Somewhere between record label and artist project, False Aralia harks back to microhouse and dub techno with its deep, detailed productions

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Recommended if you like Rhythm and Sound, Ricardo Villalobos, Vladislav Delay
Up next Double LP from Topdown Dialectic released in spring

False Aralia disappears into a misty gulch somewhere between record label and artist project. It’s ostensibly a label, where each EP has a different named artist, and each sleeve, designed by Nick Almquist, features a different abstract expressionist monochrome doodle. But all the tracks are numbered, not named, and each EP is actually the work of just one producer, Izaak Schlossman (credited as IS), joined by a changing cast of collaborators.

The musician’s elegant electropop marked him out as one of the ‘cool French dudes’, before an attempt to literally crash the Song Contest fell badly flat. Now back with an adventurous new album, he talks about the man who stole his identity and why he doesn’t care for ‘good taste’

A few years ago, a stranger stole Sébastien Tellier’s identity. The impostor – sporting the musician’s trademark sunglasses and beard – posed as the Frenchman at fancy parties, nabbed free clothes from Chanel (Tellier used to be an ambassador for the brand), and even held meetings with bosses from Hollywood studios (Tellier has dabbled in soundtrack work). “He [also] took a lot of drugs like ketamine in front of a lot of people,” Tellier continues with perfect nonchalance from his Paris home, sunglasses and beard present and correct. The crime was only rumbled when a confused woman got in touch to tell him she’d been partying with “Sébastien Tellier” in France only to see on Instagram that the real Tellier was playing a gig in Belgium.

This experience has been alchemised into pop gold via Copycat, a sparkly synthpop workout on his upcoming eighth album, Kiss the Beast. “My name you steal it / Hat and success,” Tellier croons for the song’s chorus over a chunky bassline, disco strings and synths that crackle and spark like fireworks. It’s typical Tellier, mixing the serious – things got so bad with the impostor that Tellier was briefly forced to show his passport at the school gates when collecting his two small children – with the playfully naive.

The Swedish star says ‘Sexistential’ is ‘like a spaceship coming through the atmosphere at a really high speed and crash landing’

The rapper’s recent cosying up to the Trump administration has upset a lot of her fans, but is she playing the long game?

Starships are meant to fly, but Nicki Minaj’s musical career is now doing a Maga-propelled nosedive. For the past few months, the rapper and former gay icon has been horrifying many of her fans by cosying up to the Trump administration.

In November, for example, Minaj shared a post by Donald Trump about the treatment of Christians in Nigeria and agreed to collaborate with the administration on awareness around the issue. Then, in December, the rapper made a surprise appearance at Turning Point USA’s AmericaFest convention, where she heaped praise on the late Charlie Kirk (who once said Minaj was not a good role model for “18-year-old Black girls”) and the vice-president, JD Vance. She also accidentally called Vance an “assassin” while talking to Erika Kirk, Charlie’s widow, but was quickly forgiven for her word choice. “I love this woman,” Erika Kirk proclaimed after the weird gaffe.

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Engaging in creativity can reduce depression, improve immunity and delay ageing – all while you’re having fun

For some reason, we have collectively agreed that new year is the time to reinvent ourselves. The problem, for many people, is that we’ve tried all the usual health kicks – running, yoga, meditation, the latest diets – even if we haven’t really enjoyed them, in a bid to improve our minds and bodies. But have any of us given as much thought to creativity? Allow me to suggest that this year be a time to embrace the arts.

Ever since our Paleolithic ancestors began painting caves, carving figurines, dancing and singing, engaging in the arts has been interwoven with health and healing. Look through the early writings of every major medical tradition around the world and you find the arts. What is much newer – and rapidly accelerating over the past two decades – is a blossoming scientific evidence-base identifying and quantifying exactly what the health benefits of the arts are.

Behind its lavish ‘nun-core’ aesthetic, the Spanish star’s hit album pushes us to think beyond good and evil – to see that we contain multitudes

I went into Lux primed not to like it. Not because I doubt Rosalía’s virtuosic talents or her intense intellectual curiosity, but because the album’s promotional campaign had already done too much work on my nerves. The rollout was relentless: thirsty reels teasing the album on social media, fashion-forward mysticism, even bringing Madrid’s city centre to a halt – everything about it felt designed to send the message that this is less a set of songs than a global event demanding reverence.

Over the past decade, Rosalía has become Spain’s biggest pop export, and Lux appears to inaugurate her imperial phase. The album debuted at No 1 in five countries, was voted the Guardian’s album of the year, broke streaming records on Spotify, and reached No 4 in the US and UK charts, where non-anglophone pop rarely thrives. Multilingual and stylistically expansive, Lux is saturated with Catholic iconography, with lyrics in no fewer than 13 languages, and circling themes of transcendence, suffering and grace.

Apple testerait la traduction des paroles en français sur Apple Music, a repéré iGeneration. La fonctionnalité, officialisée depuis juin 2025, est toujours en cours de déploiement.

When the Afrobeat sensation first saw Lemi Ghariokwu’s work, he said, ‘Wow!’ Then he plied him with marijuana and asked him to design his album sleeves. The artist recalls their extraordinary partnership – and the day Kuti’s Lagos HQ burned

‘There were flames everywhere. Soldiers with bayoneted rifles were dragging people out into the streets, staggering, naked and bleeding. Nobody knew if Fela was still inside the burning building.”

Lemi Ghariokwu pauses. For much of our video-call, the 70-year-old artist has joyfully revisited his years as friend and confidant of Fela Aníkúlápó Kuti, the Nigerian Afrobeat pioneer whose legacy has been celebrated recently by both a high-profile podcast produced by the Obamas and a career-spanning box-set, The Best of the Black President, designed by Ghariokwu.

Songsmith’s comments come after his brother Liam stoked rumours Oasis had been courted for the role

Noel Gallagher has said that he would “absolutely” write the theme song for the next James Bond film if asked, saying that doing so would be an honour.

Speaking to TalkSport, the Oasis songwriter revealed that while there had not been any contact between himself and the producers of the franchise, he would leap at the opportunity to contribute music for the film, adding that he thought the theme songs the series was known for should be made by British artists.

The actor first realised what music was when he heard Yellow Submarine and knows a lot of Paul Simon lyrics, but what would he put on at a party?

The first song I fell in love with
My earliest memory is walking into a room at nursery school where they were playing Yellow Submarine by the Beatles. I was captivated by the sound effects, and Lennon shouting: “Full speed ahead!” When it got to the chorus, I remember thinking: “This must be music!”

The first single I bought
When I was eight, I won a competition at school to pick a new record to play at the mini disco we had on Fridays. My teacher took me to Woolworths, and I chose Come Back My Love by [50s revivalists] Darts. The first single I bought with my own pocket money was Mull of Kintyre by Wings from a record shop in Colne in Lancashire. It was No 1 at the time, and I chose it when my dad pointed out that it was by one of the Beatles.

Streaming’s algorithms make it easy to avoid whole discographies – so in the interest of deeper listening, our writers dedicate time to the ones who might have got away

The first time I heard Joni Mitchell, in 1997, she was looped across the chorus of Janet Jackson’s single Got ’Til It’s Gone. The song’s credits would educate me on the sample’s origins; I had previously assumed Big Yellow Taxi was an Amy Grant original. The second time I heard a Mitchell song was when Travis covered the beautiful River as a B-side.