preferred to address their deep-rooted angst in a far more direct manner. Indeed, fans didn't need to spend hours poring over their debut's lyrics booklet to determine exactly what Davis was singing (well, more like screaming) about.

"My life is rippin' your heart out and destroyin' my pain!," he roars on "Fake." "You're too afraid to really be/ Someone who isn't false and doesn't care to be," goes the similarly vengeful "Lies." Meanwhile, "Predictable," a riposte to the crushing mundanity of everyday life, finds him wondering out loud whether to simply end it all.

Korn might not have been the most literate of records, but it did inspire a generation of bands — particularly those within the emo movement — to explicitly bare their souls.

It Wore Its Outsider Status On Its Sleeve 

The nu-metal scene prided itself on providing an outlet for those who felt rejected by mainstream society, particularly during those turbulent high school years. And few albums fought harder against jock culture than Korn's eponymous debut.

"Clown" was inspired by an onstage encounter with an aggressive heckler put in his place by the band's towering road manager. Most notably, "Faget" saw Davis attempt to reclaim the slur constantly hurled at him for daring to wear makeup and listen to Duran Duran. "Couldn't walk through the halls without hearing that or being picked on," the frontman later remarked to the Los Angeles Times.

Meanwhile, "Daddy," the harrowing closing track detailing the childhood abuse Davis suffered at the hands of his babysitter, further broke down barriers in a predominantly macho world. "In metal, it's all about being a tough, badass dude," he told MI College of Contemporary Music in 2018. "I wasn't ashamed to say I was sensitive."

It Introduced The Scene's Greatest Producer 

From Slipknot and Soulfly's self-titled debuts to Machine Head's Burning Red and Limp Bizkit's Three Dollar Bill Y'All, producer Ross Robinson oversaw many of the nu-metal scene's most pivotal records. And it was Korn's eponymous first LP that helped the man routinely hailed as its Godfather come to prominence.

Robinson modestly claims that he had little idea what he was doing when he took to the studio with five hellraising rockers in tow. But his ability to assault the senses and draw out the rawest of emotions undoubtedly laid the blueprint for the genre. In fact, Brazilian metalers Sepultura were reportedly so impressed with what they heard, they specifically hired the Texan to replicate its sound on their 1996 breakthrough sixth LP Roots. Despite the glut of bands Robinson has worked with since, however, Davis still believes he's the producer's favorite.

It Popularized The Seven-String Guitar 

Inspired by the experimentalism of legendary axeman Steve Vai ("I loved how he took the instrument to the extreme and made the guitar talk," he told Reverb in 2020), Korn's Munky brought the seven-string guitar kicking and screaming into the mid-1990s, using the additional lower note to further bolster the oppressive nature of Korn's debut. Limp Bizkit's Wes Borland, Incubus' Mike Einziger, and Deftones' Stephen Carpenter would all follow suit, turning the adapted instrument — specifically, the Ibanez Universe 777 — into nu-metal's must-have.

Ironically, the seven-string wasn't initially considered appropriate for Korn's brand of metal due to its highly technical nature. And yet, Munky and fellow convert Head constantly delivered riff after monstrous riff, creating a sound that would reverberate across the rock scene for the next decade. Luckily, Vaiapproved of the direction they took with pride and joy.

It Put Nu-Metal On MTV 

Korn would go on to pick up nine MTV Video Music Award nominations — and, ultimately, two wins, as well as a GRAMMY for Best Short Form Music Video — for their 1999 career-defining single "Freak On A Leash." But the quintet first showed that their visuals could match the intensity of their sound five years previously.

Korn spawned a trio of videos which received heavy rotation in the mid-1990s. The stage performance treatments for "Shoots and Ladders" and "Blind" brilliantly recaptured the mosh pit chaos of their live shows. On the other hand, "Clown" drew upon Davis' real-life experiences of high school bullying for a more narrative-driven promo, which sees a head cheerleader realize she has more in common with the outcasts than the jocks she waves her pom-poms for. (Interestingly, all three were helmed by a young Joseph McGinty Nichol, the future Charlie's Angels, This Means War, and Terminator Salvation director better known as McG.)

It Advocated That Anything Goes 

Nu-metal undoubtedly pushed the more conventional form of the genre outside of its comfort zone, embracing everything from turntablism and hip-hop beats to sampling and seven-string guitars. And Korn's debut undoubtedly opened the floodgates.

