No, it’s not a drill: Boards of Canada is all set to release an album of new material.

The electronic music act will crush a decade-plus drought next month with the release of Inferno, an 18-track double album that will spread across 70 minutes.

Inferno‘s tracklist, which can be seen below, doesn’t feature the meditative track “Tape 05,” which BoC and Warp Records dished up last week, an easter egg in an unexpected cryptic social media drip feed.  

For BoC’s long-suffering fans, Inferno is a bolt from the blue. The duo’s last album, 2013’s Tomorrow’s Harvest, proved to be their biggest commercial success, based on international chart placings.

Then, deafening quiet. Thirteen years of it.

Only the most hopelessly optimistic BoC fans would’ve anticipated a new era. And yet here we are, with confirmation coming by way of separate social posts, one combining dramatic, but minimal, BoC music, with hexagonal imagery and video cut from a simpler time. It’s sunburnt nostalgia, bottled.

Boards of Canada is comprised of Scottish brothers Mike Sandison and Marcus Eoin, a universe-building pair that is both enigmatic, secretive and adored by connoisseurs of minimal electronic music.

The siblings rarely give interviews, they’ve performed only a small handful of live shows, mostly in the late 1990s and early 2000s, and their official music videos can be counted on one hand.

BoC’s impact shouldn’t be measured in hits, or streams. Though their fourth and most recent album release, Tomorrow’s Harvest, did set career chart highs for the act. That collection peaked at No. 7 in the United Kingdom, for their first top 10 entry, and at No. 13 on the Billboard 200, their first appearance on the all-genres U.S. albums chart.

A comeback of sorts emerged in 2019 with “XYZ,” a previously-unreleased tune from their Peel Session of July 1998, which appeared on a new Warp Records 30th anniversary package, WXAXRXP Sessions.

Inferno is due out May 29 on special-edition limited red translucent 2LP vinyl in triple gatefold sleeve with 16-page booklet, standard black 2xLP vinyl, as well as CD and digital formats. Check out the Inferno tracklist, and latest BoC social posts below. Pre-order and pre-save at boardsofcanada.com.

Inferno tracklist:

From the baseball field to Sabrinawood, Geena Davis and Madonna have reunited.

Thirty-four years after starring in A League of Their Own together, Davis and Madonna once again ended up on the same stage, this time at Coachella. The Queen of Pop and the Academy Award-winning actress were reunited when Sabrina Carpenter tapped them to make surprise appearances during her Coachella weekend 2 headlining set on Friday. Davis expressed her excitement over seeing her former co-star by sharing a new photo of the duo to Instagram on Wednesday (April 22). Of course, she referenced their film’s characters in the caption.

“Mae – so happy to see you again! Love, Dottie,” Davis wrote.

One fan won the comments section by writing of the photo: “I know there’s no crying in baseball but I’m literally crying.”

Both Davis and Madonna played pretty significant roles in the second Sabrinawood — Carpenter’s performance inspired by a reimagined Hollywood. Davis, with dyed blonde hair and in the driver’s seat of a vintage car, portrayed an older version of the “Espresso” singer. While at a fictional drive-in movie theater, “Older Sabrina” delivered a monologue reflecting on how her niece never got to see her as the youthful musician she once was. (In a fitting reference, Carpenter’s weekend 1 older self was portrayed by Davis’ Thelma & Louise co-star Susan Sarandon.)

Madonna’s role in Sabrinawood was very different from Davis’: The fellow blond diva took to the stage to perform the Billboard Hot 100 chart-toppers “Like a Prayer” and “Vogue” and a yet-unreleased duet with Carpenter. The same day she hit the stage with the “Please Please Please” singer, Madonna released her new song “I Feel So Free,” the first taste of her upcoming album Confessions II.

Karol G’s Coachella magic sends her streaming soaring, while four songs from her first weekend setlist (on April 12) re-enter Billboard’s Hot Latin Songs chart (dated April 25).

The first Latina headliner in the history of the Coachella Valley Music & Arts Festival, Karol G’s catalog of songs generated 40.5 million chart-contributing on-demand official streams in the United States during the April 10-16 tracking week, according to Luminate. That sum translates to a 34% boost from the week prior, when her catalog logged 30.3 million (tracking week April 3-9).

