With their first two albums, NERO made two different kinds of statements: now, they’re about to split the difference, and head Into The Unknown.

That’s the title of the electronic trio’s forthcoming album, due out in 2024. “It definitely feels like the album that bridges the two worlds together,” the electronic trio tell GRAMMY.com.

“Quite early on, it felt like we were revisiting some of the heavier elements from [2011’s] Welcome Reality,” they continue, “but there still is a sort of a musical and sometimes band-like feel that you get from [2015’s] Between II Worlds.”

The sonics aside, Into the Unknown completes something of a trifecta, and shines a harsh light on an increasingly probable dystopian future.

“We were always very influenced by sci-fi films such as Blade Runner, Akira, 2001: A Space Odyssey,” they say. “We were thinking about this sort of post-human world that is sort of trying to be resuscitated by AI.”

With that in mind, the barreling “Truth,” which you can hear below, is a thrilling entryway into NERO’s forthcoming adventures.

Read on for an interview with NERO, and listen to “Truth” below.

"Truth" marks your return and first new song since 2018. Why return now?

We've been writing this one since about 2019. That's when we first started working together again and collating our ideas. Shortly into that process, the world shut down due to the pandemic and there was a sort of apocalyptic feeling due to the lockdowns. This felt like a good time for us to pull out of shows and just focus on studio work so a lot of it was probably just the way that things aligned timing-wise.

What did you do in between your time away from the Nero project? What's been going on since 2018?

Well, Joe's been busy working on his solo Joseph Ray project. Alana and I were briefly working on a project called The Night, which we still want to come back to at some point. I had a project with my brother-in-law called Fickle and Vice which was a passion project of 80s pop music in which we only used 80s instruments and synthesizers. Alana and I also became parents, so that took up a lot of our time. It feels like now is a good time to bring the focus back onto Nero.

What can you tell us about "Truth"? What is the inspiration? How did it come together?

We found a recording of Amanda Palmer reading the poem "The Mushroom Hunters" by Neil Gaiman. The way she delivered it and the content of the poem really resonated with us and inspired us.

It talks about science and experimentation. I think in today's world, with the various conspiracy theories.floating around and stuff that rages on the internet, it felt good to highlight the importance of science.

She also has such a cool voice and it had this kind of 'message from the future' feel to it, which follows through to the video.

We felt the vocal really lent itself to the sci-fi intro which builds to quite a dark and menacing track. I guess this reflects our aesthetic and the sounds we have always made.

**You're also releasing a new album, Into The Unknown, in 2024. What can you tell us about the new album? What does it sound like? What can we expect?**

I like to think that this album sits somewhere in between Welcome Reality and Between II Worlds. I think it definitely feels like the album that bridges the two worlds together.

It also feels like it's part of a story arc, but is still set in the NERO universe as we travel in time from the near future, to the far future, to the year 2808 and beyond. In the case of  this album, we were thinking about a post-human world that is trying to be resuscitated by AI.

Sometimes these ideas come later, after the music has been written, but as is with anything we write, hundreds of ideas don't get used and we whittle it down so that we can find what represents both the story and the ideas that excites us the most musically.

I think quite early on, it felt like we were revisiting some of the heavier elements from Welcome Reality, but there is also a musical and sometimes band-like feel that you get from Between Two Worlds.

Your music as Nero has always featured post-apocalyptic tones and futuristic, scientific themes that explore the past, present and future of humanity. Will Into The Unknown continue that sonic trajectory? How will Into The Unknown reflect our time and humanity of the past few years?

We were always very influenced by sci-fi films such as Blade Runner, Akira, and 2001: A Space Odyssey, to name a few. What they've all got in common is that they have a post-apocalyptic and dystopian feel to them. I think synthesizers often lend themselves to that kind of imagery. The soundtracks for films like Blade Runner were seminal so picturing the mood of these films is always a good starting point for us to get creative, musically.  From those images, we can start creating sounds using our synthesizers that reference that imagery or mood.

We've amassed quite a cool synthesizer collection over the years and we love creating modern and new sounds with them. What's also cool, is that some of these synthesizers have been around for 30 or even 40 years, in the case of the Yamaha CS80.

