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.

The 2024 Paris Olympics came to life today as the Parade of Nations glided along the Seine River for the opening ceremony. The opening spectacular featured musical performances from Lady Gaga, Celine Dion, and more. Earlier in the week, some of music’s biggest names were also spotted in the city for the Olympics, including Olympics special correspondent Snoop Dogg, BTS' Jin, Pharrell Williams, Tyla, Rosalía, and Ariana Grande.

Read More: When The GRAMMYs & Olympics Align: 7 Times Music's Biggest Night Met Global Sports Glory

Below, see a full breakdown of some of the special musical moments from the 2024 Paris Olympics opening ceremony.

In a grand entrance, Lady Gaga emerged behind a heart-shaped plume of feathers on the golden steps of Square Barye, captivating the audience with her cover of the French classic "Mon truc en plumes." Accompanied by cabaret-style background dancers, she flawlessly belted out the song, executed impressive choreography, and even played the piano.

Lady Gaga’s connection to the song is notable, as Zizi Jeanmarie, the original artist, starred in Cole Porter’s musical "Anything Goes," which was Lady Gaga’s debut jazz release.

"Although I am not a French artist, I have always felt a very special connection with French people and singing French music — I wanted nothing more than to create a performance that would warm the heart of France, celebrate French art and music, and on such a momentous occasion remind everyone of one of the most magical cities on earth — Paris," Lady Gaga shared on Instagram.

Celine Dion 

Closing out the ceremony with her first performance in four years since being diagnosed with stiff-person syndrome, Celine Dion delivered a stunning rendition of Edith Piaf’s everlasting classic, "L’Hymne à l’amour" from the Eiffel Tower. Her impressive vocals made it seem as though she had never left.

This performance marked Dion’s return to the Olympic stage; she previously performed "The Power of the Dream" with the Atlanta Symphony Orchestra and composer David Foster for the 1996 Olympics.

Axelle Saint-Cirel 

Performing the National Anthem is no small feat, yet French mezzo-soprano Axelle Saint-Cirel knocked it out of the park.

Dressed in a French-flag-inspired Dior gown, she delivered a stunning rendition of "La Marseillaise" from the roof of the Grand Palais, infusing the patriotic anthem with her own contemporary twist.

With the stirring lyrics, "To arms, citizens! Form your battalions. Let’s march, let’s march," Saint-Cirel brought the spirit of patriotism resonated powerfully throughout the city. 

Gojira 

Making history as the first metal band to perform at the Olympics Opening Ceremony is just one way Gojira made their mark at the event.

The French band took the stage at the Conciergerie, a historic site that once housed French kings during medieval times and later became a prison during the French Revolution, famously detaining Marie Antoinette – Creating a monumental moment as the first metal band to perform at the ceremony, but also stirring the pot as they used the chance to nod toward politics. 

Performing a revamped version of "Ah! Ça Ira," an anthem that grew popular during the French Revolution, the artists aren’t new to using their songs as a vehicle for political messages. The GRAMMY-nominated group are outspoken about issues concerning the environment, particularly with their song, "Amazonia," which called out the climate crisis in the Amazon Rainforest. Using music to spread awareness about political issues is about as metal as it gets. 

Aya Nakamura

Currently France’s most-streamed musician, Aya Nakamura went for gold in a striking metallic outfit as she took the stage alongside members of the French Republican Guard. As there were showstopping, blazing fireworks going off behind her, she performed two of her own hit songs, "Pookie" and "Djadja," then followed with renditions of Charles Aznavour’s "For Me Formidable" and "La Bohème." 

Although there was backlash regarding Nakamura’s suitability for performing at the ceremony, French President Emmanuel Macron dismissed the criticism. "She speaks to a good number of our fellow citizens and I think she is absolutely in her rightful place in an opening or closing ceremony," Macron told the Guardian.

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.