Music streaming services are starting to unleash their year-in-review features for 2025, and Apple Music’s version is out now. Apple Music Replay is here to lay bare your listening stats for the year — at least so far, because these tools go live with a whole month of the year left to go. You can check out the 2025 edition from the Home tab in the app.
As ever, Replay shows your total listening time, the number of artists you checked out, your most-listened-to song and album and more. New this year is a discovery stat, which highlights new artists you started listening to in 2025. The loyalty factor will tell you which artists you listen to year after year, and “comebacks” shows which artists have slotted back into your rotation.
The most popular song on Apple Music overall this year was the ultra-catchy “Apt.” by Rosé and Bruno Mars. “Luther” by Kendrick Lamar and SZA; “Die with a Smile” by Lady Gaga and Mars; “Not Like Us” by Lamar; and “Birds of a Feather” by Billie Eilish rounded out the top five. “Apt.” is also the most Shazamed song of the year.
I really didn’t need Replay to tell me that party metal vanguards Electric Callboy and kawaii metal pioneers Babymetal were my top artists for 2025, since I’ve had both on extremely heavy rotation since the spring — their stupendously fun collab, “Ratatata,” was my top song this year. I was a little surprised that the wonderful Japanese math rock band Toe were in third place and that post-punk revival crew Editors made the top five, though I did listen to the latter’s The Back Room a bunch at the start of the year.
Early last year, Apple Music rolled out a monthly version of Replay, which shows the top songs, albums and artists and personal listening milestones for each month. You can also go back and listen to previous versions of your personalized Replay playlists, and check out a Replay All Time one, which highlights the songs you’ve listened to most on Apple Music overall.
Update, December 2, 4PM ET: This story was update after publish to clarify that the comebacks information is folded into your recap, rather than available as a separate tab.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/music/apple-music-replay-2025-is-here-to-highlight-your-unimpeachable-music-taste-151224318.html?src=rss
One of the newer traditions of the holiday season is reading itemized lists of what we watched, played and listened to on our favorite streaming platforms throughout the year. Spotify Wrapped is perhaps the most famous of the bunch, but Amazon Music has its own year-end recap called Delivered and this year's edition is available right now.
Amazon
Amazon Music Delivered started last year and provides subscribers with a list of their favorite songs, artists and podcasts. It also shows off "the top request you've made with Alexa." I use Alexa primarily as an alarm, so that particular statistic won't be setting my world on fire.
This year, there's a "Best of 2025" section that highlights the biggest songs, albums and podcasts from every user across the app. This list includes songs by Taylor Swift, Geese, Bad Bunny and others. Finally, the app will generate a fake music fest based on a particular user's favorite artists.
Amazon
Amazon Music Unlimited costs $11 per month for Prime members and $12 per month for everyone else. As previously mentioned, Prime members do get a streamlined version of the service as a perk.
This article originally appeared on Engadget at https://www.engadget.com/apps/amazon-musics-year-end-recap-arrives-today-130029446.html?src=rss
Streaming services turned album covers into tiny squares you scroll past on your way to something else. Phones made music convenient, but also turned it into background noise competing with notifications, emails, and every app demanding attention at once. You used to hold a record sleeve and feel like you owned something specific. Now your entire library is just files in a folder somewhere, and nothing about that experience feels remotely special or worth paying attention to.
Sleevenote is musician Tom Vek’s attempt to give digital albums their own object again. It’s a square music player with a 4-inch screen that matches the shape of album artwork, designed to show covers, back sleeves, and booklet pages without any other interface getting in the way. The device only plays music you actually buy and download from places like Bandcamp, deliberately skipping Spotify and Apple Music to keep ownership separate from the endless scroll.
The hardware is a black square that’s mostly screen from the front, with a thick body and rounded edges that make it feel more like a handheld picture frame than a phone. Physical playback buttons sit along one side so you can skip tracks without touching the screen. When you hold it, the weight and thickness are noticeable. This isn’t trying to slip into a pocket; it’s trying to sit on your desk or rest in your hand like a miniature album sleeve.
The screen shows high-resolution artwork, back covers, lyrics, and credits supplied through the Sleevenote platform. You swipe through booklet pages while listening, and the interface stays out of the way so the album art fills the entire square without overlays or buttons. The whole point is that the device becomes the album cover while music plays, which works better in practice than it sounds on paper when you describe it.
Sleevenote won’t let you stream anything. It encourages you to “audition” music on your phone and only put albums you truly love on the player, treating it more like a curated shelf than a jukebox with everything. This sounds good in theory, but means carrying a second device that can’t do anything except play the files you’ve already bought, which feels like a lot of friction for album art, no matter how nice the screen looks.