Going back to your second question, I think with Into the Unknown, as is with any of the NERO stories, it's holding you to ransom slightly with this idea that you know humanity will end up destroying itself.

It's all pretty bleak in a way, but I guess sci-fi, (especially the dystopian kind) is, by its nature, going to be pretty bleak. The prediction is that humanity will eventually destroy itself leading way to a post-apocalyptic world.

Nero is known for its live shows. Any plans to tour the new album in 2024? Can you give us any sneak peek or a test at what your live show/tour will look in 2024?

We're definitely bringing back a live show in 2024 and hope to do maybe even a couple of different types of shows. 

Performing live has always been a big part for us. We love DJing and it's great to be able to play our music out and test it in front of a crowd.

We've really enjoyed road-testing material our entire careers. You can go down a rabbit hole in the studio and I think it's quite important to witness your audience hearing new material in real-time, but once we've finished an album, the thing that we've always really looked forward to is building a new live show.

With that, comes us thinking about how or what we're going to perform, what synths and instruments we're going to use and which kind of equipment and visuals we are going to incorporate. It's sort of like like the cherry on top when you finish the album. It's a really fun part of the job and so we are very excited about what we're planning for 2024 for our live shows, but for the moment, it's a bit of a secret.

Listen: All Of The Dance/Electronic Music 2023 GRAMMY Nominees In One Playlist

By Brent Burns

I was among the estimated 30,000 EDM-loving attendees who filtered into the starlit Los Angeles State Historic Park on Aug. 3–4 for the Hard Summer Music Festival. Gary Richards, whose company Hard Events produces the festival, provided enthusiastic fans with more than 50 acts spread across four stages over two days. The arms that weren't waving in the air to the relentless music were either around a friend's shoulder or busy taking pictures of the festival's fully immersive audiovisual attractions.

Day one of the festival included explosive performances by acts such as Magnetic Man, Bloc Party, Miike Snow, and Breakbot (whose collection of catchy synth-pop was probably the grooviest set anyone would hear all weekend). But the main attraction was the evening's headliner Boys Noize, the stage name of Alexander Ridha. Before his set, I had a chance to sit down with him to discuss what we could expect from his performance, his record label Boysnoize Records and his highly anticipated forthcoming album, Out Of The Black.

After taking almost a year off the festival circuit, Ridha recently spent time in Berlin channeling the raw elements of his early days as a producer, when he was admittedly naive and experimenting with his creative process. He says he can still be found shuffling through crates of records every week, which is where he found inspiration for not only his own music, but also for the direction of the artists he's signed to his own label — a label that is now home to approximately 20 artists. And while Ridha was tight-lipped on sharing details of his set, his smirk meant he clearly had a few tricks up his sleeve. "It will be a classic festival set. Techno-ravey, and a lot of fresh stuff you've never heard before," he slyly noted.

Before joining the sweaty thousands who surrounded the main stage awaiting Boys Noize's performance, I ran into Jake Shears of Scissor Sisters, who was there to support Ridha, his longtime friend and collaborator. If I wasn't already anxiously excited to see the show, hearing someone as incredibly talented as Shears so humbly gush about Ridha's expertise made me feel like I had just awoken on Christmas morning. "Only the horses, and Boys Noize, can bring us back home tonight," laughed Shears, making a reference to the Scissor Sisters single “Only The Horses" that was co-written by Ridha.

As expected, after an echoing Boys Noize chant called for the German producer to begin his set, the robotic vocal beginning his show turned the crowd's chant to a scream-level cheer. The festival had saved its best for last, with Boys Noize giving attendees an hour of sharp-hitting techno and thumping house anthems, served by a musical connoisseur of artistic excellence. 

Day two was noticeably more crowded, and hosted an equally impressive display of virtuosic skill on stage with acts such as Dillon Francis, Zedd, Nero, and GRAMMY-winning sensation Skrillex, who was crowned with the closing slot. Accompanied by a merciless strobe, Skrillex's staging was impressive. Surrounded by what appeared to be a hybrid of a futuristic aircraft and Transformers character Optimus Prime, Skrillex was positioned in the middle with colorful screens on every side displaying warped imagery, a kaleidoscope of lighting effects and sporadic pyrotechnics synced to the artist's drum rolls and bass drops. One of the set's highlights was his remix of Benny Benassi's "Cinema," which the crowd sang along to at the top of its lungs, "You are a cinema/I could watch you forever." Even if you tried your best to remain motionless, you would have failed miserably, swaying in time.

