Technology

• Pentagon eyes swarms of cheap drones over a handful of expensive fighter jets
• Carrier decks may soon be crowded with robots doing eight different combat jobs
• US Navy next fighter wing could fly itself from takeoff to target and back

The US Navy has issued a Request for Information (RFI) seeking a new family of carrier-based drones which would operate alongside manned aircraft while supporting missions across the full range of naval combat operations.

The service wants these systems to fly from Ford-class and Nimitz-class nuclear carriers, while some designs could operate from smaller vessels.

Its requirements seeking industry proposals for platforms capable of eight missions, including attacks against ships and land targets, anti-submarine warfare, air combat, electronic warfare, intelligence, surveillance and reconnaissance.

Navy seeks autonomous aircraft for eight missions

The aircraft would also support aerial refuelling and resupply missions for naval task forces, creating a broad set of requirements for a single aircraft or connected family of systems.

Strike variants must have a minimum range of 1,000 nautical miles, equivalent to roughly 1,150 miles.

The service also wants advanced autonomy for carrier operations, mission changes and threat avoidance during flight.

Proposed systems must support automated aerial refuelling and remain compatible with existing unmanned aircraft control systems.

The Navy is seeking “affordable mass, risk-tolerant platforms” capable of addressing current and emerging threats, which points toward affordable aircraft designed to be produced in larger numbers than traditional high-cost combat jets.

Future carrier wings could rely on scalable drone fleets

The RFI asks companies to explain how their production methods could expand rapidly during a surge while keeping recurring flight and sustainment costs within sustainable limits.

Manufacturers must also describe ways to reduce maintenance demands and use existing naval supply networks.

The Navy is also open to aircraft that can operate from platforms beyond its largest carriers - vertical-takeoff and landing UAVs could fly from destroyers, expeditionary sea bases and other vessels with suitable aviation facilities.

“The Navy is interested in novel concepts that can operate from any air-capable platform,” the RFI states, including destroyers and mobile sea bases.

This could give naval commanders more options for deploying autonomous aircraft across different maritime environments.

The Air Wing of the Future Family of Systems forms part of the Trump administration’s Golden Fleet expansion plan.

Existing related programmes include the MQ-25A Stingray tanker and Collaborative Combat Aircraft initiative.

The RFI also asks companies to explain planned capital investments and internal research commitments needed to mature their designs.

The Navy’s requirements suggest that future carrier aviation could combine advanced manned aircraft with larger fleets of autonomous systems designed for scale and operational risk tolerance.

Via Defense News

• Saronic's Port Alpha facility could expand from 835 acres to nearly 4,400 acres
• The shipyard could eventually build vessels exceeding 1,200 feet long
• Saronic expects Port Alpha to create up to 10,000 direct jobs

Saronic has selected Brownsville, Texas, for 'Port Alpha', a planned shipyard designed to produce autonomous vessels at unprecedented industrial scale.

The project is expected to attract more than $3 billion in private investment and begin construction during 2026.

When operational in 2028, the facility will combine shipbuilding, advanced manufacturing, robotics and software development across an 835-acre site.

Port Alpha aims to rebuild American shipbuilding capacity

The site could eventually expand to nearly 4,400 acres, giving Saronic space to develop one of the largest shipbuilding facilities in the United States.

Its initial production facilities will support vessels up to 850 feet long, while later expansion could accommodate ships exceeding 1,200 feet.

The Brownsville location includes waterfront access, a deep-water channel and multimodal transport links needed for large-scale maritime manufacturing.

Saronic selected the site after a year-long search that assessed workforce availability, infrastructure, logistics and future expansion opportunities.

The company expects Port Alpha to create up to 10,000 direct jobs over the next decade, covering welding, machining, robotics, software engineering and naval architecture.

Governor Greg Abbott said the project could generate approximately $750 million in annual wages once the workforce reaches its projected scale.

“America’s maritime future depends on our ability to build again,” said Saronic co-founder and CEO Dino Mavrookas. “Port Alpha is our commitment to that mission.”

Saronic plans to work with technical colleges, universities and local institutions to develop apprenticeships and training programmes supporting the facility’s workforce.

The company says the project could generate more than $160 billion in regional economic impact for Cameron County and $264.5 billion across Texas.

