This is Lenny Vaughn, crate-digging through the last 24 hours so you don’t have to, bringing you the grooves the algorithms missed.

Indie and alt-pop fans are getting a late-year gem as Toronto’s Chloe Mayse drops her new EP Dear Love…, a confessional set tracked between Los Angeles and Toronto. Earmilk notes the project moves from the temptation of second chances on Come Here With Me to the bruised obsession of Mad In Love, closing with Horoscopes, a meditation on anxiety and purpose that feels tailor‑made for anyone staring down a new year. It’s the kind of release that reminds listeners the EP format is still a perfect diary-on-vinyl for young songwriters.

On the horizon side of new music, Tinnitist runs down more than 160 releases landing this coming week, from underground metal to left‑field electronic, underscoring that even as 2025 limps to a close, labels are flooding the zone instead of waiting for January’s clean slate. Rough Trade’s year‑end roundup is already pointing to next‑wave voices like Ireland’s Dove Ellis, whose debut Blizzards has drawn Jeff Buckley comparisons, and soul revivalist Jalen Ngonda, who’s parlaying his breakout LP into festival headlining slots. That’s your reminder that the A&R action is as much in small‑room buzz as in major‑label rollouts.

In the rock and metal world, Louder Sound’s December news archive reads like a bulletin from the church of the riff. Sleep Token’s Even In Arcadia has been certified Gold in the UK, solidifying the masked collective as one of the few heavy acts genuinely expanding their audience instead of living on nostalgia. At the same time, Ghost’s Mary On A Cross going platinum in the UK shows how a once‑cult band has crossed fully into pop‑culture canon. Tucked alongside are tour announcements from legacy prog outfit IQ and word of Pink Floyd pop‑up stores built around Wish You Were Here, proof that catalog “experiences” remain a crucial revenue stream.

Onstage, archival and live projects are doing serious work. Get Ready To Rock highlights Spock’s Beard’s new album The Archaeoptimist, described as prog rock “for the masses,” and Cytrus’ Duality, a psychedelic‑funk record that pulls from Parliament but leans harder into rock guitars, speaking to listeners who want their jams with both groove and grit. Bourbon And Vinyl’s December roundup of vault releases celebrates Led Zeppelin’s new Live EP tied to Physical Graffiti’s 50th anniversary and the long‑awaited reissue of Buckingham Nicks, finally giving a broader audience access to a pre‑Fleetwood Mac touchstone.

On the industry side, MarketBeat flags Tencent Music Entertainment, Warner Music Group, Dolby Laboratories, NetEase and more as music‑related stocks to watch, a reminder that behind every festival bill and deluxe box set there’s a portfolio manager treating your favorite songs like an asset class. At the same time, PopCrush and AOL spotlight some of the oldest still‑working pop stars, underlining how the touring economy keeps veteran artists on the road longer than ever.

For the heads tracking critical consensus, Shortlist and other outlets are locking in their best‑of‑2025 lists, with albums from FKA twigs, Oneohtrix Point Never, Panda Bear, and others jostling for “modern classic” status, while academic‑driven lists like Phoenix New Times’ roundup praise extreme‑metal outliers such as Lamp of Murmuur for pushing genre emotion into strange new territory.

That’s the latest from your cross‑fader between eras. Thanks for tuning in, and don’t forget to subscribe so the next drop finds you before the algorithm does. This has been a quiet please production, for more check out quiet please dot ai.

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Hey listeners, Lenny Vaughn here, spinning the raw truth on the music world as algorithms try to bury the soul of discovery. Kicking off this post-Christmas haze, New Music Friday dropped heat across genres—Lil Uzi Vert's "What You Saying," Ravyn Lenae's funky "Bicycle Race," Sexyy Red's bold "If You Want It," and $uicideboy$'s full album Thy Will Be Done, all streaming now, per Pop Goes The Charts. XG's "4 Seasons" and Wrabel's heartfelt "Shape Of My Heart"/"Sugar" add global pop and indie soul to the mix.