The distinctive banging heard toward the end of "Ball Tongue"? Well, that was created by Munky hitting a music stand with his guitar cord. The distant lullaby sung by a female voice on haunting closer "Daddy"? That's a random lady from Davis' mom's workshop. Then there's "Shoots and Ladders," which dissects the problematic nature of nursery rhymes while accompanied by the distinctly non-metal sound of bagpipes. Yes, bagpipes.

"The first time we heard him play we were like, 'Holy s—,'" remarked Munky about Davis' unlikely skills on the Scottish woodwind, a reaction which may well have been repeated by unsuspecting listeners, too.

It Defined Nu-Metal's Style 

Korn are unarguably second only to Run-D.M.C. when it comes to Adidas-obsessed musicians: like the pioneering hip-hop trio, the Californians titled a song in the sportswear brand's honor (even if the acronym "A.D.I.D.A.S" stands for something else entirely) and also later launched their own range with the German giants. And by swapping the usual metal gear for tracksuits and trainers, Davis and co. ultimately changed the fashion game.

Whether Limp Bizkit's backward baseball caps or Deftones' skater chic, the nu-metal scene undoubtedly has Korn's debut — particularly its accompanying tour and music videos — to thank for steering metal into more athletic apparel. "It was about smashing down walls and embracing all kinds of different music styles and musical cultures," Davis told Kerrang! in 2021. "It was about going against everything that metal was supposed to be."

It Enjoyed Slow-Burning Success 

Korn could never be described as an instant commercial smash. It took nearly 18 months to reach its peak position on the Billboard 200, and even that was a relatively lowly No. 72. But thanks to its sustained word-of-mouth and Korn's constant touring presence — alongside dozens of headline shows, they also supported Ozzy Osbourne, Megadeth, and Sick Of It All — the record eventually went on to sell 10 million copies worldwide, paving the way for 2000's commercial blockbusters Limp Bizkit's Chocolate Starfish and the Hot Dog Flavored Water and Linkin Park's Hybrid Theory.

The band, and the nu-metal scene itself, also had to wait a while to receive GRAMMY Awards attention. Their first (and only) nomination for Korn didn't come until 1997, when "Shoots and Ladders" was nominated in the Best Metal Performance category. Though Korn lost to Rage Against the Machine's "Tire Me" on that occasion, they've since won two golden gramophones (Best Short Form Music Video for "Freak on a Leash" in 2000 and Best Metal Performance for "Here To Stay" in 2003) and garnered eight GRAMMY nominations total.

It Inspired All The Nu-Metal Giants 

"It was something I related to and had been waiting for," Limp Bizkit's Fred Durst once said of Korn's breakthrough. "I thought, 'Where have these guys been my whole life?'" It's a viewpoint echoed by practically every nu-metal outfit who emerged in Korn's wake.

Linkin Park's Mike Shinoda has cited Davis as a major inspiration on his songwriting approach, particularly for being an "open book putting all of his most f—ed-up stuff right out there in the lyrics." Slipknot's Corey Taylor described seeing them on the album's accompanying tour as "one of the best concerts I've ever seen."

Collaborations with hardcore favorites Suicide Silence and dubstep maestro Skrillex (the latter of whom helped produce the band's 2011 LP The Path of Totality) also prove that Korn's influence extends far beyond their wheelhouse. Meanwhile, newer fanboys such as Tallah and Tetrarch are showing that even three decades on, Korn is still teaching metalheads how to let it all out.

Blink and 2024 will be over — that's the feeling when you realize the tenth month of the year is just around the corner. With falling leaves and jack-o-lanterns, October also brings with it an infusion of new music by icons and new artists, from country to EDM.

Right out the gate, stadium experts Coldplay will release their tenth LP, Moon Music, and FINNEAS (Billie Eilish's brother and creative partner) will come forth with For Crying Out Loud! on October 4. In the following week, new records from Becky G, The Offspring, Jelly Roll, and Justin Moore will hit the streaming platforms (and shelves) with the best of Mexican music, punk rock, and classic country.

The month will also feature the return of MC5 after 53 years with Heavy Lifting, Halsey's confessional The Great Impersonator, and Joe Jonas' sophomore solo, Music for People Who Believe In Love. Rapper Drake has also announced Untitled with PARTYNEXTDOOR — although there's no further info yet.

To make the best of this exciting season, GRAMMY.com compiled a list of 15 inspiring albums dropping in October 2024.

Coldplay — 'Moon Music' (Oct. 4)

October opens up with the arrival of Coldplay's tenth studio album, the Max Martin-produced Moon Music. Dropping Oct. 4, the LP is a sequel to 2021's From Earth with Love and part of their Music of the Spheres project and ongoing tour.