Autonomous vessels will drive the shipyard’s production model

Port Alpha will not operate as a conventional shipyard focused solely on constructing traditional crewed vessels for established naval fleets.

Saronic intends to combine software-defined manufacturing with autonomous maritime systems and large-scale production methods.

The company already operates a growing shipbuilding network, including a Franklin, Louisiana, facility acquired in early 2025.

Saronic is investing $300 million there to add 300,000 square feet of production capacity for its 180-foot Marauder autonomous vessel.

The company is known for autonomous vessels including Corsair and Mirage, while Marauder is competing in the medium unmanned surface vessel programme.

These systems form part of a broader effort to expand autonomous maritime operations across different mission types.

Saronic says Port Alpha will support production at a scale and speed not seen in American shipbuilding since World War II.

The company has not yet disclosed detailed production numbers, vessel schedules, or the exact mix of autonomous platforms planned for the facility.

• SK On says solid-state cells can give industrial robots the 8+ hour runtime of a human shift, but adoption might be another story
• While upcoming solid-state batteries boost productivity through longer operating times and lower overall operating costs, they are prohibitively more expensive than some of their lithium-ion peers
• Modern Li-on-based batteries are under 2% of a robot's manufacturing cost today, and solid-state would push that share to around 8%, a premium that could come with serious tradeoffs for manufacturers

Modern robotics is a field that continues to grow over time, fueled by a mix of smarter AI, manufacturing efficiencies and at times, better materials that change what is possible on the ground.

The robots currently in use in factories and warehouses however have a key limitation that has yet to be addressed properly: Lithium-ion batteries often can not keep up with the power demand that modern robots have.

This is particularly reflected in how often they require a battery swap or a recharge: most lithium-ion-powered robots typically operate for one to two hours on a charge, a far cry from the industry's ambitions of machines that can work a full eight-hour shift.

A costly solution to a robot's current battery limits

Speaking at the 2nd Battery Foundry Forum in Seoul on July 15 2026, Ko Young-seok, the executive vice president and head of product planning at the Korean battery maker SK On, argued that solid-state cells can deliver meaningful value for industrial robots that need extended runtime.

He also explained that whether manufacturers actually adopt them will come down to total cost of ownership (TCO), weighed against two cheaper rival approaches: battery swapping and ultra-fast charging.

The TCO framing implies that solid-state batteries, the battery industry's most hyped next-generation technology and inherently expensive to boot, might attract industrial buyers simply because the math works in their favor relative to conventional Li-ion setups.

This is because one must factor in the cost of keeping spare battery packs, charging and/or swap times, and potentially additional robots to cover the resulting downtime, which could leave solid-state with a lower TCO than the competition despite the higher sticker price.

The framing may also be unavoidable given how batteries sit in a robot's bill of materials today. A Li-ion battery accounts for under 2% of the total cost of an industrial robot, according to SK On, essentially a rounding error in the grand scheme of things, but switching to a solid-state battery could push that share to around 8%, a significant jump in overall costs.

For context, a widely circulated teardown of Tesla's Optimus Gen 2 puts the battery pack at about $300 in a roughly $55,000 hardware cost structure, around 0.5% of the bill of materials, comfortably under 2%, though units with larger packs or lower overall costs would land higher, and some independent estimates, including McKinsey's, put battery modules at 5–10% of a humanoid's bill of materials.

Solid-state cells, with their higher energy density, are one of the most promising routes to a robot that works a human shift without stopping, but given their comparatively steep cost versus the competition, one can understand why SK On is aiming this pitch at the robotics and industrial players that need the technology and can afford to pay for it.

For applications with short duty cycles, swapping a cheap lithium-ion pack or fast-charging between tasks may simply remain the better economic answer, but for customers willing and able to pay for more sustained power, solid-state seems to be the new play, even as it remains elusive for commercial EVs given its cost.

SK On has skin in this game on a specific timeline. The company completed its all-solid-state pilot plant at its Future Technology Institute in Daejeon last September, built in partnership with US solid-electrolyte firm Solid Power.