Live wires are buzzing too. In Lansdale, Harper & Penny's unleashes two nights of no-mercy rock starting tonight—Big Handsome, Lady White Rat, and The Grimjacks bring swaggering riffs and heavy edges Friday, while Vigilante Sidekicks honor Rancid and Sadgasm channels Nirvana Saturday, NorthPennNow reports. Across the pond, TXT dominated SBS Gayo Daejeon with "Upside Down Kiss" and "Danger," plus special stages from Yeonjun and Huening Kai, cementing their year-end reign after Japan triumphs, Chosun says. TVXQ marked 22 years with a record-shattering Japanese tour, 33 Tokyo Dome shows, and Max Changmin's sold-out solo run.

Tours heat up: CKY hits the Northeast in March, Thomas Erak and the Ouroboros team with Murals in January-February, and Milwaukee Metal Fest adds Suicidal Tendencies for 2026, Loudwire notes. No big controversies in the last day, but the year's AI shadows linger from Bobby Owsinski's recap—labels settling suits, streaming stalls, and touring woes for indies.

From punk basements to K-pop arenas, real music thrives where vinyl hearts beat loudest. Thanks for tuning in, listeners—subscribe for more unfiltered drops. This has been a Quiet Please production, for more check out quietplease.ai.

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Hey listeners, Lenny Vaughn here, spinning the raw truth from vinyl grooves to digital streams, bridging the beats that algorithms try to bury. In the last 24 hours, holiday vibes ruled the charts as Mariah Carey's "All I Want for Christmas Is You" locked in a record 21st week at No. 1 on the Hot 100, hitting her 100th career week on top, while Daily Music Headlines notes Wham!'s "Last Christmas" topped the Billboard Global 200 for the first time with 95 million streams. Taylor Swift's The Life of a Showgirl held No. 1 on the Billboard 200 for its 10th week, the first woman with four albums reaching that milestone, bumping Morgan Wallen's I'm The Problem to No. 2 amid six holiday albums dominating the top 10.

Reunions stole the spotlight: Bad Bunny and J Balvin buried their feud with a surprise onstage collab at Bad Bunny's Mexico City tour finale, their first joint show since 2021, per Daily Music Headlines. Fergie linked up with Black Eyed Peas for milestone birthdays, the group's first public gathering since 2018. Lady Gaga's dropping her Harlequin Live stream tonight from LA's Belasco Theatre, a September 2024 capture blending pop spectacle with raw edge.

Industry shakes include Spotify clamping down on a massive leak after a pirate group scraped metadata for 86 million songs, now with new safeguards in place. Warner Music Canada axed at least 24 jobs in global restructuring, New Industry Focus reports, while streaming giants like Spotify saw Q4 subscriber growth, though TikTok's grip loosened. France's culture ministry enshrined electronic music as Intangible Cultural Heritage, honoring its artistic soul. Health scares hit: Barry Manilow's postponing January shows for lung cancer surgery, doctors say it's contained; he'll return in February.

New drops keep genres diverse—Lord of the Lost unleashed rock epic Lost In Existence yesterday, Queens MC Mikey D preps Pop-N-Kim, and college charts buzz with Juliet Ruin's Regime and Alex G's Headlights. Vinyl sales surged 12% in holiday gifting, independents thriving as physical holds 25% of revenue.

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This is Lenny Vaughn, cutting through the tinsel and the timelines to bring listeners the last 24 hours of what really matters in music.

Holiday dominance is the headline on the charts: the Los Angeles Times reports that Christmas playlists on Spotify in the US jumped around 60% compared with last year, with on‑demand holiday streams up to 8.3 billion, and Mariah Carey, Brenda Lee, Wham!, Nat King Cole, and Dean Martin once again turning the Hot 100 into a vintage jukebox. According to Spotify’s editorial team quoted there, it is pure nostalgia and comfort driving that surge in a rough year, proof that catalog still owns December.