Sleevenote works as a small act of resistance against music as disposable content. For people who miss having a physical relationship with albums, a square player that only does one thing might feel like a shrine worth keeping. Whether that’s worth the price for a device with a screen barely bigger than your phone is a different question, but the idea that digital music deserves its own object makes more sense than cramming everything into the same distracted rectangle.
There’s something wonderfully defiant about watching three musicians hunched over dusty reel-to-reel tape recorders, coaxing haunting melodies from technology most people consider obsolete. The Japanese trio Open Reel Ensemble isn’t just playing vintage machines from the 1970s and 80s. They’re rewriting the rules of what counts as a musical instrument, one spinning magnetic tape at a time.
Their latest project, “Magnetic Folklore,” feels less like a performance and more like a conversation with ghosts trapped in analog media. While the rest of us stream crystal-clear audio from the cloud, these artists are literally fishing for sound waves, their hands manipulating tape loops stretched across bamboo bows in a process that looks equal parts technical wizardry and interpretive dance.
The group, composed of Ei Wada, Haruka Yoshida, and Masaru Yoshida, has been perfecting what they call “magnetikpunk” for years. It’s a fitting name. Like cyberpunk imagined gritty futures through technology, magnetikpunk explores forgotten pasts through the warm hiss and physical presence of tape. The sound they create is ethereal and otherworldly, full of texture that digital production often scrubs away in pursuit of perfection.
What makes their approach truly fascinating is how they’ve turned recording equipment into live performance instruments. These aren’t simply tape playback devices. The ensemble has developed techniques to program sounds directly onto the recorders, switching individual tracks on multi-track machines on and off like notes on a guitar. They record blocks of sustained noise at various pitches, then trigger and disable them during performances to create intricate chords and melodies in real time.
One of their most striking innovations is the JIGAKKYU, which they describe as a traditional folk instrument despite being entirely invented. Picture this: magnetic tape stretched across a bamboo bow, attached to a reel-to-reel deck. As the performer draws the bow, they control how the tape moves through the machine, manipulating speed, tension, and playback in ways the original manufacturers never imagined. It looks like they’re fishing, only instead of catching dinner, they’re catching sounds that shouldn’t exist.
There’s something deeply satisfying about watching old technology get a second life. In our culture of planned obsolescence, where last year’s phone becomes this year’s landfill, Open Reel Ensemble’s work feels like a quiet rebellion. They’ve taken machines that most people hauled to the curb decades ago and transformed them into instruments capable of sounds no synthesizer can quite replicate. That characteristic warmth, the slight imperfection, the tactile relationship between performer and machine, it all adds up to music that feels genuinely alive.
The analog revival happening across creative industries isn’t just nostalgia, though there’s certainly some of that. It’s a recognition that different technologies offer different possibilities. Digital audio workstations can do things tape never could. But tape can do things digital never will. The physical limitations of the medium, the happy accidents, the way sound degrades and transforms as it passes through magnetic fields, these aren’t bugs. They’re features.
Open Reel Ensemble understands this intuitively. In interviews, Wada talks about constantly discovering new techniques, exploring “rotation and movements, and the relationship between magnetics and sound.” Each performance becomes an experiment, each machine a collaborator with its own quirks and personality.
What they’ve created goes beyond retro aesthetics or hipster fetishization of old gear. This is about expanding our definition of what music can be and where it can come from. In an era where AI can generate technically flawless compositions in seconds, there’s something powerful about three humans wrestling with finicky machines, their sounds emerging from friction and patience rather than algorithms and processing power.
The beauty of “Magnetic Folklore” lies in its contradictions. It’s experimental music that honors tradition, high-concept art that’s deeply tactile, cutting-edge performance built on discarded technology. It reminds us that innovation doesn’t always mean forward. Sometimes it means sideways, backward, or in directions we forgot existed.
For anyone fascinated by where design, technology, and art intersect, Open Reel Ensemble offers a masterclass in creative thinking. They looked at equipment everyone else had moved past and asked: what if we’re not done here yet? What stories are still trapped in these spinning reels? Turns out, quite a few. And they sound absolutely mesmerizing.
Following its licensing deal with Udio, Warner Music Group (WMG) has also reached an agreement with Suno that will let the platform license its artists' music and likenesses, and end the music company's ongoing litigation. WMG was previously one of several record labels suing Udio and Suno for allegedly infringing on copyrighted works at a "massive scale."