Fans even became the feature of the festival, as the crowd's image was projected outward on main stage screens from Skrillex's point of view, giving a unique perspective to the mass of people united under the same love and devotion for the EDM culture sweeping the globe.

(Brent Burns is the dance/electronica GRAMMY.com Community Blogger.)

"And the GRAMMY goes to … Skrillex." "And the GRAMMY goes to … Skrillex." "And the GRAMMY goes to … Skrillex!"

No, those aren't typos. The artist otherwise known as Sonny Moore, the multitalented, one-man dance/electronica music machine, returned to the GRAMMY stage at the 55th Annual GRAMMY Awards Pre-Telecast Ceremony to accept three more gold gramophones this past week. If you're experiencing a bit of déjà vu, it's because the dubstep king claimed victory again in the exact same categories he won last year, bringing his career total wins to six. His latest winnings included Best Dance Recording for "Bangarang" featuring Sirah (the title track from the album that also won Best Dance/Electronica Album), and Best Remixed Recording, Non-Classical for his remix collaboration with Nero on the latter's "Promises."

During Skrillex's first acceptance speech for Best Dance Recording, he shared that the inspiration for the album was taken from the Peter Pan idea of "never growing up." But never growing up doesn't mean never winning again because shortly after exiting, Skrillex was called back to the stage with his full Lost Boys gang in tow to collect the award for Best Dance/Electronica Album.

"None of the rappers showed up so we had to come rolling deep!" he said, motioning to a group of more than 15 of his musical "family."

Skrillex might have been the man with the statues, but he wasn't the only EDM heavyweight at the GRAMMYs. One of the presenters at this year's Pre-Telecast Ceremony was Ryan Raddon, better known as Kaskade, who gave a heartfelt nod to The Academy.

"We've got three categories this year," he began. "Now, they've got it really figured out … It's a well-oiled machine."

But that machine wasn't just confined to Sunday night. Amid the insanity of GRAMMY Week, another EDM highlight was an exclusive party that took place in downtown Los Angeles to support the Dance (RED), Save Lives album. Kaskade and Tommy Trash kicked the night off in quick succession, leaving Diplo and Skrillex to go back-to-back on the decks for the latter part of the evening. Not to be left out, Nero joined Diplo and Skrillex onstage just after midnight and, after going back-to-back for a few tracks, Nero treated the crowd to a semi-live rendition of the soon-to-be-award-winning "Promises," bringing the weekend full circle even before it had begun.

EDM thus wasn't just a one-night welcome to the ceremony, or a one-off event, but a full-fledged cog in the GRAMMY machine, and a welcomed one.

Welcome to the main stage, my favorite genre … for good.

A new album from Gunna is bound to be notable and controversial. Many in the rap world had strong feelings about how the racketeering case against many members and affiliates of his label YSL Records — including, most notably, him and Young Thug — worked out for the Atlanta star. After Gunna took a plea deal in December 2022, the word "snitch" was thrown around not infrequently; he was rumored to have tensions with rappers including his close collaborator Lil Baby and, unsurprisingly, Young Thug.

Gunna's 2023 album, a Gift & a Curse, released about six months after his plea, seemed to be his attempt to move past all of that. In some ways, it worked. The album was a success, containing his highest-charting solo hit to date with "fukumean." 

But still, the negative image followed him around. Despite his chart success — along with a few notable Afrobeats songs that brought attention from a whole new market — Gunna's controversial past was brought to light yet again when he was referenced in Kendrick Lamar's recent Drake diss track, "Euphoria," in a less-than-flattering way.

Now, Gunna has made his latest big statement with his fifth album, One of Wun, where he addresses both his feelings about the public response to his plea, and what his life has been like since it occurred. The new LP finds Gunna unbowed, positive and defiant. It's a fascinating project, with themes that anyone with even a cursory knowledge of the rapper's career to date will find timely and relevant. 

As you dig into One of Wun, take a look at five major takeaways from Gunna's new album.