The band raised expectations with singles "feelslikeimfallinginlove" and "We Pray" featuring Little Simz, Burna Boy, Elyanna, and Tini, and also with a series of immersive listening pop-up events, which will happen in cities like San Juan, London, Beijing, Auckland, and Santiago between October 1–7.

As one of the most sustainably focused bands in the business, Coldplay maintains their commitment in making this record as eco-friendly as possible. Moon Music touts itself to be the world's first album to be released as 140g EcoRecord vinyl and EcoCD, originating from recycled PET-plastic bottles and polycarbonate, and providing an 85% reduction in CO2 emissions compared to usual productions.

Thee Sacred Souls — 'Got A Story To Tell' (Oct. 4)

With their sophomore record, Got A Story To Tell, San Diego-based Thee Sacred Souls want to show that they aren't just a fad. Following their 2022 self-titled debut and a lengthy tour through North America and Europe, the upcoming 12-track LP finds a "darker, more mature" tone to their music, according to a press statement.

Read more: Thee Sacred Souls' Self-Titled Debut Is A Sweet Soul Love Story

"As we got busier, we were all dealing with things back home, trying to balance life and music and touring," said drummer Salvador Samano. Got A Story was mostly written on the road, and vocalist Josh Lane said that all the emotions and personal stories they went through during the tour "were sprinkled into the songwriting to create a potent blend of truth and imagination."

For a preview of those tales, the trio shared the ethereal "Lucid Girl." One week following the release, they will hop back on a new tour through North America and Europe, including stops in New York, Toronto, Mexico City, Chicago, and Los Angeles.

Samara Joy — 'Portrait' (Oct. 11)

Samara Joy, Best New Artist at the 2023 GRAMMYs, will follow up on 2022's otherworldly Linger Awhile with her new album Portrait. Set to release on Oct. 11, Portrait sees the rising jazz star stepping up into the role of co-producer along Brian Lynch, as well as expanding her singing and songwriting skills into arrangements and leading her touring band.

Read more: 20 Live Events at the GRAMMY Museum This October: Experience Kacey Musgraves, Khalid, Tems, Samara Joy & More

"Eight musicians, eight fresh perspectives and musical backgrounds — all joined together in a context designed for growth and exploration," explained Joy of the ensemble in a press release. "I'm often the fifth voice, the fifth horn. I hope listeners will see that I'm a musician too." According to her, the band's work in this project represents "a well of inspiration that never runs dry because of the different streams that flow in."

Among their creations are new interpretations of "You Stepped Out Of A Dream" and "Autumn Nocturne," as well as fresh lyrics to music by Charles Mingus, Sun Ra, and more. Joy will tour the U.S. for the remainder of 2024, including stops in Florida, New Jersey, California, Arizona, South Carolina, and New York, followed by her A Joyful Holiday Tour in December.

The Offspring — 'Supercharged' (Oct. 11)

Four decades deep, punk rock pros The Offspring are still Supercharged — or so goes their forthcoming album title. "We wanted this record to have pure energy," said frontman Dexter Holland in a press statement. "From the height of our aspirations to the depths of our struggles, we talk about it all on this record."

A celebration of "the life that we share and where we are now," Supercharged surges ahead with "Make It Alright," a single about relying on your "partners in crime," and "Light It Up," which channels punk rock's cathartic aggressions. Produced by Bob Rock, the album was recorded in Maui, Vancouver, and in the band's studio in Huntington Beach, California. "I feel like this is the best we have ever sounded!" added Holland. "We've been rocking out and headbanging to it for months! And we can't wait for you guys to hear it!"

After performances at festivals Louder Than Life and Oceans Calling in September, the band will head to San Diego's Punk in the Park on November 16, and then to a sold-out show in Melbourne, Australia, on November 24.

Jelly Roll — 'Beautifully Broken' (Oct. 11)

Following a nomination for Best New Artist at the 2024 GRAMMYs, a slew of CMA awards, and the record-breaking success of his country music debut, Whitsitt Chapel, Jelly Roll will keep the momentum going with his new album, Beautifully Broken.

Set to release on Oct. 11, the tracklist includes hits "I Am Not Okay," "Liar," and ESPN's 2024 College Football Season anthem, "Get By." "I'm looking for songs that have purpose," said the multifaceted singer in an interview with New York Times Magazine. "When I go to put out a song under the name Jelly Roll, I think to myself, Why? Because for the first time in my life, it has nothing to do with a financial decision. I'm well past putting out anything for money."

