MIN t returns with ‘Last Day,’ released April 28 as the second single from her forthcoming album Before The After, out May 8. Now based in Berlin, the Polish-born producer and vocalist has built a formidable live reputation, supporting acts like HVOB, Angel Haze, Jess Glynne, and Vitalic, and performing over 300 shows at major festivals including Reeperbahn, Off Festival, Orange Warsaw, Open’er, and Y Not. Last autumn, she toured Europe alongside Saya Noé and OIEE, with stops in Budapest, Prague, Berlin, Warsaw, Wrocław, and Bochum. A Berklee College of Music alumna and the first Polish woman mentored by renowned engineer Susan Rogers, MIN t continues to carve out a distinct space in the electronic landscape.
Her 2021 album Shot To Pieces, co-produced with Leo Abrahams (Adele, Jon Hopkins, Brian Eno, Regina Spektor), marked a pivotal moment in her evolution. Classically trained from age seven in Wrocław, MIN t’s musical journey spans theatre, ballet, and a teenage immersion in jazz, electronic, pop, and soul. By sixteen, she was writing and performing in bands; by eighteen, she was self-producing in Ableton, forging a sound that resists genre boundaries and draws on influences from Aphex Twin and Autechre to Charli XCX, D’Angelo, FKA twigs, and Aretha Franklin.
Produced and mixed by MIN t, mastered by Conor Dalton, and co-written with her sister Patrycja Kubicz, ‘Last Day’ unfolds over swirling, breakbeat-inspired rhythms that avoid tipping into aggression. Drums ebb and flow beneath her silken vocals, lending weight to themes of mortality, destruction, and existential drift, yet imbuing them with a subtle sense of solace. The arrangement is carefully balanced: lyrics linger with the ennui of an ending both imminent and ongoing, while the production keeps the low end warm and the upper layers spacious, rendering the track intimate rather than catastrophic.
MIN t revealed: “The end of the world as we know it is approaching fast. Or maybe it’s already here? It’s easy to get lost in the flood of cruelty, disasters, and wars. They quickly become mundane, blending into one grotesque vision. Meanwhile, the illusion of comfort only serves as a reminder of our helplessness. The song ‘Last Day on Earth’ is about that very sense of boredom that refuses to fade, and about giving up the fight—even for one’s own survival.” Stream ‘Last Day’:
Chloe Star has released the music video for ‘call you back’ today. The 28-year-old singer-songwriter, visual artist and tribal advocate was born in Los Angeles and now splits her time between Los Angeles and London. Raised between San Bernardino and Los Angeles with Persian and Indigenous roots, she first tapped into songwriting through journaling as a pre-teen. She broke into the alternative scene in 2023 with a sharp, original voice and has since built a growing fanbase that responds to the straight-up honesty and emotional weight in her songs. Rolling Stone featured her track ‘Bad Habit’ in its 2025 Best New Music: Songs You Need to Know list, and also performed on the main stage at London Pride, New York Pride Festival, Back Lot Bash in Chicago, Out & Abt in New York and The Dinah in California.
The track, built on gritty production, razor-sharp lyricism and Chloe Star’s commanding vocals, arrives as a direct, cathartic response to betrayal delivered with her signature intensity. The music video translates the song’s emotional collision into raw performance and striking choreography, capturing the disorder, shock and dark humour at its core. Chloe Star teamed up with choreographer Ryan Ramirez, whose credits include Christina Aguilera, Jessie Murph and Jennifer Lopez, alongside stunt coordinator Nate Horowitz to shape visuals that echo the track’s themes. With new singles dropping every month and a creative vision that refuses to be contained, she is building a world entirely her own- fierce, emotional, unapologetic and impossible to ignore.
Chloe Star had this to say: “It’s about how this girl left me for a guy who literally looks like me. The male version of me. It’s hilarious and devastating at the same time. On the surface we’re the same, but the song is me calling out the difference between looking the part and actually showing up.”