Gunna Remembers What His Haters Said

One of Wun features many references to people who hated on or didn't believe in Gunna. Rarely is this explicitly tied to blowback from the YSL case, but it doesn't need to be: "I swear I don't want no apology," he says on "whatsapp (wassam)." But it's not that he doesn't feel he deserves one.

Throughout the album, Gunna makes it very clear that he is aware of all the criticism. "Heard all about how they want me to lose, but I'm W, here for a win," he spits on the title track; the first verse of "on one tonight" echoes that sentiment, "They hope I fall off, ain't no way." Gunna knows, as he says on the nautically themed "neck on a yacht," that his haters want him to sink like the Titanic, but he'll never give them the satisfaction.

The most explicit reference to the YSL situation is on "prada dem," where he disposes of any controversy with a simple pun: "I'm not a rat — still getting cheddar."

He Loves Women A Lot, But Not Deeply

It's not all just clapbacks on One of Wun; there is a lot of rapping about women and sex, too. The aforementioned "neck on a yacht," for example, is about exactly what the title might lead you to think it to be. So is "treesh," named after New York slang for a person with lots of partners. Even "clear my rain," musically one of the most adventurous tracks on the project with its Afrobeats-esque feel, is lyrically in this vein as well.

However, it's clear this album wasn't inspired by romance. Gunna never gets personal, and "Body right, she a ten in the face/ F— her all night and all through the day" is about as specific as he ever gets. This is not out of line in Gunna's catalog, and this consistency provides proof that his lyrics about standing his ground are accurate both inside the recording booth as well as the world outside. 

Emotion And Vulnerability Ultimately Make The Album Memorable

Gunna may not be in his feelings about women, but he certainly is in other ways. The times where he moves past his triumphing-over-the-haters stance and lets his guard down are the most effective moments of the whole album.

Exceptional in this regard is the track "conscience," in which he admits that the people who betray him are making him "feel low." "I'm fed up with this nonsense," he says. "Lotta s—, and it's weighing on my conscience." 

That bit of vulnerability adds a tremendous amount of context to his talk of his determination — and the spiritual and material victories that come because of it — throughout the rest of the record. The very album title tells you of Gunna's uniqueness, and the record's glimpse at his vulnerabilities make the case for that even more than his boasts. 

There are musically exceptional moments as well — a kind of aural equivalent to his lyrical openness. Much of the album is mid-tempo and trap-inflected, but it ends with an ambitious six-and-a-half minute, two-part epic called "time reveals, be careful what you wish for." It would be wonderful to see more songs with this scope in the future.

He's Back To Collaborating

a Gift & a Curse had no guest appearances at all, marking the first time Gunna had ever gone completely solo on any of his five albums. Whatever the reason for Gunna's decision for no features on his previous project — whether it was an artistic choice, the swirling talk around his guilty plea, or something else — he's back to collaborating on One of Wun. The rap star recruits Normani ("$$$") and Leon Bridges ("clear my rain"), as well as two fellow rappers, Offset ("prada dem") and Roddy Ricch ('let it breathe").

That said, Gunna has never been one for a ton of guest features, particularly in comparison to most big-name rap releases. And with regular standbys Lil Baby and Young Thug off the table (the latter was in jail), the return of Gunna's "Cooler Than a Bitch" collaborator Roddy Ricch seems to indicate that at least some of his rap pals are willing to work with him again.

He's Placing Emphasis On Being A Musical Rapper

With 20 songs on the track list, One of Wun gives Gunna plenty of time to experiment — to try different vocal approaches, melodies and rhythms. While there is plenty of rap's tried-and-true triplet rhythm across the album, he goes far beyond it as well.

He adjusts his rapping approach not only to fit the music of the song, but also the subject matter. He's straightforward, repetitive and aggressive when the subject matter calls for it, like on the defiant "whatsapp (wassam)"; elsewhere, he tries different musical ideas on songs like the more introspective "conscience." This makes the album feel like a true body of work, one where his defiance comes to life not only in his words, but in sound as well.

Gunna released One of Wun into a climate with a lot of questions. The record succeeds in not only talking about his recent worries and conflicts, but dramatizing them in lyrics and music. He's using the raw material of his life — and the media narratives around it — to sculpt a coherent narrative, where every aspect of the album has a part to play in telling his story. He delves deep into his defiance, and his worries, and converts them into a real artistic statement. 