Beautifully Broken was named after Jelly Roll's ongoing tour, which launched Aug. 27 in Salt Lake City, UT, and will cross more than 30 cities in the U.S. before wrapping up on Nov. 23 in Jacksonville, FL.

Justin Moore — 'This Is My Dirt' (Oct. 11)

This Is My Dirt is an album about appreciating your hometown and the simple things in life. "There are some home sentimental, family value type songs on it but also of course some humor, beer drinking hell raising, stone cold country music on there!" shared Arkansas-born singer Justin Moore on Instagram. "It's also the first album that my touring band has recorded with me which is exciting for us, and something I'm very proud of."

Featuring collaborations by Blake Shelton, Dierks Bentley, and Randy Houser, This Is My Dirt is one of Moore's "most confident records to date." Through 12 tracks, he "still sings about his small town USA," and keeps "true to his roots, honoring the military and even adding a fun, light-hearted tune or two" that put life as both a dad of four and touring artist in a nutshell.

Moore has been on the Country Round Here Tonight tour with Randy Houser since September, but still has a few dates scheduled for October and November, including stops at Indianapolis, Saint Louis Place, and Myrtle Beach.

The Blessed Madonna — 'Godspeed' (Oct. 11)

The Blessed Madonna's (aka Marea Stamper) debut studio album has been a long time coming, but Godspeed will finally see the light of the day on Oct. 11. The 24-track collection also features appearances from Kylie Minogue, A-Trak, Jamie Principle, and Shaun J. Wright.

The word Godspeed "marks the beginning of a journey and sometimes the end of one," Stamper explained on instagram. "After nearly a year in lockdown, when I signed the paperwork and knew that I was going to be allowed to make this album, I called my dad in Kentucky to tell him the good news. He could not contain his pride and in a way his relief. I was going to be ok. He says it better than I do at the beginning of the record."

Stamper lost her dad shortly before the first recording session, but states "his voice will live in Godspeed forever and make a million more journeys to everyone who hears it." The rest of the tracklist continues to balance "the twin flames of rave and religion" with personal themes, as can be seen in pre-releases "Godspeed" featuring DJ E-Clyps, "Serotonin Moonbeams," "Mercy" with Jacob Lusk, "Happier" with Clementine Douglas, and "Edge of Saturday Night" featuring Kylie Minogue.

MC5 — 'Heavy Lifting' (Oct. 18)

It's not everyday that a band releases a new record after 53 years, which makes MC5's posthumous Heavy Lifting even more anticipated. Plus, the album features the final studio recordings of founding guitarist Wayne Kramer and drummer Dennis Thompson, who both passed away earlier this year.

"It's very heavy," producer Bob Ezrin said in a statement. "It has a revolutionary message but also a good sense of humor. There's a little bit of heavy metal. There's quite a bit of funk. But it is a heavy record, and it's a guitar record left, right and center. Just a wall of guitars most of the time, and mostly driven by Wayne and his ethos." Ezrin also mentions that they feel "a responsibility to make sure his work is heard, and he is celebrated."

The LP is spearheaded by single "Boys Who Play With Matches," and features stellar guest appearances, such as Slash, William DuVall, Tim McIlrath, and Rage Against The Machine's Tom Morello, who features on the title track.

Shawn Mendes — 'Shawn' (Oct. 18)

After the announcement of his much-anticipated fifth studio album, Shawn, Shawn Mendes shared on Instagram: "Music really can be medicine. 2 years ago I felt like I had absolutely no idea who I was. A year ago I couldn't step into a studio without falling into complete panic. So to be here right now with 12 beautiful finished songs feels like such a gift…Life can be brutal but having a small group of people you deeply trust to walk you through makes it so much better."

The Canadian star has always been honest about his struggles with anxiety, which led him to cancel his 2022 tour after just seven shows. Shawn was crafted in that aftermath, drawing "deeply from his travels and experiences over the last few years," per a press statement. "It represents his most musically intimate and lyrically honest work to date, guiding listeners through a profound self-dialogue with each song."

So far, Mendes has shared "Isn't That Enough," "Why Why Why," and "Nobody Knows" off the project, where country-leaning riffs and soulful lyrics reflect his internal growth journey. To celebrate the beginning of a new chapter, the singer announced a series of intimate concerts in North America, taking place from Oct. 14 to Nov. 25.

Joe Jonas — ‘Music for People Who Believe In Love' (Oct. 18)

The first and last time Joe Jonas released a solo album was in 2011, with the club-ready Fastlife. "I have so much love for those songs — they actually aged pretty well!" Jonas told Billboard in a recent interview. "But it feels like a different person."

