Music | The Guardian · Scour

BTS: Arirang review – the world’s biggest pop band return with dumb fun and downright weirdness

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Add to playlist: the sharply observed electro-twee of the Femcels and the week’s best new tracks

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Grace Ives: Girlfriend review – bedroom-pop auteur goes widescreen for a gorgeous sobriety epic

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Huw Marc Bennett: Heol Las review – exhilarating Welsh folk injected with synths, sitars and surf rock

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BTS release new album Arirang ahead of comeback concert

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‘Validation was an insatiable monster’: Dave Grohl on Foo Fighters’ punk-rock return – and life after his infidelity

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‘The male ego is even more fragile than it ever was’: Kim Gordon on shyness, AI and Zohran Mamdani’s cool

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Príncipe Discos: how Black DJs from Lisbon’s suburbs made Europe’s most exciting record label

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Underscores: U review – ultra-imaginative auteur has pop’s most brilliant brain

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US rapper Afroman cleared after police sued him over use of home raid footage

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‘We keep secrets because we’re scared’: Guvna B on porn addiction and recovery

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‘I woke up and couldn’t move’: Scottish rockers the Twilight Sad on births, death and breakdown

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Seoul raises terror alert as it prepares to host BTS comeback concert

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‘Prince laughed like a kid as I painted “Free” on his stomach’: Steve Parke’s best photograph

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The BTS comeback album is almost here – and you best believe I’m slipping back into my K-pop obsessive era

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Wu-Tang Clan review – still bringing the ruckus even on their farewell tour

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‘We built a castle on stage complete with battlements’: how 80s German thrash bands pushed metal to new extremes

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Shaun Ryder on highs, lows and Happy Mondays: ‘Heroin isn’t a party drug – you can’t just do it at the weekend’

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‘It’s brutal right now’: one-woman powerhouse Maimuna Memon on the surprise aftermath of winning an Olivier

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New York hip-hop experimentalist Elucid: ‘I like the harmony of the city. Everybody’s got a little solo’

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