As part of the agreement, "artists and songwriters will have full control over whether and how their names, images, likenesses, voices, and compositions are used in new AI-generated music," WMG explains in its press release for the announcement. WMG doesn't spell out how that will work for musicians impacted by the deal, but it does appear that participation will be opt-in, rather than anything being shared by default. This mirrors the opt-in structure of the company's Udio deal.
"AI becomes pro-artist when it adheres to our principles: committing to licensed models, reflecting the value of music on and off platform, and providing artists and songwriters with an opt-in for the use of their name, image, likeness, voice and compositions in new AI songs," WMG CEO Robert Kyncl says.
Suno will also make adjustments to its AI music platform, possibly as a condition of the new partnership. WMG says Suno is launching "new, more advanced and licensed models" in 2026, after which its current models will be deprecated. The company will also limit music downloads to paid accounts. "In the future, songs made on the free tier will not be downloadable and will instead be playable and shareable. Paid tier users will have limited monthly download caps with the ability to pay for more downloads," WMG says.
In an odd wrinkle to the partnership, Suno is also acquiring WMG's Songkick concert discovery platform. The company plans to continue running it, and WMG claims that "the combination of Suno and Songkick will create new potential to deepen the artist-fan connection." An app for finding nearby concerts doesn't totally square with Suno's existing music creation tools, but maybe it suggests the company is interested in offering more social features down the road.
Prior to this agreement, Suno openly admitted to using "essentially all music files of reasonable quality that are accessible on the open internet" to train its AI model, under the auspices of fair use. That seems like a pretty blatant admission of copyright infringement, but apparently Warner Music Group is happier with the deals it struck than what it could have won through its lawsuit. The company is reportedly one of several music groups looking to strike a similar deal with YouTube.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/music/warner-music-drops-lawsuit-against-ai-music-platform-suno-in-exchange-for-licensing-agreement-224619025.html?src=rss
A father built a portable synthesizer for his daughter’s third birthday, and the result looks almost too polished to be a first electronics project. It’s a four-step sequencer with sliders instead of keys, designed so a toddler can make looping melodies just by moving colorful controls. The synth is as much a design and learning story as it is a music gadget, documenting what happens when someone jumps into hardware with no experience and a clear deadline.
The idea started with a Montessori activity board full of switches and LEDs. Watching his daughter twist knobs and flip switches reminded Alastair Roberts of a synth control panel, and he wondered if he could build a musical version. He had no prior hardware experience, which turned the project into an excuse to learn microcontrollers, CAD, PCB design, and 3D printing along the way, all while trying to finish before her birthday.
The finished synth is a rounded square box in pink or white, with four vertical sliders in bright colors and four matching knobs at the corners. Slide up for higher notes, down for lower, while a tiny OLED screen shows a dancing panda. There are no menus or hidden modes, just a looping sequence that keeps playing while little hands experiment with pitch and tempo, creating simple melodies that shift and evolve with every adjustment.
Roberts started on a breadboard, then realized he needed a proper enclosure that his daughter could actually hold. Off-the-shelf cases were the wrong size and the wrong colors, so he opened Fusion 360 for the first time and slowly modeled a custom shell. A friend’s 3D printer turned those sketches into a real, toy-like enclosure that feels closer to a commercial product than a hack, complete with rounded corners and smooth edges.
The first hand-wired version worked but was fragile, with a nest of wires that broke when he closed the case. That pushed him to design his first printed circuit board, using Fusion’s electronics tools to lay out sliders, knobs, and connectors in a neat, single layer. The PCB not only made assembly faster, but it also gave the interior the same sense of order and intention as the exterior, no hidden messes or shortcuts.
Small design touches make it feel finished. A dedicated battery compartment with a removable cover, mounting posts that let the board screw down securely, and a raised bezel around the OLED so it sits flush with the top surface. The front panel carries his daughter’s name, Alma, turning the synth into something personal. It now lives on a shelf with her other toys and, according to him, gets regular use.
The synth works at two levels. For kids, it’s a fun, tactile way to poke at sound without needing lessons or screens. For adults, it’s a reminder that you can go from zero hardware experience to a polished, gift-worthy object by following curiosity and learning each tool as you need it. Whether or not it ever becomes a product, it’s already a successful piece of design for the one user who mattered most.
There’s something refreshing about a gadget that looks this good while solving real problems. Germain Verbrackel’s MIDI controller concept doesn’t try to reinvent the wheel, but it does ask an interesting question: what if our music-making tools were designed with the same care we give to the objects we use every day?