Since then, the Jonas Brothers' resident middle child founded the pop collective DNCE, reunited with the JoBros for the release of "Sucker," got married to actress Sophie Turner, welcomed two kids, and went through a turbulent divorce in 2023. "I was going through a lot of life changes," he reflected. "Finding out who I was as a person and father and friend, and living under the microscope of what the music industry can be. And I think, at such a crazy time in my life, I looked to music as an outlet."

The result is Music for People Who Believe In Love, Jonas' sophomore solo album, set to drop on Oct. 18. "It was scary at times, and also freeing," he said of the experience. "I'm not trying to come for anyone on this album. I'm not trying to put stuff on blast. I have a beautiful life that I'm grateful for. I've got two beautiful kids. I'm a happy person, and the music needed to resemble that — but also, the journey to get here."

Halsey — 'The Great Impersonator' (Oct. 25)

"I spent half my life being someone else. I never stopped to ask myself: Is this a person you're proud to leave behind? Is it even you?" singer/songwriter Halsey asks in the album trailer for her upcoming fifth LP, The Great Impersonator.

Described as a "confessional concept album," The Great Impersonator sees Halsey time-travel through the decades, reimagining what her sound and life could have been like. "I really thought this album might be the last one I ever made. When you get sick like that, you start thinking about ways it could've all been different," she says in the video, recalling her Lupus SLE and T-cell disorder diagnoses. "What if I debuted in the early 2000s, the '90s, the '80s, the '70s… am I still Halsey every time, in every timeline?"

She dares to find out in the Britney Spears-inspired "Lucky," the moody new metal of "Lonely Is the Muse," and, most recently, the pop rock of "Ego." The Great Impersonator follows Halsey's 2021's If I Can't Have Love, I Want Power.

Kelsea Ballerini — ‘Patterns' (Oct. 25)

Country popstar Kelsea Ballerini is also gearing up to release her fifth album, Patterns, out Oct. 25. Recently, she told The Associated Press that the album is an "accurate snapshot" of her life as a whole — not just its good parts. "I think that people probably expect this really happy-go-lucky, love, mushy, gushy record from me. That's not the case, and I'm really proud of that." Patterns is a record about "analyzing yourself and the people that you love the most in order to grow," Ballerini added. 

In the album trailer, she also reflects that "we have the ability to look at our patterns and find the ones that serve us, and then we look at the ones that we don't want to carry with us, and…change them. I think that we make patterns so they don't make us."

That perspective appears in singles "Two Things," "Sorry Mom," and "Cowboys Cry Too" with Noah Kahan — the only feature in the album. Ballerini will celebrate the release with a sold-out performance at New York's Madison Square Garden on Oct. 29.

Pixies — 'The Night the Zombies Came' (Oct. 25)

Just in time for Halloween, veteran indie band Pixies will drop their tenth studio album, The Night the Zombies Came. Following 2022's Doggerel, this is their first release with new vocalist and bassist Emma Richardson, formerly of Band of Skulls, who replaced Paz Lenchantin in March of this year.

Off the 13-track project, Pixies have shared an eclectic bundle of singles, including "Oyster Beds," "Chicken," "You're So Impatient," "Que Sera, Sera," and the recent '90s rock of Berlin-inspired "Motoroller." Of the track, vocalist Black Francis explained in a statement: "This is one of those kinds of songs where there's little threads you can follow and they take you somewhere, but they're not required for the experience. You can just start fishing around in the lyrics, and maybe you won't find exactly what the story is, but you'll find a story related to the city of Berlin. So just have fun with the clues that are there."

The band will go on tour with Pearl Jam in Australia and New Zealand this November, and announced a 2025 European tour kicking off on April 25 in Utrecht, Netherlands, and concluding on May 24 in Manchester, UK.

Amyl and the Sniffers — 'Cartoon Darkness' (Oct. 25)

Australian punk rock quartet Amyl and the Sniffers are gearing up to release their third LP, Cartoon Darkness, on Oct. 25. Recorded at Foo Fighters' 606 Studios in Los Angeles, it follows 2021's Comfort to Me, and sees the band take a layered approach to the world's current status.

"Cartoon Darkness is about climate crisis, war, AI, tip-toeing on the eggshells of politics, and people feeling like they're helping by having a voice online when we're all just feeding the data beast of Big Tech, our modern-day god," vocalist Amy Taylor shared in a statement. "It's about the fact that our generation is spoon-fed information. We look like adults, but we're children forever cocooned in a shell. We're all passively gulping up distractions that don't even cause pleasure, sensation or joy, they just cause numbness."