On the new‑music front, things are quieter but not dead. Vinyl heads are lining up for a lean but tasty batch of releases hitting right after the holiday; The Vinyl Den highlights reissues and archival drops from Adam & the Ants, Thrice’s The Illusion of Safety, Patti Smith’s Wave, a Twisted Sister live set, and a Neil Young and Bob Dylan Live on Air 1988 collection, all reminding listeners that the story of rock is still being pressed into wax. In the digital lane, PM Studio notes that masked pop‑punk artist WesGhost is pushing a newer single, Mascara, tying mental health and BPD conversations to hooky guitars and leaning into that algorithmic discovery with a message that listeners are not alone.

Industry‑side, the power players are still moving pieces even as the year winds down. New Industry Focus reports that Universal Music Group has struck a deeper partnership with Roblox, aiming to turn that gaming universe and its more than 100 million daily users into a performance and merch playground for artists, another step in blurring the line between stages and screens. The same outlet notes Warner Music Canada cutting at least two dozen jobs as part of a broader Warner restructuring, a reminder that while streams and festivals soar, the corporate layer is still tightening belts.

Legal and tech currents are shifting too. New Industry Focus also points to AI music company Suno updating its rights and ownership language following an agreement with Warner Music, signaling that the big labels are no longer just complaining about AI, they are forcing specific policy changes. In parallel, Anna’s Archive has scraped Spotify to build what it calls a massive “music preservation archive” of metadata, raising the question of who really controls the map of recorded sound in the streaming era.

And even beyond the majors, the ecosystem keeps evolving: performance royalty body PPL has announced nearly 20% growth in payouts this quarter, buoyed by international income, while initiatives like AXS and Tickets for Good are working to open up live events to healthcare, education, and charity workers, keeping some community spirit in the heart of the touring machine.

That’s the state of the sound right now: old songs ruling new platforms, vinyl ghosts resurfacing on store shelves, AI and gaming platforms bargaining with labels, and live music trying to stay both profitable and human.

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Hey listeners, Lenny Vaughn here, spinning the threads from vinyl grooves to streaming chaos, bridging the generations who crave that raw discovery over algorithm slop. In the last 24 hours, holiday jazz is heating up Pasadena with The Coffee Shop Jazz Trio laying down modern jazz and Latin fusion at Jones Coffee Roasters this morning, free for all you early risers, while tonight Bacchus Kitchen hosts the Clayton Family Christmas—John and Gerald Clayton on bass and piano for a $145 prix fixe holiday masterclass. ARIA charts down under are dominated by Olivia Dean, her Art of Loving holding number one for weeks, with So Easy (To Fall In Love) topping new singles, doubling up her reign amid showgirl vibes and chart news buzzing. Billboard's Hot 100 for December 27 keeps Christmas classics ruling: Mariah Carey at one, Dean Martin back in the top 10 with Let It Snow, Kelly Clarkson's Underneath the Tree climbing to seven, and Nat King Cole's Christmas Song at six—timeless hits proving algorithms can't kill the season's spirit. Over in faith-based animation, Angel Studios' musical David smashed records with a $22 million opening weekend, topping faith animated features and ranking among 2025's biggest animated hauls. Nonpoint's Elias Soriano spilled to Blabbermouth on the streaming era's real killer: music's devalued worth, as the band thrives independent via their 361 Degrees label after ditching majors amid Napster-to-Spotify shifts. Bobby Owsinski's year-end recap on YouTube dives into 2025's AI shakeups—like labels cutting deals with AI firms over artist protection, Gen Z ditching streams for video, and indies crushed by touring costs—while the US Copyright Office finally curbed AI authorship claims. Classical shines too: Met Opera's Magic Flute runs tonight with Michael Sumuel and Joélle Harvey, and Michael W. Smith brings gospel Christmas fire to Ruth Eckerd Hall. From jazz dens to chart toppers, the beat pulses on amid AI shadows and holiday glow.