Among Karol G’s first weekend spot, four songs re-enter the multi-metric Hot Latin Songs chart, which incorporates airplay, streaming activity and digital sales into its formula. Leading the resurgence is her former No. 1, “Si Antes Te Hubiera Conocido,” which re-appears at No. 6, driven largely by 3.8 million official chart-contributing streams, equating to a 26% growth.

After previously dominating for 14 consecutive weeks at No. 1, the song remains Karol’s longest reign among her nine chart-toppers. Plus, it is tied for the second-most weeks at No. 1 for a song by a female soloist, unaccompanied by another act, with Daniela Romo’s “De Mi Enamorate” (in 1986-87). In top spot is Yuri’s “Que Te Pasa,” with 16 weeks in 1988.

Among songs by women, in terms of total weeks at No. 1, including collaborative tracks, Shakira continues to rule through “La Tortura,” with Alejandro Sanz, which pulled 25 weeks atop in 2005.

Karol G’s “Latina Foreva” gains momentum with a 57% surge, logging 2.2 million streams. The boost propels the song back to No. 15, after its debut and peak at No. 3 in June 2025.

No. 14-peaking “Amargura” returns at No. 19 with 2 million streams, up 34% during the tracking period. Meanwhile, former chart-topper “Provenza,” which spent one week at No. 1 in 2022, reappears at No. 22 with 1.9 million streams, up 29%.

Back to “Si Antes Te Hubiera Conocido,” the song also makes a splash on a global level. It climbs 153-115 on the Billboard Global 200 chart. Plus, it rises 124-109 on the Global Excl. U.S. chart.

Gains for Karol G’s headlining turn during the festival’s second weekend (on April 19) will be reflected on next week’s charts (dated May 1).

James Valentine, the versatile Australian artist, author and broadcaster who was inducted into the ARIA Hall of Fame as a member of Models, and whose pivot to broadcasting earned him millions of fans and international awards, has died following a battle with cancer. He was 64.

“James passed peacefully at home surrounded by his family, who adored him,” Valentine’s family remarks in a statement, issued Thursday, April 23.

A talented saxophonist with an ear for jazz, Valentine was a prominent recording and touring artist through the 1980s with a string of Australian bands, including Models, Absent Friends, and the Wendy Matthews Band, Jo Camilleri, Stephen Cummings, Kate Ceberano, and others.

Valentine performed on the band’s fourth, and most commercially successful album, Out of Mind, Out of Sight, which peaked at No. 84 on the Billboard 200 in 1986, and logged 18 weeks on the chart. The collection yielded three domestic top 40 hits “Big on Love,” Barbados” and the title track, which reached No. 37 on the Billboard Hot 100 in 1986, and chalked up 13 weeks on the list.

When Models were inducted into the ARIA Hall of Fame during a ceremony in Sydney back in 2010, Valentine took his place on stage with his former bandmates. Just days later, co-frontman and bass player James Freud died by suicide, aged 51.

“We were probably a big deal in our heads,” Models drummer Barton Price tells the Australian Broadcasting Corporation, “but James never took it that seriously.” Bandmate Roger Mason adds, “he was a very down-to-earth person. In fact, I’d have to say, annoyingly, he was the most mature one in the band.”

Valentine, it turned out, was a talent in the studio and was magic on the mic. He hosted radio and television programs across the ABC for 30 years, including 20-plus years presenting the 702 ABC Sydney Afternoons radio show.

His inquisitiveness and passion for exploring the matters that make us tick made his show a popular one well outside of Sydney; in 2020, he collected a Bronze Award for Best Two-Way Telephone Talk/Interview Show at the New York Festival’s Radio Awards.

Prime Minister Anthony Albanese led tributes to Valentine. “He was someone who was always worth listening to,” Albanese told 702 ABC Sydney. “He was so interesting and he was so full of life. All of our thoughts are with his family and his friends and, indeed, the ABC family today.”

ABC chair Kim Williams depicted Valentine as a “creative polymath,” while New South Wales premier Chris Minns recounted the late artist and presenter’s “quirky, unique way of talking with people in Sydney,” noting “he was both an interested and interesting person, which is unique. He will be hugely missed.”

Australia’s Governor-General Sam Mostyn has revealed that Valentine was last weekend made a Member of the Order of Australia (AM), a prestigious award in the national honors system, recognizing exceptional service or achievement.