Singles "Big Dreams," "Chewing Gum" and "U Should Not Be Doing That" give a taste of Taylor's words, kicking the door open to the band's new era. "The future is cartoon, the prescription is dark, but it's novelty. It's just a joke. It's fun," Taylor adds. Following the release, AatS will embark on a European tour in November.

Soccer Mommy — 'Evergreen' (Oct. 25)

For her upcoming fourth LP, Evergreen, Nashville singer Sophie Allison — better known as Soccer Mommy — wanted a new approach to her delicate music. "I wanted to change things up a bit on this one and play around with some more organic textures," she wrote on Instagram. "It was really important for me that the songwriting shone through everything and came to the forefront."

Allison revealed "Lost," "M," and "Driver" out of the 11-track collection, showcasing that she's as atmospheric and poignant as ever, crafting even more intricate songs. The album was recorded at Atlanta's Maze Studios with the help of producer Ben H. Allen III, and will be out Oct. 25. 

Starting 2025, Allison will hit the road with a comprehensive tour across North America, including cities like Chicago, Toronto, San Francisco, Dallas, and her hometown of Nashville.

When Katy Perry announced her seventh studio album, 143, in July, a press release described the LP as "sexy, fearless return to form." While the first single from the project, "Woman's World," was panned by critics, its bold lyrics, punchy melody and outlandishly fun video are as Katy Perry as they come.

There's no denying that Perry is one of the most important artists to shape pop music in the 21st century. Her easygoing, sunny hits have soundtracked countless summers, and her vulnerable power ballads have affected millions. She's been nominated for 13 GRAMMY Awards, and is one of the best-selling artists of all time, even sharing company with Michael Jackson as the only two artists to ever land five No. 1 hits from a single album.

Just before 143's Sept. 20 arrival, Perry further proved her influence — and that her past hits hold up — with a  stellar mashup performance at MTV's 2024 VMA Awards on Sept. 11. Even if her seventh studio set doesn't achieve the heights of Perry's earlier albums, she's crafted some of the most iconic pop songs of the 21st century, from "I Kissed a Girl" to "Roar."

To celebrate the beginning of a new era and the blazing legacy of Perry's artistry, GRAMMY.com looks back at the most defining songs in her dazzling career.

Perry's debut single was the song that changed her trajectory forever. "I Kissed a Girl" became a massive hit, reaching No. 1 on the Billboard Hot 100 chart for seven consecutive weeks, and earning Perry her first GRAMMY nomination for Best Female Pop Vocal Performance in 2009.

While the track has been widely criticized for its "queerbaiting" lyrics, Perry recognized them as problematic in a 2018 YouTube video for Glamour, and affirmed she would "probably make an edit" if given the chance to rewrite it. "We've really changed, conversationally, in the past 10 years," she said. "We've come a long way. Bisexuality wasn't as talked about back then, or any type of fluidity." Even if its lyrics haven't aged well, the propulsive electropop and instant catchiness of "I Kissed A Girl" introduced Perry as a pop force in the making.

Following the success of "I Kissed A Girl," Perry's follow-up single, "Hot N Cold," hinted that she wasn't a flash-in-the-pan artist. Co-produced by Dr. Luke and Benny Blanco — the duo behind both singles — "Hot N Cold" soared to No. 3 on the Hot 100, and also scored Perry her second GRAMMY nomination for Best Female Vocal Performance in 2010.

The upbeat, synth-filled hit is filled with sturdy synths and simple, yet witty lyricism about a loved one's fluctuating moods. "You're yes then you're no /You're in then you're out /You're up then you're down /You're wrong when it's right," she sings, unknowingly creating a relatable anthem for generations to come.

"Thinking of You," 'One Of The Boys' (2008)

The third single off One Of The Boys showcased a different facet to the splashy, sassy singer. In this stirring ballad, Perry — who wrote the lyrics by herself — pricks on old wounds as she pines for a former lover, despite being in a new relationship.

"You said move on, where do I go?/ I guess second best is all I will know," she sings in one of the most evocative compositions in her career. "Comparisons are easily done/ Once you've had a taste of perfection/ Like an apple hanging from a tree /I picked the ripest one, I still got the seed." 

While "Thinking of You" did not achieve the same chart success as some of Perry's other early singles, it still stands as a testament to her powerful vocals and ability to turn universal experiences into utterly personal tracks.

This cheeky, carefree homage to California — where both Perry and featuring rapper Snoop Dogg were born — revels in the depiction of a "warm, wet n' wild" paradise, filled with girls so hot they will "melt your popsicle." "They're unforgettable," Perry sings, and she might have been onto something, as "California Gurls" was arguably the song of the summer in 2010.