It is developing two chemistries: a polymer-oxide composite cell targeted for commercialization in 2028 and a sulfide-based cell in 2029, a timeline it has already accelerated by a year. But it has competition waiting in the wings: rival Samsung SDI, working with the same American partner, is aiming for 2027.

Whether this leads to widespread adoption of tech expected to appear only in the most expensive EVs on the market this decade remains to be seen, but the TCO argument Ko makes might stick more easily with industrial customers than with consumer EV buyers, for whom pricing and budgets are key factors.

Via The ELEC

The new models prioritize token efficiency and performance.

• Chris Fall, the head of CAISI, has resigned
• Fall only took up the job three months ago in April 2026
• The departure is likely to once again shake up the administration's AI strategy

The head of the Trump administration’s Center for AI Standards and Innovation (CAISI) has resigned from his role, Axios has reported.

Chris Fall served in the role for just three months following his appointment in April 2026, and no reason has so far been given for his departure from the agency.

Arvind Raman, the current head of the Commerce Department office that oversees the AI testing institute is set to temporarily take up the mantle as head of CAISI until a permanent alternative is found.

Another Trump admin departure

Fall’s departure is just one in a string of Trump administration departures so far in 2026. Before resigning, Fall was responsible for working closely with leading US AI labs such as Anthropic, Google's ​DeepMind, OpenAI, ​Microsoft and Elon Musk's xAI to test their frontier and unreleased models for vulnerabilities to prevent them from being maliciously abused.

Trump has placed a big focus on developing AI, with the technology now a key part of both the US economy and its security, with AI models being deployed across federal agencies, police, and the armed forces.

Despite interventions by the US, China has been rapidly closing the gap between its own models and those of US companies. Many Chinese models are cheaper than their US alternatives, making them attractive to US companies feeling the token-cost of US models.

The resignation will likely once again shake up the Trump administration’s AI strategy. The administration has taken a very hands on approach to AI technologies, requiring contractors to provide unrestricted access to their systems and allow the use of their technologies for any lawful purpose. When Anthropic rejected these demands, the company was designated a supply chain risk.

Trump has also called on AI companies to provide stakes in their companies in what Trump has said will “create almost a partnership with the American public”. Trump hasn’t revealed exactly how this partnership would benefit the American public.

On the other hand, Senator Bernie Sanders has proposed an AI sovereign wealth fund that would see 50% of AI company stock placed in a fund that would be used to build infrastructure and fund projects aimed at improving the lives of Americans.

• The UK government has quietly revealed when plug-in solar will be legal
• The law change will come into effect from August 27
• The panels could save you up to £110 a year on your energy bills

The UK government has quietly revealed when plug-in solar panels will become legal to buy in the country — and the magic date is August 27.

The date (spotted by Engadget) is hidden away in these amended 'Plugs and Sockets' regulations for the UK. These are "coming into force" from August 27 and effectively legalise plug-in solar panels, which currently exist in a legal grey area.

Right now, it isn't legal to send electricity into a wall socket to power your appliances or other tech. But these amendments make a new exemption for so-called plug-in solar, provided the new kit meets some strict criteria.

Specifically, your solar setup can't output more than 800W of power and also can't "import electrical energy" from your house to be stored and used later. This date also isn't necessarily when we'll see plug-in solar panels — otherwise known as 'balcony solar' — go on sale, but refers to when they can be approved to go on shelves.

The government's research, which included a consultation that ended on June 30, suggests that plug-in panels could start at around £400, and save households up to £70-£110 a year on their energy bills. You also shouldn't need professional installation nor planning permission, unlike regular rooftop panels.

While the legal amendments have unfortunately come towards the end of the summer, it does mean the government will have hit its target of finalising plug-in solar legislation by the end of the season.

Where will you be able to buy them?

(Image credit: Shutterstock / embeki)

While retailers aren't committing to exact on-sale dates yet, some major ones have hinted to us that they'll be keen to stock plug-in solar kits as soon as possible.

John Boumphrey, UK & Ireland Country Manager at, Amazon said: "The Government's announcement on plug-in solar panels is a practical step that gives households a simple way to generate their own power, reduce bills, and contribute to the UK's net zero goals. We're looking forward to helping customers access this technology."