Thanks for tuning in, listeners—subscribe for more unfiltered vibes. This has been a Quiet Please production, for more check out quietplease.ai.

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Hey listeners, Lenny Vaughn here, spinning the raw grooves from vinyl crates to digital streams, bridging the gaps where algorithms fear to tread. In the last 24 hours, the music world's buzzing with fresh drops and industry shakes. MarketBeat spotlighted five hot music stocks—Tencent Music, Dolby Laboratories, Warner Music Group, NetEase, and Madison Square Garden Entertainment—as trading volumes spike on streaming, royalties, and live events. Tencent's QQ Music and WeSing are dominating China's scene, while Warner pushes recorded music and publishing gold.

New releases keep pouring in, per Music Tracker's December roundup: Busta Rhymes gears up for Dragon Season on the 26th, a rap firebomb, alongside The Notorious B.I.G.'s Duets: The Final Chapter 20th Anniversary Deluxe hitting yesterday. Rock heads, grab Peter Criss's solo outing and Precipice, both out now. The Venice Kid just ushered in a bold alt-hip-hop era with Say Less, dropping as a Christmas gift packed with confidence and evolution, according to EARMILK. Dance floors ignite with fresh cuts from Afrojack, Robin Schulz, Vintage Culture, Anyma, and more via Massive Dance Radio.

Industry ripples hit big: ByteDance sealed a TikTok US joint venture with Oracle, Silver Lake, and MGX, set to finalize today, reshaping short-form video's music grip as Music Business Worldwide reports. Classical shines too, with CBS News profiling the Kanneh-Mason siblings, seven prodigies tearing up the keys and strings on 60 Minutes. No major controversies erupted, but rock echoes from Louder Sound linger—Jane's Addiction reconciling, Sleep Token's manager touting heavy music's growth.

From rap rebirths to stock surges, it's a vibrant tapestry across genres. Thank you for tuning in, listeners—subscribe for more unfiltered vibes. This has been a Quiet Please production, for more check out quietplease.ai.

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Lenny Vaughn here, keeping the needle steady while the feed keeps spinning. In the last day, the big story isn’t one single drop, it’s how this late-December release window has turned into a quiet arms race between holiday nostalgia, left-field pop experiments, and the business minds plotting 2026.

OPB’s latest holiday rundown notes how artists from Laufey to Leon Bridges and Norah Jones are still flooding the pipeline with new seasonal cuts, trying to carve out modern standards in a lane long owned by Ella, Bing, and Mariah. At the same time, Herb Alpert returning with his first Christmas record in decades and a posthumous Roberta Flack holiday release underline how labels are leaning on catalog legends to keep physical and vinyl sales humming while the streaming crowd chases playlists.

On the discovery side, Hypebot reports that music finding its way to listeners is more fragmented than ever, with nearly twenty different channels driving discovery in 2025, from short-form video and gaming to old-school word of mouth. Industry analysts there are already talking 2026: more algorithmic personalization, more direct-to-fan tools, and a tougher road for mid-level artists trying to break through the noise without a viral moment or a sync deal.

Live music is still where the myth is made, and sites tracking year-end tours are calling out how 2025’s best acts leaned into intimacy rather than spectacle, even in arenas. Independent venues get a rare bit of spotlight thanks to Bandsintown’s High Notes report, which positions those small rooms as the true engine of touring culture headed into the new year, even as ticket prices and fees remain a sore spot for fans across genres.

On the rock and metal fringe, The Rockpit is already looking ahead to Wicked Smile’s upcoming album “When Night Falls,” an old-school, riff-heavy statement that reminds listeners there’s still a lane for big choruses and guitar heroics in a landscape dominated by bedroom pop and hyper-polished EDM.