Watch the music video for ‘call you back’:
Chloe Star’s Upcoming shows:
June 5 – Viper Room LA (headlining) June 6 – LA Pride, She Ent @ the Andaz Hotel on Sunset (Key live performance)
Up-and-coming pop-rock act Matt Whataguy recently debuted a brand-new breakup anthem titled ‘We Weren’t In Love’. Released on 2 April 2026, the song is quickly shaping up to be a fan-favourite. Following a string of independent releases in 2025, Whataguy has five more singles ready for release later this year.
The track starts with the swelling drone of a mellow synth accompanied by an array of arpeggiated notes bouncing about. The sense of anticipation that is created by the instrumentation quickly pays off as Whataguy jumps straight into the song with his distinctive high-energy vocal delivery. Whataguy has proven himself a master of various sounds, as the song blends the upbeat nature of pop-punk with a rebellious alternative edge. All neatly packaged as a catchy 3-minute breakup anthem.
Speaking on the release, Whataguy shares: “It’s a song capturing the most painful part of an immediate breakup, the shock and the uncertainty of what comes next. How we tell people that love us. Put all the blame on me, give me all the hurt, tell them whatever you want… just don’t say we weren’t in love.”
The Faster AI Evolves, the More Valuable Human-Created Music Becomes
Acclaimed record label Cheerful Music, recently participated in a key panel discussion at renowned festival and conference SXSW, in Austin, Texas. The label, which was founded by industry thought leader and professional singer-songwriter – turned music entrepreneur Snow. J, known for her extraordinary vision in bridging the Chinese market with the West, engaged in the East x West: Cross Cultural AI Trends In Music Productionpaneldiscussion on 16 March. The panel received notable support from revered tastemaker publication Rolling Stone UK, which highlighted their participation in the SXSW discussion.
The panel drew strong interest from international music professionals eager to better understand the Chinese music market in the age of artificial intelligence. As the global music industry is propelled forward by the rapid iteration of AI technologies, China—one of the world’s most dynamic markets for AI application—is undergoing profound transformation. How are these changes reshaping music creation, distribution, and value? As AI virtual artists begin performing R&B from behind digital screens, a fundamental question emerges: where do human musicians stand in this new landscape? When music production becomes infinitely scalable, the discussion shifts from efficiency to meaning—prompting the industry to reconsider what truly remains scarce in the future of music.
At this panel, Vice President of Copyrights at NetEase Music, Vivian Wei, Cheerful Music representative Snow J (蒋雪儿), and international electronic music artist MKJ came together to explore cross-cultural music creation in the AI era and discuss the future development of the global music industry.
Image credit: Dongfang Duan
The Current Landscape: A Library of Millions of AI-Generated Tracks – and the Disappearance of Breakout Hits
The panel opened with a discussion about the current state of China’s AI music market. Vivian Wei, Vice President of Copyrights at NetEase Music shared more on how AI has become an unstoppable force in the Chinese music industry. In her view, AI has dramatically lowered the barriers to music creation, leading to a surge in content uploads across platforms. However, despite the growing presence of innovative AI-driven works and a small number of tracks showing strong performance, AI music remains in an early stage of development. While overall production volume continues to rise rapidly, the head effect is still limited, and the proportion of AI-generated breakout hits remains relatively low. This gap between scale and impact underscores the ongoing challenge of translating technological efficiency into lasting audience resonance.
Snow. J shared Cheerful Music’s strategic response to the rapidly evolving AI landscape. She mentioned that despite the massive volume of songs uploaded daily, the label has maintained a clear bottom line: it does not produce purely one-click, fully AI-generated music. Instead, Cheerful Music currently leverages AI technologies for AI-assisted reinterpretations of popular tracks, while also developing its own virtual artist. The label remains firmly focused on its strengths in Chinese traditional music, emphasizing cultural depth and artistic identity. Electronic artist MKJ shared that AI will not replace artists, and mentioned that creators with distinctive styles and consistently high-quality output will always stand out amid an overwhelming volume of content. He emphasized that the more urgent question today is how to find a sustainable balance between human creativity and AI – using AI efficiently as a tool without undermining the income and value of human artists.
Consumption and Listening Habits: Have Audiences’ Ears Changed?