“His ideas were, as they were on radio, just lovely, gentle, sensible, really important things about how community comes together and how we all have a role to play,” Mostyn explains.

INXS bass player Garry Gary Beers recorded and played in Absent Friends with Valentine. “James was a truly great sax player and a very very decent guy,” he writes in a social post. “I will always remember him as the guy who was always smiling, always happy to be in the moment and a guy you could depend on.”

In March 2024, Valentine told listeners that he’d been diagnosed with oesophageal cancer, and took a leave of absence to pursue treatment. He returned to the Afternoons slot in 2025, but left once more in June when scans revealed a tumor had been detected in his omentum.

Valentine is survived by his wife Joanne and their two children.

Spotify is in the early stages of giving artists a tool to disclose how generative AI was used in the creation of their music. The new tool started rolling out this month in beta, first to Distrokid users, and it will continue to become available for other distributors in the coming weeks. The rollout is part of what was first promised in September 2025 as part of a Spotify blog post titled, “Spotify Strengthens AI Protections for Artists, Songwriters and Producers,” which detailed a number of ways the company would be improving its response to the rise of AI-generated songs.

That blog post has been recently updated to note that now, “where artists have chosen to disclose through their label or distributor, you’ll see credits for specific contributions like vocals, lyrics, or production in Song Credits on mobile” and that this is “a first step in [Spotify’s] long-term commitment to transparency.”

It goes on to explain that “because [Spotify] depend[s] on artist disclosure, the absence of a credit doesn’t mean AI wasn’t used. Not all distributors enable artists to disclose yet, but we intend to expand this more broadly over time,” adding, “we know this isn’t a complete solution on its own.”

Those who elect to use the new tool can explain exactly how AI was used in the creation of their song. This includes whether it was used in production, composition or even individual instrument parts.

Since January 2025, a number of streaming services have started experimenting with tags and disclosures for songs that contain AI elements. French streaming service Deezer, for example, uses a proprietary AI detection tool to scan for 100% AI-generated content and automatically applies a tag to those tracks. In March, Apple Music launched “Transparency Tags” as a “delivery requirement” for labels and distributors, including AI use in a sound recording, composition, artwork or music video.

Spotify’s post says that adding this disclosure within song credits will be made available as it continues to try to reach “industry-wide alignment” to build out a “truly comprehensive system” for labelling AI use across all streaming services. According to the original blog post, this system is being developed through DDEX (Digital Data Exchange), which is an international standards-setting organization for music metadata.

In a September episode of Billboard‘s On the Record podcast, Spotify’s global head of marketing and policy, music business, Sam Duboff, said that “the starting point has to be shared language through the existing supply chain of music about what the formatting of that will be.” He pointed to the rise of artists, songwriters and producers who are increasingly using AI in the creative process, like Brenda Lee to create a Spanish version of “Rockin’ Around the Christmas Tree” or a K-Pop Demon Hunters songwriter who talked about brainstorming lyrics with ChatGPT, and how this system could create more transparency for fans.

“It’s early days for AI tech,” Duboff continued. “I know it feels like it’s moving fast, but consumption of AI-generated music’s insanely low. We have some time for artists, songwriters, producers to take the lead in figuring out how they want to use these tools. We don’t want to act like we know where AI music’s headed and exactly every policy and role we need to future-proof for the next two or three years. But also, we didn’t just want to wait and do nothing.”

The Los Angeles County Medical Examiner’s Office publicly revealed the cause of death for 14-year-old Celeste Rivas Hernandez on Wednesday (April 22), six days after D4vd was charged with her murder.

According to a press release from the medical examiner, Rivas’ cause of death was determined as “multiple penetrating injuries caused by object(s).” Her manner of death was ruled a homicide.

“After several months, I am grateful this information can now be released, not only to the public, but also to the grieving family enduring loss,” Chief Medical Examiner Dr. Odey Ukpo said in a statement.

Rivas’ decomposed partial remains were found in the front trunk of an impounded Tesla registered to D4vd (real name: David Anthony Burke) in September after police responded to reports of a “foul odor” coming from the car in a Hollywood tow lot. They discovered two bags containing severed, decomposed body parts that were later identified as Rivas.