In the think-piece corner, Music Connection’s latest “Cost of Culture” essay argues that ever-rising ticket prices, deluxe vinyl variants, and VIP upsells have pushed everyday fans to the margins, even as the industry posts record-breaking revenue and celebrates its MVPs of 2025. That tension between access and profit is setting the stage for the next big debate over how sustainable this boom really is.

Through it all, one thing’s clear: whether it’s a niche Euro-pop single, a jazz-inflected Christmas tune, or a legacy rocker plotting the next tour, the fight for your attention has never been fiercer, or more splintered.

Thanks for tuning in, and don’t forget to subscribe so we can keep crate-digging together. This has been a quiet please production, for more check out quiet please dot ai.

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This is Lenny Vaughn, your crate‑digging cousin from another timeline, here to walk you through the last 24 hours of music news without an algorithm in sight.

Holiday season usually slows the release schedule, but the underground never sleeps. The Indy Review notes a lean but lively New Music Friday, with alt‑country voice Reese McHenry dropping Mississippi Blue, Arkells teaming up with Portugal. The Man for an anti‑greed anthem Money, and punk outfit Pinkshift surprising listeners with a more mellow, haunted cut called Snow. Kitchen Dwellers quietly slipped out a three‑song EP, while folk stalwart Bill Callahan returned with a moody new track that keeps his minimal, literary style alive. On the fringes, new names like hi, low, Big Harp, Junior VP, Dhärä and Belonging are sneaking onto playlists just as the year winds down, proof that discovery doesn’t take holidays.

On the mainstream front, Official Charts’ New Music Friday rundown spotlights rising British pop voice Skye Newman closing out a breakout year with Lonely Girl, alongside DaBaby’s new single Paper Low for the trap faithful. Katherine Jenkins crosses lanes with a symphonic cover tied to K‑Pop Demon Hunters, while metal circles buzz over new fire from Megadeth, making sure guitars still roar amid all the synth presets.

Industry‑side, the real story is where music meets tech and money. New Industry Focus reports that Bandcamp Fridays have delivered 19 million dollars to artists and labels in 2025, and the platform is committing to eight more of those fan‑support days in 2026, a rare win for independent creators in a streaming‑dominated world. The same outlet highlights that music copyright value has hit a record 47.2 billion dollars globally this year, even as growth slows, turning catalogs into the blue‑chip vinyl of the digital age. In deals, Create Music Group buying Cr2 Holdings pulls a respected dance label, publishing arm, and education wing into one modern rights machine.

On the crossover frontier, Universal Music Group and Roblox just announced a new strategic pact, with Universal promising expanded immersive experiences and fresh artist activations on the platform. Roblox executives are framing it as the next step in “immersive entertainment,” and the partnership kicks off with a Stray Kids launch inside the Roblox universe, underscoring how future tours may be half arena, half avatar.

Meanwhile, in Nashville, MusicRow reports a quieter but meaningful moment: veteran talent executive Donna Duncan being honored with the CMA Media Achievement Award, presented in person by Luke Bryan, a reminder that behind every chart run is someone working phones, not just data.

That’s the last day in music: indie sparks, major‑label experiments, virtual worlds growing, and vinyl‑era values still trying to breathe through it all. I’m Lenny Vaughn, thanking you for tuning in and reminding you to subscribe so the signal cuts through the noise. This has been a quiet please production, for more check out quiet please dot ai.

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This is Lenny Vaughn, your rusted-needle guide through the freshest grooves of the last day in music, where the news moves fast but the echoes feel like vinyl.