The panel then discussed whether or not AI has shifted audiences’ listening behaviour. Vivian Wei observed that, over the past decade, Chinese users’ musical preferences have remained remarkably stable. She noted that mainstream hits in China have consistently been Mandopop and R&B, particularly heartbreak ballads, while genres like Afrobeat have historically attracted only niche audiences. She suggested that overseas artists looking to enter the Chinese market should prioritise these mainstream styles. Vivian Wei further explained that, in today’s social media–driven era, artists cannot rely solely on production. Beyond creating music, they must actively manage their music platform accounts and social media profiles to build a fanbase. While AI can simplify production, it cannot by itself make an artist stand out.
Snow. J then shared her experience of a successful cross-genre collaboration with MKJ. She mentioned that the track, which merged Afrobeats with traditional Chinese elements, performed strongly on streaming platforms, which provided a unique blueprint for artists wanting to enter the Chinese market. When it comes to promotion however, Snow. J pointed out that based on the label’s experience, AI-generated tracks rarely become breakout hits and often face copyright disputes, making commercialisation more challenging.
Copyright Boundaries: Who Should Bear the Costs of “One-Click” AI Music?
The panel then shifted to one of the most pressing issues related to AI today: AI music royalties and regulatory frameworks. On this topic, Vivian Wei was candid. Currently, NetEaseMusic imposes no restrictions on AI creators, and they are able to receive royalty payments through the platform. However, she emphasized that any form of copyright infringement must be strictly addressed. Vivian Wei noted that AI-related royalty allocation is an ongoing discussion, and she personally believes that distribution rules should reflect the proportion of human contribution within a track. She further stressed that the current proliferation of AI-generated music is already influencing the broader industry ecosystem, and moving forward, it is essential to continue developing solutions that create a fair and transparent environment for all stakeholders, in collaboration with partners across the industry. Snow. J noted that on some Chinese streaming platforms, AI-generated music is already eligible for royalty settlements. MKJ expressed caution, saying that although AI is an innovative and powerful tool he warned that it could make producers lazy or over dependent. He also explained that the quality of AI-generated music remains difficult to compare with music created by humans, emphasizing that the use of AI tools requires more standardized oversight and regulation to ensure fairness and maintain artistic integrity.
Future Outlook: Human-Created Music Will Become an Even More Precious Asset
Looking toward the future of the music industry, Vivian Wei believes that AI music will become an important creative tool and help meet certain audience demands, but it will not dominate the entire market. She noted that the most expressive form of music remains live performances by artists, where genuine emotional connection occurs – something AI cannot replicate. Vivian Wei advised artists to stay true to their strengths and focus on building their personal brand, cautioning against losing themselves or their original artistic vision in the pursuit of AI-generated trends. Snow. J then shared a highly valuable observation saying: “The faster AI develops, the more valuable human-created music becomes.” She emphasized that Cheerful Music will continue to focus on original music and maintain traditional instrument-based creation and international songwriting camps, while adding AI-related modules to existing business operations. Snow. J also noted that in an environment saturated with AI-generated music, effective marketing and promotion are even more critical.
Closing Remarks: Upholding Originality to Keep Music Warm
The discussion closed on an enlightening note: For Cheerful Music, AI has never been an “invader” to resist or avoid; instead, it is a lever that helps us bring the expressions in our hearts to a wider world.
Looking ahead, Cheerful Music will continue to hold every original creation with respect and care. With the powerful support of technology, the label leverages AI to enhance production efficiency and explore new sensory possibilities for virtual artists, but their core driving force will always be human creativity. As Snow. J brilliantly put it: “The faster AI develops, the more valuable human-created music becomes.”
“From viral hit maker to a featured Harvard Business School case study, Cheerful Music exemplifies how a new generation of Chinese music label is navigating the digital music era and globalizing through the lens of internet-native entrepreneurship” Bandwagon.asia
“Cheerful Music’s “hit logic” consists of three elements: keen market intuition, rapid execution, and flexible promotion mechanisms.” Yahoo! Finance
“Cheerful Music arrived at Amsterdam Dance Event 2025 with something beyond a label showcase. In a week where international heavyweights dominated lineups across the city, they stood out as the only Chinese music company hosting its own stage, stepping into one of the world’s biggest electronic moments with a mission bigger than a club night.” Notion Magazine