At first glance, this looks like a minimalist’s dream. The all-white palette and clean lines give it that “I belong on a designer’s desk” vibe. But look closer, and you’ll notice that every curve and angle here has a job to do. The chamfered base isn’t just there to look pretty. It creates a sense of groundedness, like the controller is planted firmly on your desk, ready to work. There’s a subtle confidence to it, the kind that comes from knowing exactly what it is and what it’s supposed to do.
The keys tell an even better story. Each one features a chamfered edge that guides your fingers into position. It’s a small detail, but it’s the kind of thing that makes a huge difference when you’re actually using the device. Think about how many times you’ve fumbled with flat, generic buttons that all feel the same. These keys practically tell your fingertips where to go. That’s not just good design, that’s thoughtful design.
What really sets this controller apart, though, is the magnetic speaker attachment. This is where the concept shifts from “nice MIDI controller” to “oh, that’s clever.” Most MIDI controllers are tethered to computers or external speakers. They’re input devices, not standalone instruments. But snap that speaker module into place, and suddenly you’ve got a self-contained music-making tool. No laptop required. No cables snaking across your workspace. Just you and the music.
The magnetic connection is particularly smart because it maintains the device’s sleek profile when you don’t need the speaker, but transforms it into something more complete when you do. It’s modular design done right, not as a gimmick but as a genuine enhancement to functionality. The speaker itself has a textured grille that provides visual and tactile contrast to the smooth keys, giving the whole setup a more dynamic look when assembled.
There’s also something to be said for how portable this design appears. The compact form factor suggests this is meant to travel with you, to be the controller you throw in your bag when inspiration might strike at a coffee shop or a friend’s place. The chamfered base helps here too, because that angled edge makes it easier to pick up off a flat surface. Again, it’s a small thing, but these small things add up to create an object that feels like it was designed by someone who actually uses these tools.
The aesthetic choices matter here as well. In a market full of MIDI controllers that either try too hard to look “professional” with all-black industrial designs or go the opposite direction with RGB lighting and gaming-inspired looks, this one takes a different path. It’s contemporary without being trendy. It’s minimal without being cold. It could sit next to your laptop, your coffee maker, or your favorite design book and look equally at home.
What Verbrackel has created here is a case study in how industrial design can elevate everyday tools. This isn’t about adding features for the sake of features or making something look futuristic just because you can. It’s about understanding how people actually use these devices and designing accordingly. The chamfered edges, the magnetic speaker, the clean color palette, they all serve the same goal: making music creation more intuitive and more enjoyable.
The controller represents a broader shift we’re seeing in tech design, where the focus moves from pure functionality to thoughtful integration of form and function. It’s the same philosophy that’s made smartphones beautiful and kitchen appliances worthy of counter space. Why shouldn’t our creative tools receive the same level of design attention? Whether this concept makes it to production or remains a stunning portfolio piece, it’s already done its job. It’s made us think differently about what a MIDI controller can be. And that’s worth celebrating.
Options for true wireless earbuds have exploded in the last couple of years owing to technological innovations and the affordability of owning them. The marketplace is flooded with so many TWS earbuds that you, as a buyer, find it hard to decide which one fits your set of priorities. For a manufacturer, the ideal strategy is to come up with a pair that is distinct from the other available options.
In the audio world dominated by the likes of Sony, Bose, Sennheiser, Technics, and many more, JVC has revealed its pair of earbuds that are unlike any one of them, at least in form. The unique distinction that the company is pitching these earbuds is their ability to self-heal from minor scratches. Meaning, they’ll look in pristine condition even if you are one of those users who stashes earbuds and keychains in the same pocket.
Meet the Victor WOOD Master earbuds by the Japanese audio pioneer, which have a self-healing paint coated on the exterior of the shell. Whenever there are hairline scratches on the earbuds, they self-heal over time when exposed to heat from sunlight or other sources. This is the same technology that’s used in car paints, employing a polymer structure for the pristine magic. The USP extends to the interior as well, where the use of exclusive materials for the drivers promises an ear-pleasing sound signature. They get the industry’s first hybrid WOOD Driver that has pulp and African rosewood in the diaphragm of the 10mm drivers.
The result, pristine vocals and studio-like sound across all the frequencies. All the audiophiles out there will have keen ears on these ones, I’m sure, especially if looking for an audio profile that is distinct from any other pair out there. JVC also promises the highest noise cancellation levels in the world, courtesy of the dedicated high-performance IC and Knowles microphones. Now, that’s a claim we’ll have to test, and if true, Bose and Apple better watch out.
