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With the Verve Remixed project, Y'all Don't (Really) Care About Black Women, Melanie Charles sets out to take this group of songs and breathe new energy into them. Melanie was immediately drawn to the rapturous voices of Billie Holiday and Sarah Vaughn who inspired her to record arrangements of "God Bless the Child" and "Detour Ahead." This album is a love letter to the unheralded labor of black women. Melanie asks listeners to be accountable to black women as much as they care for their works.

With 2023's PORTALS, Melanie Martinez further fleshes out her high-concept pop, crafting an album that plays enticingly like Alice in a goth Wonderland. Arriving on the heels of a two-year hiatus, the record is the singer's first not to feature her empath "Cry Baby" persona, the focus of both 2015's Cry Baby and 2019's K-12. Thematically, PORTALS is an album about death and rebirth with songs that speak to Martinez's ongoing knack for reinventing her sci-fantasy baby girl aesthetic in ever more musically nuanced and diaristic ways. Produced with collaborator C.J. Baran, PORTALS sounds similar to her past work, a textural blend of electronic grooves and instrumentation that she smartly blends with more organic strings, woody bass, and sundry other analog instruments. Vocally, Martinez also still has her distinctively cherubic style, like an anime alien who listened to a lot of Feist and Rihanna.

When Melanie De Biasio released No Deal in 2014, it was embraced by jazz critics, DJs, and club audiences simultaneously. Gilles Peterson was so taken with its monochromatic ambient textures, stark arrangements, and clever improvisational intimations that he commissioned an album of remixes. Blackened Cities is not a conventional follow-up, but an adventurous endeavor rife with risk. The release consists of a single 24-minute track that unfolds like a suite. The conservatory-trained Belgian vocalist and flutist and her longtime musical associates – Pascal Mohy on piano, Pascal Paulus on analog synths and clavinet, and Dré Pallemaerts on drums (with guest double bassist/cellist Sam Gerstmans) – deliver a full-scale sonic drama that crosses a wide musical expanse and evokes an encyclopedia of stylistic references, yet comes across as a totally original whole. Its title comes from impressions of postindustrial cities De Biasio visited on her international tour: Detroit, Manchester, her native Charleroi; each has a storied past and a devastated façade, yet reflects its own unique beauty and tenacity.