Lidl could be another store that supports the tech, given it's already launched its own cheap battery that's designed for solar systems in Germany. Georgina Hall, Corporate Affairs Director at Lidl GB, told us: “At Lidl GB, we are committed to making sustainable living affordable for everyone and we welcome the Government’s move to modernise regulations in the UK.

"Updating the regulatory landscape for this 'plug-and-play' technology is a positive step towards empowering British households to manage their energy costs and support the nation’s net-zero ambitions."

Last month, we also saw that Asda, Currys, B&Q, Wickes, and Screwfix had met with the Minister for Energy Consumers, Martin McCluskey, to discuss balcony solar panels. "Plug-in panels can be transformative for renters or those on lower incomes, so I welcome the conversation today with household names such as B&Q and Currys showing a huge amount of support for getting the panels in people's homes," McCluskey said.

So if you're interested in plug-in solar panels, you shouldn't be short of options from traditional high street names — let's just hope the sun is still shining by then.

Google plans to replenish more freshwater than its data centers consume by 2030 as it expands water stewardship efforts amid growing AI infrastructure scrutiny.

The post Google Bets Water Stewardship Can Ease AI Data Center Concerns appeared first on TechRepublic.

The latest AI Health Assistant aims to use AI to turn sleep, nutrition and vitals into actionable guidance.

Apple reportedly canceled M2 Extreme and M3 Extreme chips for the Mac Pro before discontinuing the desktop and shifting focus to Mac Studio.

The post Apple Scrapped Mac Pro Revival, Canceled M2 and M3 Extreme Chips appeared first on TechRepublic.

Microsoft is adding seven games, including remastered versions of Halo and Hexen + Heretic, to Game Pass in the coming weeks, but it’s removing eight others.

• Zhejiang University researchers warned GPU workloads could destabilize local grids and cause blackouts
• Attackers could exploit ~1,000 GPUs to drain current and generate excess heat in systems
• Theoretical attack dubbed Bit2Watt; mitigations include detecting malicious patterns and energy buffering systems

Whenever an AI data center thinks really, really hard, it can increase its power consumption so much to trigger disruptions and possibly even blackouts and gear malfunctions. So, is it possible for a malicious actor to trigger this scenario deliberately, in order to cause physical harm?

Multiple researchers from the Zhejiang University in Hangzhou, China, wrote a research paper titled “Bit2Watt: A Cyber-Physical Vulnerability Exploiting GPU Workloads Across Power and Computing Infrastructures.”

In it, they claim that a malicious cloud tenant is, in theory, capable of launching GPU workloads so intensive that they cause physical damage.

Suggesting mitigations

"Our results indicate that GPU loads can reach modulation frequencies exceeding 6,000 Hz, compared with only a few hertz observed in conventional household loads such as air conditioners," the team wrote in its research paper.

"Such high-frequency modulations can substantially induce voltage excursions, harmonic distortion, and damping degradation."

An attacker could use around 1,000 GPUs to target a one-megawatt local power grid consisting primarily of distributed energy sources (such as solar panels), making it lose almost half of the electrical current, while generating around 20% more heat than usual.

"This not only threatens the availability of the computing equipment but also produces a negative damping ratio of -0.27, introducing an unstable mode into the system," the paper adds.

"Once the protections are triggered and computing loads are shed, it can trigger cascading failures, potentially leading to blackouts exceeding 80 percent in large-scale power systems."

AI data centers creating huge energy consumption swings is no news, and it’s a challenge some of the brightest minds of today are trying to solve.

Luckily, the attack is (still) purely theoretical, and the researchers published the paper to warn about potential misuse. They also suggested mitigations - defenders could look for malicious computational patterns, while operators should create energy buffering systems for unusual spikes in demand.

Via The Register

Apple reportedly increased vapor chamber orders, fueling speculation that its foldable iPhone and future flagship models will feature improved cooling.

The post Apple Reportedly Expands Vapor Chamber Cooling for Foldable iPhone, Future Flagship Models appeared first on TechRepublic.

HEDD HEDDphone D1: Two-minute review

The HEDDphone D1 are a quite frankly astonishing pair of over-ear headphones, trucking in a new line of innovative thought from the Berlin brand that also brought AMT technology to the wearable market. They’re open-back and passive, with eyes locked both on the world of pro audio and at-home audiophile listening.