The buds are accompanied by the oval-shaped Spiral Dot Pro SF ear tips, which improve the reproduction of high-frequency sounds without any bloating. Their oval shape ensures a snug fit and reduced pressure with long-term use. To make the audio sound as good as it is perceived, the Personalized Sound system scans the user’s ears to toggle the audible output. Spatial Audio is another great feature that’ll make these buds appeal to users who want bang for their buck.
Apart from the self-healing paint, the Hi-Res Audio earbuds boast an IP55 rating for dust and water resistance. Three-year warranty by the maker reflects the trust they have in their product, which is another assuring point. Support for SBC, AAC, and LDAC codecs over Bluetooth 6.0 is good news for users who like to own their pair of earbuds for more than a couple of years. Another compelling reason for advanced listeners to consider these is the two-device multipoint connectivity and low-latency gaming mode.
Victor WOOD Master earbuds have a battery life of around 10 hours on a single charge, which extends to 31 hours in the case. With ANC on, these numbers slip down to 7 hours on the buds and 14 hours in the case, respectively. The case is Qi wireless charge compatible, and a quick charge of 15 minutes will be good for over one and a half hours of listening time. The earbuds are slated for late November release in two color options: Sunburst Brown and Piano Black, for a price of around $270 in Japan.
Generative AI has the power to create music, images, content and videos from your input. Now, someone believes that not only words and text, but even memories need to be created into music. If you talk about preserving memories, photo frames and albums (digital or physical) are the best options that come to mind. Now memo:reel (yes, it’s an interesting wordplay) is designed to let you transform your memories into music and art.
This emotion-driven AI device for music and art generation is conceptualized to allow each recorded emotion to be expressed through sound and visuals. And for this, one part of it is designed to resemble a traditional cassette player, whose speakers are used to play the created sounds. The recording and generation are done on separate devices. The idea behind the memoreel concept is to provide users with a new way to reconnect with themselves through the creative interpretation of their emotions.
To simply understand, memoreel uses a combination of the records of your daily moments and emotions and generative AI that creates music and artwork from these emotions, so you can relive them in a new format. The device basically comprises three primary units: a Speaker, a Frame, and the Record unit. The recording unit – a note taker (for written and verbal input) passes the recorded moments and emotions you want to remember either to the Frame (a monitor-like device) or the speaker unit (which is the cassette player-like contraption).
The Frame is a tiny monitor that generates and replays your emotional input as your own artwork, while the Speaker generates and replays them as your own music. The Speaker unit here is not just a look-alike of the cassette player; in fact, with its tactile knobs, it functions like one. In addition, a reminiscent façade – with a cassette-like slot for the Record unit – the top of the Speaker has a volume knob, a Track knob, and a power switch to turn the system on and off.
So, record your memories and emotions into layers of records and they turn them into music in your own sound. Yes, the memoreel’s built-in AI allows you to record your voice and then learns your voice and creates music sung in your own tone. You can pick the genre and style, enter prompts to express your mood and your own song comes to life that you can listen to or get others involved in your mood.
If the Speaker captures the nostalgic sensibility of a retro cassette player, the Frame is a rendition of a television set with a recording antenna on the top, a power switch at the back, and an interesting memory knob on the front. The knob lets you change between different memory-based artworks. Making things most interesting is the Note unit, which can attach to the back of your smartphone to record your emotions and feelings on the go.
Spotify definitely wants you to only use Spotify for streaming music, but it’s willing to admit that you might have used another service in the past. Those people can now more easily import their playlists into the Spotify app, thanks to its latest integration with TuneMyMusic.
Available through Spotify mobile users and rolling out globally from today, you can access the new feature through Your Library in the Spotify app. Scroll to the bottom and you’ll see an option to import your music by connecting to TuneMyMusic (it looks like it boots you into your browser at this stage) and choosing the service you want to transfer from. Apple Music already lets you do something similar directly from within your settings on an iPhone, iPad or Android device, or through the web.
TuneMyMusic supports transfers into Spotify from a wide range of streaming platforms, including Apple Music, YouTube Music, Amazon Music and Tidal. You won’t lose your playlists in the source location. It’ll just copy them over so they appear in your Spotify library.
If you aren’t already aware, Spotify lets you customize playlists in a number of ways, from inviting friends to add their own songs, to designing the cover art yourself. So if you’ve been considering a jump from elsewhere, this new feature should make the transition a little easier.
This article originally appeared on Engadget at https://www.engadget.com/apps/spotify-now-includes-a-built-in-tool-for-importing-your-playlists-from-other-services-175100343.html?src=rss
