Montréal producer Jacques Greene is bringing it back to the dancefloor. The acclaimed electronic artist has announced jg, his third solo album and first since 2019's Dawn Chorus, arriving October 16 via LuckyMe. Alongside the announcement, Greene has shared the album's lead single, "Presence."
While Greene's recent releases, including 2025's collaborative album Verses GT with Nosaj Thing, leaned into ambient textures and introspective sound design, jg is described as an album built explicitly for clubs.
Written during a period of personal upheaval and broader uncertainty, jg channels those experiences into music that looks forward instead of inward. "This record moves away from concepts and follows an intuition for places where I wanted to be and where I would be wanted," Greene said in a statement. "If my other two records were impressionist music ~about~ the club, this one feels more firmly planted inside it, colliding against bodies, taste of fog machine juice on your tongue, strobes hitting your eyelids."
"Presence" clearly reflects that approach. Built around Greene's signature blend of emotional melodies, crisp percussion, and immersive house grooves, the single highlights the qualities that made him one of Canada's most influential electronic artists while embracing a dancefloor-focused energy.
The 11-track album also features artists from Greene's close-knit creative circle. Guests include fellow Montréal artists Ouri and CFCF, alongside DJ BORING, Jonah Yano, umru, SEES0000, SAM-E, crushed, and Sølv. Greene says the collaborations came about organically, stemming from friendship rather than strategic pairings, with many songs emerging from everyday conversations and shared studio sessions.
Since emerging out of Montréal's club scene in the early 2010s, Greene has spent years shaping the sound of modern electronic music. Beyond his own catalog, he has produced for artists including Tinashe and Jessy Lanza, remixed Radiohead and The xx, and collaborated with Bonobo.
jg is out October 16 on LuckyMe Records.
Drake attends a game between the Houston Rockets and the Cleveland Cavaliers
Earl Sweatshirt Is Right: ‘Don’t Worry’ Is a Great Drake Song
Even the staunchest Drake hater can probably name at least one song that does it for them. For better or worse, Aubrey Graham has spent nearly two decades giving voice to the millennial subconscious more skillfully than any mainstream musician not named Taylor Swift, soundtracking the fears, insecurities, and romantic delusions of a generation raised on reality-TV melodrama and the first wave of social media’s main-character ethos. It should come as no surprise, then, that Earl Sweatshirt, underground rap’s poet laureate, has singled out the deep Iceman cut “Don’t Worry,” singing the song karaoke-style to close out his recent live sets. The track is the purest distillation of Drake’s appeal since the Take Care era, and a quiet reminder of why it’s hard to imagine him going away any time soon.
In the clips, which first started circulating around late May, during Earl’s Home on the Range Tour with MIKE on the heels of their Surf Gang-produced project Pompeii // Utility, it’s the song’s final turn that has Earl & Co. the most hyped up. “I just wanna see that boy beg on the pavement,” Drake coos, the type of revenge fantasy he’s built a career out of conjuring. Drake goes on. “I just wanna see that boy struggle with the phone bill,” he sings, getting specific. “The light bill/That’s how I feel.”
It’s PhD-level pettiness with a weirdly relatable spin. One must know the more treacherous depths of being broke to pinpoint the humiliation of struggling with the phone bill, and here Drake is wishing such luck onto anyone “trippin’ with the gang.” Whereas his entire catalog is fueled by this kind of anonymous sense of betrayal, it hits harder here. You can feel the sting of 2024’s rap beef in the glee with which Drake sings his imagined get-back, landing on an infectious melody all while basically giving a speech you’d expect from the Joker. “I might just get that boy hit for entertainment,” he sings.
This is classic Drake, turning the darker inner thoughts most people would be ashamed to admit into something almost beautiful. He is, in a way, rap’s Lena Dunham, finding art on the other side of cringe.
More recently, clips of Earl singing the song at the end of different tour stops — an ongoing bit at this point — went viral thanks to the never-ending stan wars between Kendrick and Drake fans. Some, unable to deny Earl’s bona fides as a rapper, assumed the whole thing must be an act of trolling, while others saw it as proof that Drake “won” the beef. The third option, of course, is that it’s a really good song, the type Drake is especially skilled at making.
At the height of the beef, like any millennial amidst a friend-group falling-out, Drake appeared to be rewatching The Sopranos, posting pictures from the show to his Instagram Stories. (Iceman’s hit single “Janice STFU” samples Tony Soprano uttering the infamous phrase to his sister, Janice.) “Don’t Worry” has the Machiavellian feeling of a classic mobster flick, a resolve for vengeance at any cost. A desire to see your enemies suffer. Across an entire album, it’s a mood that can feel heavy, but you’ve got to admit, when it hits, it hits. And that’s why Drake remains a fixture within not just hip-hop, but pop culture at large. He reconstructs embarrassingly human impulses as irresistible melodies. “Don’t Worry” might very well become the sleeper hit from Iceman, as clips from Earl’s concerts have already started to boost the song’s presence across feeds.
As he often does, Earl Sweatshirt simply speaks the truth.