D4vd was arrested on April 16. On Monday, Los Angeles County District Attorney Nathan Hochman revealed the rapper was charged with first-degree murder in Rivas’ death. Hochman’s office alleged in a press release that D4vd killed Rivas with a “sharp instrument” in a plot to protect his music career after Rivas threatened to reveal that the then-20-year-old had engaged in illegal sexual acts with her as a minor. D4vd was also charged with continuous sexual abuse of a child under the age of 14 and mutilating a body.

In a statement shared with CBS News and ABC on Tuesday, Rivas’ family spoke out about her murder, thanking the Los Angeles Police Department and the District Attorney for their “hard work.”

“Celeste was a beautiful, strong girl who loved to sing and dance,” the family wrote. “We love her very much and she always told us that she loved us. We miss her deeply. All we want is justice for Celeste.”

Several of D4vd‘s notable collaborations have been removed from streaming services.

His songs with Holly Humberstone (“Superbloodmoon”), Laufey (“This Is How It Feels”), Kali Uchis (“Crashing”) and Damiano David have all been scrubbed, with Damiano replacing his D4vd-assisted “Tangerine” with a solo version. While news of D4vd’s arrest on first degree murder charges broke last week, it’s unclear when each song was pulled from streamers.

Back in September of last year, Uchis told fans on Instagram that she and her team were working to get their song “Crashing” removed after news broke that the body of 14-year-old Celeste Rivas was found in the trunk of a Tesla registered to D4vd. “Not my friend i did a song with him which is currently in the process of being taken down given today’s disturbing news,” she told the fan that attempted to call her out about her connection to the singer. Also in September, figure-skating champion Alysa Liu announced that she was removing the Laufey/D4vd collab “This Is How It Feels” from her short form routine following the news of Rivas’ body being discovered.

D4vd’s song “What Are You Waiting For” was also reportedly deleted from the Madden 26 soundtrack, and he was dropped by his label Darkroom/Interscope last year as well.

The only collaboration that appears to still be available on streaming services at press time is a song with The Kid Laroi called “The Line” from Laroi’s 2023 album The First Time.

D4vd (real name: David Anthony Burke) was taken into custody last week and charged with the first degree murder of Rivas, with authorities alleging that the teen threatened to expose their inappropriate sexual relationship just as his music career was starting to take off.

“When she threatened to expose his criminal conduct and devastate his musical career, Burke allegedly murdered her, cut up her body and stuffed her body in two bags that were placed in the front trunk of his car,” Los Angeles County District Attorney Nathan Hochman said in a press release. “This horrific and gruesome murder committed by the charged sexual predator is shocking and appalling. To Celeste’s loved ones, we will get the justice you seek and deserve.”

The Rivas family shared a statement of their own saying that they want justice.

Billboard has reached out to D4vd’s team for comment.

KCON LA 2026 just got even more epic.

Last month, entertainment company CJ ENM announced that KCON will return to Los Angeles this summer, Aug. 14-16, as well as its lineup. To continue building excitement, the annual convention celebrating Korean music, beauty, food and culture announced Wednesday (April 22) a new set of artists joining the slate. Five new performers will hit the stage across the three-day convention.

Girl group H//PE Princess and debut members from PRODUCE 101 JAPAN SHINSEKAI will perform on Friday, joining the previously announced NCT 127, KickFlip, &Team and more. The next day, seven-piece boy band MODYSSEY will join acts like ZEROBASEONE, ILLIT and izna. Finally, EVAN — the K-pop solo artist formerly known as Heeseung and previously of ENHYPEN — and Korean and Japanese boy band NEXZ will take to the stage on Sunday alongside TOMORROW x TOGETHER and Allday Project.

KCON LA 2026 wil be EVAN’s first North American solo performance and H//PE Princess, MODYSSEY, NEXZ and PRODUCE 101 JAPAN SHINSEKAI’s first time at the convention. They all join a lineage of incredible KCON LA performers, including SEVENTEEN, RIIZE and aespa.

Since its 2012 debut, KCON has grown into the world’s largest K-pop fan and artist convention. KCON LA 2025 saw more than 100,000 fans for its three days of festivities. KCON LA 2026 will be held in Downtown Los Angeles’ Crypto.com arena and will feature showcases and interactive booths highlighting Korean culture.

Fans can buy tickets for KCON LA here.