A co-production of Dr. Luke, Benny Blanco and pop master Max Martin, it spearheaded one of the singer's most successful eras: her third album, Teenage Dream. The track dominated charts and radio stations across the globe, also earning a GRAMMY nomination for Best Pop Collaboration with Vocals — and a permanent place in our minds.

"Teenage Dream," 'Teenage Dream' (2010)

After delivering another smash with Teenage Dream's lead single, Perry did it again with its title track. The album's second single manages to bottle all the euphoria and trepidation of being a teenager into one masterful, ageless hit. Adolescents all over the world can listen to this song and feel contemplated, in the same way that elders might hear it and remember the rush of their first loves.

While the melody packs some of Dr. Luke, Blanco and Martin's arguably best synths and guitar riffs, it's the exhilarating "I'ma get your heart racing in my skin-tight jeans/ Be your teenage dream tonight" bridge that makes this track truly unforgettable. "Teenage Dream" granted Perry both her third No. 1 hit on the Hot 100 and her third GRAMMY nomination for Best Female Pop Vocal Performance, setting the stage for even more massive success that was to come.

"Do you ever feel like a plastic bag/ Drifting through the wind, wanting to start again?" Perry asks in the first line of her 2010 self-empowering anthem, "Firework." Although the question went on to become a meme due to its uncanny — yet oddly relatable — comparison, the track remains as one of her most successful efforts and a dynamic display of her grandiose vocals.

Inspired by a passage from Jack Kerouac's beatnik classic On the Road, "Firework" inspired listeners all over the world to "ignite the light and let it shine." Its inspiring message and belt-along hook helped "Firework" become Perry's fourth No.1 single on the Hot 100 and secure GRAMMY nominations for Record Of The Year and Best Pop Solo Performance.

After scoring yet another Hot 100 chart-topper with the freaky techno-pop "E.T." with Kanye West, Perry returned with her fifth single off Teenage Dream, "Last Friday Night (T.G.I.F.)." Like its four predecessors, the peppy track landed at No. 1 on the Hot 100 — making Perry the first (and, as of press time, only) female singer to topple five No.1 singles off the same album at Billboard's Hot 100 chart.

In yet another Dr. Luke and Max Martin co-production, Perry spiritedly retells a wild night drinking with friends. Dancing on tabletops? Check. Skinny-dipping in the dark? Check. Smelling like a mini bar? Check. As if playing the quintessential bingo of youth, she earns the jackpot and then some. However, despite the consequences (Towed car? Check!), her only goal is to "do it all again" next week. Oh, to be young and reckless… 

"Wide Awake," 'Teenage Dream: The Complete Confection' (2012)

With the release of her 2012 biopic, Katy Perry: Part of Me, the Californian singer also put forward one of her most touching power ballads. "I wish I knew then what I know now/ Wouldn't dive in, wouldn't bow down/ Gravity hurts, you made it so sweet/ 'Til I woke up on the concrete," she sings of a disenchanting breakup.

But the overall message of "Wide Awake" is an uplifting one — vowing to see the truth with clear eyes and eventually feel "born again." The song takes after Perry's personal experiences at the time, following her divorce from English comedian Russell Brand. "Wide Awake" was added to the reissue album, Teenage Dream: The Complete Confection, alongside "Dressin' Up" and "Part of Me," ​​and earned a 2013 GRAMMY nomination for Best Pop Solo Performance.

"People talk about bullying, but you can be your own bully in some ways," Perry told W Magazine about "Roar," the lead single off her fourth album, 2013's Prism. "You can be the person who is standing in the way of your success, and that was the case for me. I was having a great professional streak, but personally, I was really immature, so I had to balance those things out."

A fitting opener to a new era of Katy Perry, "Roar" is a celebration of growing up, shaking off the dust, and moving on. With its lofty melodies, it's a song made to be performed in stadiums and sung in unison by thousands, amplifying its healing powers like a mantra. It's no surprise, then, that "Roar" became her eighth No. 1 hit and earned two GRAMMY nominations for Song Of The Year and Best Pop Solo Performance.

Inspired by her then-new boyfriend, John Mayer, and a UNICEF trip she took to Madagascar, "Unconditionally" is Perry's celebration of the purest form of love: acceptance. "All your insecurities/ All the dirty laundry/ Never made me blink one time," she sings, promising to love without restraints and without fear.