"Independence weighing on my conscience hard," he raps on "conscience." Gunna makes sure not only that he says that theme in words, but expresses it in every aspect of this record. That vision and ability makes him truly one of one.

GRAMMY Rewind: Megan Thee Stallion Went From "Savage" To Speechless After Winning Best New Artist In 2021

As the summer quickly approaches, artists from every genre continue to unveil new music for warmer weather. Friday May 10 is particularly packed with anticipated and surprise releases from both emerging talents and established names.

The new albums alone prove just that: pop songsmith Alec Benjamin's 12 Notes, folk-rock band Judah & the Lion's The Process, regional Mexican stars Grupo Frontera's Jugando a Que No Pasa Nada, and GRAMMY-winning R&B singer Andra Day's Cassandra, to name a few.

Meanwhile, a big, cool glass of major rap releases is here to help wash down the piping hot Kendrick and Drake beef served up over the last week. Full album releases debuted from Gunna, Chief Keef, and Ghostface Killah — the latter featuring guest spots from Nas, Kanye West, Raekwon, Method Man and more. Hottie Megan Thee Stallion's powerful new single, "BOA", sets the stage for her Hot Girl Summer tour which officially starts on May 14. New songs from Ice Spice, Kodak Black, NLE Choppa, Coi Leray, G-Eazy, Yung Gravy, Ski Mask the Slump God set the playlist for a weekend full of slappers.

There's tons of collaborations, too, including the much-teased pairing of Post Malone and Morgan Wallen with "I Had Some Help," a track that showcases Malone's furtherance into country in a catchy, reflective anthem. But country music lovers also have more to enjoy this weekend: Orville Peck's duets project, Stampede Vol.1, features the likes of Willie Nelson and Elton John," while Scotty McCreery's Rise & Fall and Avery Anna's single "Blonde" fill the fuel tank for a rodeo-ready summer. 

BTS's RM delivers another solo track "Come Back to Me" and Stray Kids dropped a new collaboration with Charlie Puth, coming fresh off the K-pop group's appearance at the Met Gala earlier this week. And the electronic and rock scenes are not left behind, with A.G. Cook exploring a new twist on Britpop and Sebastian Bach's release of Child Within The Man.

Dive into today's releases from Megan Thee Stallion, The Chainsmokers, RM, Stray Kids with Charlie Puth, Camila Cabello with Lil Nas X, Post Malone and Morgan Wallen below. 

Megan Thee Stallion, "BOA"

Megan Thee Stallion's new single "BOA" continues to play up the themes of empowerment and self-realization that define her current musical phase and comes just days ahead of her Hot Girl Summer Tour starting on May 14. The song's cover art features Megan with a striking snake, a recurring symbol of rebirth that has been significant in her recent work, appearing in tracks like the Billboard Hot 100 hit "Hiss" and the 2023 song "Cobra." 

"BOA" is a continuation of Megan's snake-themed narrative, but serves as a saccharine homage to her favorite late-'90s and early 2000s anime and video game classics. The music video features references to Scott Pilgrim, One Piece, Dance Dance Revolution, and iconic 3D fighting games like Mortal Kombat, complete with visuals and Gantz-inspired outfits.

Speaking to Women's Health about her upcoming summer album, Megan discussed the personal growth and renewal she has experienced, inspiring this new era of music. "I was inspired to create this album about rebirth because I feel I am becoming a new person physically and mentally," she shared.

Camila Cabello & Lil Nas X, "HE KNOWS"

Camila Cabello teams up with Lil Nas X for the tantalizing new song "He Knows," delivering a radio-friendly track that's as catchy as it is lustful. The new music mirrors the infectious energy of their recent appearance at FKA Twigs' Met Gala afterparty, where they both were seen dancing the night away behind the DJ booth. 

"He Knows" serves as a precursor to Cabello's highly anticipated fourth solo album, C,XOXO, — set to drop on June 28 — and teases a glimpse of Cabello's evolving artistic direction. The single follows on the heels of her recent hit "I LUV IT" featuring Playboi Carti, part of the  reimagining of her sound and artistic brand.

RM, "Come Back To Me"

BTS member RM has released a new single, "Come Back To Me," accompanied by a music video. The relaxed track gives fans a taste of his upcoming second solo album, Right Place, Wrong Person, set to release on May 24. 