New Music Friday just dropped another wave of sound, and The Razor’s Edge is flying the flag for the heavy contingent, spotlighting everything from Colombian death metal band Funeral Vomit’s Upheaval Of Necromancy to black metal, gothic, doom, thrash, and classic heavy metal releases, reminding listeners that guitars are still screaming over the algorithm’s hum. Pop and crossover lanes are just as busy: Pop Goes The Charts notes a new batch of singles including Brett Young’s Yukon for the country-leaning hearts, Peach PRC’s Out Loud on the glitter-pop side, DaBaby’s Paper Low for the trap loyalists, and a fresh Tom Morello cut to keep rock’s protest tradition on life support.

On the industry chessboard, New Industry Focus reports that YouTube will stop supplying data to Billboard’s U.S. charts starting in 2026, after a clash over how ad-supported streams are counted, with YouTube’s Lyor Cohen blasting what he calls an outdated formula and reopening the debate over what a “play” is worth in the streaming era. The same outlet highlights that music copyright value hit a record 47.2 billion dollars this year even as growth slows, proving catalogs are still the new oil. Bandcamp Fridays quietly kept the indie ecosystem alive, paying out 19 million dollars to artists and labels in 2025, with eight more dates confirmed for 2026, a rare bit of good news for DIY and underground scenes.

Deal-making keeps reshaping the map: New Industry Focus notes that Beggars Group has consolidated control of XL Recordings and shifted ownership into a trust, while Rostrum Pacific locked in 150 million dollars to bulk up its catalog, evidence that the long game is still about owning songs, not just chasing streams. BMG and TikTok are expanding their partnership to refine how publishing rights are recognized on the platform, a move that could affect how viral sounds translate into real money for songwriters.

On the live and cultural front, Bandsintown’s High Notes recap shows which festivals, genres, and diehards defined 2025’s touring energy, confirming that despite holograms and VR, sweaty rooms and shared choruses still rule. At the same time, New Industry Focus reports hundreds of A-list artists joining the Creators Coalition on AI, pushing for guardrails as generative tech races ahead, trying to keep human creativity at the center of the stage.

That’s the last 24 hours in music, from blast beats to boardrooms. Thanks for tuning in, and don’t forget to subscribe so you never miss the next drop. This has been a quiet please production, for more check out quiet please dot ai.

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Hey listeners, Lenny Vaughn here, spinning the threads from vinyl's golden era to today's digital chaos, where algorithms try to steal the soul of discovery. In the last 24 hours, the music world's buzzing with industry fireworks. Techloy reports YouTube is pulling its music data from Billboard charts after Billboard tweaked its formula to weigh paid streams 2.5 times higher than ad-supported ones, dropping the album equivalent thresholds to 1,000 paid or 2,500 free streams. Digital Music News echoes the industry consensus: YouTube's the outlier here, boycotting to push for "equitable representation" as charts head into 2026.

Over in classical corners, Musical America highlights Detroit Opera's stunning exit with a winning double bill, while vocal composers grab the spotlight and proposed ACE changes promise to be transformative. Punk's alive and kicking—LA Times details Southern California vets launching 84 Days' politically charged debut, with Pennywise's Randy Bradbury, Grammy-winner Cameron Webb producing, and No Doubt's Adrian Young on drums.

New releases keep pouring in. Consequence streams fresh drops like Tom Morello and Beartooth's collab "Everything Burns" for Final Fantasy XIV, John Corabi's solo title track "New Day," and Gorillaz's "Damascus" featuring Yasiin Bey and Omar Souleyman. Upcoming vinyl from sites like UpcomingVinyl teases goodies today: Candy Dulfer's Big Girl on white double LP, Bring Me the Horizon's 10th anniversary That's The Spirit in grey marble, and cosmic reissues from Cosmic Psychos' I Really Like Beer variants.

Live music's eyeing explosive growth—Music Week cites Goldman Sachs projecting revenues doubling to $67 billion by 2035 if ecosystems get international backing. Bandcamp Fridays wrapped 2025 with $19 million raised, per Clash Music, a win for indies.

Thanks for tuning in, listeners—subscribe to keep the raw spirit alive. This has been a Quiet Please production, for more check out quietplease.ai.

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