Whether that love is directed to a partner, a friend, or even a pet, it doesn't matter — "Unconditionally" suits human relationships as a whole, and attests to Perry's ability in capturing universal experiences. Here, her soaring vocals take the spotlight. Over a spacious instrumental, Perry reminds us that to love unconditionally is to be free.

Katy Perry is careful when choosing musical experimentations, but she nailed it by trying her hand in trap and hip-hop for "Dark Horse." Written from the point of view of a witch casting a love spell, the single's slow, sultry verses are hypnotizing, and the polished production makes it a standout on Prism and in her discography as a whole.

Perry's delivery is so remarkable that it makes you forget rapper Juicy J's subpar verses. But even that wasn't enough to dim "Dark Horse'"s light: the single was a commercial success, becoming her ninth No. 1, and earning a GRAMMY nomination for Best Pop Duo/Group Performance.

"By the Grace of God," 'Prism' (2013)

Written while Perry suffered through the breakup from Russell Brand — so painful it made her consider if being alive was even worth it — the piano-led "By the Grace of God" is one of her most vulnerable efforts, and closes Prism on a stirring note.

In the lyrics, she moves from self-loathing to self-loving, once again hitting a relatable spot for anyone with a shattered heart. While songs like "Roar" had a more straightforward approach to empowerment, "By the Grace of God" shows that softness is strength, and being honest about your feelings makes them easier to bear. "I put one foot in front of the other and I /Looked in the mirror and decided to stay /Wasn't gonna let love take me out that way," she sings, confident that a better future lies ahead.

Witness, Perry's divisive fifth LP, came out four years after Prism, in 2017. By then, not only had she changed, but the world as well — Hillary Clinton's (whom Perry openly supported) loss at the 2016 presidential campaign, the burgeoning of streaming platforms. Amidst all that, Perry wanted to rebrand herself and make "purposeful pop."

The disc marked a departure from Perry's high-octane hits and partnership with Dr. Luke, diving into EDM and electropop rhythms. However, the package fell flat, and failed to achieve the commercial success that Perry hoped for, partly due to debatable single choices (think "Swish Swish" with Nicki Minaj).

But hiding in Witness' deep cuts lie true sonic gems, and "Déjà Vu" is arguably the shiniest one. In its addictive R&B melody, electronic synths, and vocal distortions, the track evokes a dead-end relationship that keeps repeating itself, like an unsolvable riddle. If people were willing to listen, they would see that Witness is quite compelling and a matured exploration of Perry's talents — she just needed a better marketing direction.

After the troubled waters of Witness, Perry was ready to launch a new, promising era. 2019's "Never Really Over" was her best single since 2013's "Dark Horse," harking back to the sugary sweet hooks of Teenage Dream and swirling in dance floor-ready house beats. The tongue twisting post-chorus accurately depicts an on-and-off relationship, repetitive nature included: "Just because it's over doesn't mean it's really over/ And if I think it over, maybe you'll be coming over again/ And I'll have to get over you all over again."

"Never Really Over" marked the second collaboration with EDM producer Zedd in 2019, following the lackluster performance of their previous team-up, "365." In fact, the song was her most successful in the past five years, reaching No. 15 — her last Top 20 hit to date.

"Cry About It Later," 'Smile' (2020)

Smile marked a shift in Perry's personal life: She announced her pregnancy with fiancé Orlando Bloom in single "Never Worn White" (which appeared on the "Fan" and Japanese versions of the album), hinted at the baby's name through lead single "Daisies," and gave birth to daughter Daisy Dove just two days before the album release, on August 28, 2020.

Perry was in a better place — and that reflected on her songs. While the album was not a chart-topper like its three predecessors, its reception was mostly favorable among critics and the public. Smile felt like the true upgraded version of the singer: a resilient pop maven, shrugging at the "flops" and "fails" of life with bright enthusiasm. 

The glittering, nostalgic "Cry About it Later" sums it up: "I'll cry about it later/ Tonight, I'm havin' fun/ I'll cry about it later/ Tonight I'm gettin' some/ Tonight I'm gettin' something brand new." And though "Cry" features a verse that says, "I'm gonna fake it 'til it makes me feel good," it seems 143 is ushering in an era where Perry doesn't have to fake any happiness — or anything at all, for that matter. 

"I'm very proud of everything I accomplished, and I don't feel like I have anything to prove," she said in a recent interview with Audacy. "I'm creating from this abundance [of] artistic space. I always wanted to make a dance-pop record, so I've checked that [off my] bucket list. And there [are] a couple of records that I have in my mind that I still want to make, and I'll just go along that process if I get the opportunity to. This is a part of my purpose [and] my vision for myself."