In the song, RM explores themes of right and wrong, capturing the complex emotions of wanting to explore new avenues while wishing to stay comfortable in the present. "Come Back To Me" features contributions from OHHYUK of the South Korean band HYUKOH, and Kuo of the Taiwanese band Sunset Rollercoaster. Additional credits include JNKYRD and San Yawn from Balming Tiger. RM first performed "Come Back To Me" during a surprise appearance at BTS bandmate Suga's concert in Seoul last summer, noting it as a favorite from his forthcoming album. 

The music video for "Come Back To Me" was written, directed, and produced by Lee Sung Jin, known for his work on the Netflix show "Beef." The video features actress Kim Minha from the Apple TV+ series "Pachinko" and faces themes of identity and self-reflection, showing RM confronting different versions of himself. Its cast includes notable Korean and American actors such as Joseph Lee, Lee Sukhyeong, and Kim A Hyun.

Post Malone & Morgan Wallen, "I Had Some Help"

Post Malone and Morgan Wallen blend their distinct musical styles in the much-anticipated release of their collaborative single "I Had Some Help." Merging Malone's versatile pop sensibilities while leaning into his country roots with Wallen's, well, help, the duet is a unique crossover that has had fans clamoring to hear more since the two first teased the song earlier this year. 

Finally premiering during Wallen's headlining performance at Stagecoach Festival on April 28, the uptempo song explores themes of mutual support and shared experiences, encapsulated by the lyric, "It ain't like I can make this kind of mess all by myself."

The collaboration has sparked significant buzz and showcases the duo's chemistry and shared knack for storytelling. This single highlights their individual talents as well as their ability to bridge genre divides, already promising to be a hit on the charts and a favorite among fans.

The Chainsmokers, No Hard Feelings

Maestros of mainstream emotion, The Chainsmokers continue to master the art of turning personal reflections into global anthems with their latest EP, No Hard Feelings. The six-song project see Alex Pall and Drew Taggart exploring the emotional highs and lows of modern relationships, weaving their signature dance beats with pop sensibilities as they have since 2015's "Roses." 

The duo's latest release serves as a soundtrack to both sun-kissed days and introspective nights. The collection includes the single "Friday," a collaboration with Haitian-American singer Fridayy, described by the duo as a direct descendant of "Roses." Other tracks, such as "Addicted," also underscore the Chainsmokers' knack for capturing the zeitgeist of contemporary love and loss.

Kings of Leon, Can We Please Have Fun

Kings of Leon return with their signature blend of rock and introspection on their ninth studio album, Can We Please Have Fun. The LP finds the band infusing their established sound with fresh, unbridled energy, reminiscent of their early days yet matured by years of experience. The album features standout tracks like "Mustang" and "Nothing To Do," which mix playful lyrics with serious musical chops, showcasing Kings of Leon's unique ability to combine rock's raw power with catchy, thoughtful songwriting.

The band is set to bring Can We Please Have Fun to life on their 2024 world tour, starting in Leeds, United Kingdom on June 20 and wrapping in Bridgeport, Connecticut, on Oct. 5. Fans can expect a high-energy series of performances that blend new tracks with beloved classics, all delivered with the Kings of Leon's legendary fervor.

Stray Kids & Charlie Puth, "Lose My Breath"

Stray Kids have teamed up with Charlie Puth for their latest release, "Lose My Breath," a track that blends K-pop dynamism with Western pop flair, written by Stray Kids' own producer team 3racha (Bang Chan, Changbin, and Han) along with Puth. The TK song details a whirlwind of emotions, describing symptoms of breathlessness and heart-palpitating moments encapsulated in the lyrics: "I lose my breath when you're walking in/ 'Cause when our eyes lock, it's like my heart stops." 

"Lose My Breath" is described as a "warm-up" for Stray Kids' forthcoming album, set for release this summer. The track further highlights the global appeal of Stray Kids ahead of their highly anticipated headlining set at Lollapalooza in August. It also continues Puth's engagement with K-pop, following his previous work with other K-pop acts including his collab with BTS' Jungkook, "Left and Right," and "Like That," a song he co-wrote for K-pop girl group BABYMONSTER. 

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