While most brands struggle to occupy both spaces in any meaningful way, it’s my view that the HEDDphone D1 are a rare and commendable success. They are full in heart and full in throat, with an expansive frequency range and a hugely expressive soundstage. Their Thin-Ply Carbon Diaphragm (TPCD) drivers make good on their claims of tonal balance and transient excellence, making these just as adept at clinical representation as they are at gratifying, fulsome home listening.

The specs are friendly to both camps too, starting with the works-with-anything 32-ohm impedance. Traditionally, I’m less fond of this in other devices, but here and with the D1’s rich sonic capacity across devices, it’s a boon. They’re comfortable to wear, innately and over long periods of time, and they never get fatiguing to listen through either.

I don’t like giving full marks to things. It makes me feel like I’ve failed; like I’ve missed something, somewhere, or that I’ve even dared to be a bit lazy. More’s my disappointment, then, that I can’t fault the HEDDphone D1 in any meaningful way.

Sure, the build quality might stoop a tad beneath the price in places, but then the pristine presence afforded by those unique dynamic drivers shoots well above. Likewise, a slight low-end boost might disincentivise some pro-audio folk from trusting them in their line of work, but that same lift allows these headphones to provide weight and context unlike any other set of open-backed headphones at this (or perhaps any) price. Every question an answer.

So, then, I resolve to put away my thoughts of laziness or journalistic inadequacy, instead settling with the thrilling and essential truth that must be my own final answer: these are the best headphones I’ve tried in my career thus far. And they get full marks. Among the best wired headphones on the market? Emphatically yes.

(Image credit: Future / James Grimshaw)HEDD HEDDphone D1: Price and release date

• $799.99 / £599 / AU$999
• Launched on 6th November, 2025

When a pioneering set of headphones hails from a German brand literally called HEDD, it’s one’s duty to take notice. HEDD stands for Heinz ElectroDynamic Designs, and is the another in a series of major audio-tech gifts from Heinz Klaus — founder of ADAM audio, and key contributor to the development and improvement of AMT (Air Motion Transformer) transducers.

HEDD is a continuation of Klaus’ inventorial pursuits, first with a new suite of professional monitor speakers, then with bringing AMT and some clever material design to new territory: the world of head-fi. All lovingly designed and manufactured in Berlin.

The subjects of today’s scrutiny are the HEDDphone D1, the fourth set of over-ears to come from HEDD, following HEDDphones ONE, TWO and TWO GT respectively. Where prior cans focused on combining AMT drivers with over-ear headphones, the D1 are an exploration of dynamic drivers through the lens of Thin-Ply Carbon Diaphragm (TPCD).

The HEDDphone D1, then, purport to be every bit as stereotypically precise as one might expect from a pioneering German audio brand — with emphasis on the ‘stereo’, and with pun very much smugly intended. If Heinz can do it, so can I.

At £599 / $799.99 / AU$999, the HEDDphone D1 certainly aren’t cheap; they tickle the upper reaches of what might be considered ‘mid-range’ in a broad market, increasingly filled with audiophile-grade cans that ask for four-figure sums (including HEDD’s own flagship HEDDphone).

But the D1 pitches itself, sonically, as a pair of ‘phones that’ll go toe-to-toe with most when it comes to detail, tone and depth — to the point that they’re marketed quite keenly towards professional audio-folk and audiophiles alike. And, not to spoil you too soon, I think they more-than stick the landing.

(Image credit: Future / James Grimshaw)HEDD HEDDphone D1 review: SpecsHEDD HEDDphone D1 specs

Type

Open-back

Drivers

Driver: 50mm dynamic, thin-ply carbon diaphragm (TPCD)

Impedance

32 ohms

Weight

350g

Connectivity

2 x 3.5mm TS

Frequency range

Frequency range: 5 Hz - 40 kHz

Extras

Moulded EVA case, dual-TS to 3.5mm TRS cable, screw-on 3.5mm-6.35mm TRS adapter, drawstring velour cable bag

HEDD HEDDphone D1 review: Features

• 50mm Thin-Ply Carbon Diaphragm (TPCD) dynamic drivers
• 5Hz-40kHz frequency range
• 32-ohm impedance

The HEDDphone D1 are a pair of open-back over-ear headphones, designed as a mid-weight contender for pristine professional audiophile listening. They’re a passive, wired affair, and about as operationally simple as headphones get.

The big sell here is HEDD’s Thin-Ply Carbon Diaphragm (TPCD): a diaphragm constructed with an advanced carbon fibre composite that maintains rigidity in spite of its thin, low-mass design. The result is a responsive dynamic driver that doesn’t need to trade its proverbial lightness-of-foot for distortion or tonal imbalance, and doesn’t need conventional diaphragm-level dampening to maintain clarity either.

The HEDDphone D1 is outfitted with two 50mm TPCD-constructed dynamic drivers, which extend up to 40kHz and down to 5Hz — a remarkable range, with a remarkably steady response curve where it counts.

These drivers field an impedance of 32 ohms, making the HEDDphone D1 a suitable candidate for practically any sound source. I usually prefer my monitor headphones to have a little more fight in them than this, but on this occasion, I certainly don’t mind the results.

• Features score: 5 / 5

(Image credit: Future / James Grimshaw)HEDD HEDDphone D1 review: Sound quality

• Incredible clarity across frequency spectrum
• Deep, full and spacious low-end
• Expansive soundstage

Being someone who encounters and experiences new audio tech as a matter of course, I’m rarely in a position to be surprised by something. I usually have some vague idea of what to expect, and my expectations are usually somewhat in line with what I ultimately hear. Here, though: wow.

Having had plentiful experience with professional monitor headphones before, I thought I knew what I was in for with the HEDDphone D1. I didn’t. These ground-up Berlin-designed drivers are a marvel — and, perhaps, a rare instance of experimental reality actually informing PR copy. The D1’s got everything: depth, width, height; microscopic detail and macroscopic grandeur; pro-grade clinical clarity and gratifying, grin-worthy weight. They are full-range and balanced enough to work well as monitor headphones, but not clinically transparent to the point of flatness. It’s a delicate balancing act that pays off.

There’s a lot to get into here, but let’s start with the bass. Though impressively even with respect to frequency response, there is a slightly pronounced push in the low end — the quality of which is, quite simply, astonishing. There is a bulging fullness, of the same heft that makes closed-back headphones so gratifying, but also a depth-of-field that only open-backs can achieve. It’s the platonic ideal for low-end presence; the best of both worlds.

First impressions of this were achieved through digital streaming, listening to hi-res audio streamed from Qobuz. Pile’s All Fiction is a maximalist flood of roomy orchestrations, reverb-drowned voices breaking like waves, and huge blooms of messy low-end energy. It should not be an easy-to-parse record, but the D1 handle the heft of Loops and Poisons handily.

That deeply-impressive low-end control isn’t all that’s happening here. It serves to support an incredibly detailed upper register, too; things sail above it with ease. Mitskis’ Cats, from early-2026 heartbreaker Nothing’s About To Happen To Me, is a supremely balanced slug of sad-folky Americana, carried on a wave of deep bassy richness and carrying a full, clear, near-sailing Mitski vocal. In fact, those vocals are a revelation of their own, every fathom and every miniscule wave rendered in the same amazing definition.

Definition, ultimately, is the word. The transients are, to my immense gratitude, tight and immediate without overextension or insistence. Mitski’s I’ll Change For You demonstrates this capably, through dead-on kick-drums, rich clatter-y rim shots and the most tactile shakers you’ve ever heard hidden in a ballad. The light plosives in Mitski’s voice are discernable, to great humanising effect.

To figure out some more of that definitional excellence, I turned to PJ Harvey’s Stories From The City, Stories From The Sea. Harvey’s vocals are an immediate, forthright affair, and pop into being with a refreshing urgency. Again, there’s some excellent separation between voice and instruments, even as things spiral away beneath as in Big Exit, Kamikaze and This Wicked Tongue. Across the album, dry drums, harsh leads and percussive acoustic guitars build a clear and crisp picture of the D1’s composure.

(Image credit: Future / James Grimshaw)

Over on vinyl, things are just as impressive. Queens Of The Stone Age’s …Like Clockwork demonstrates the D1’s soundstage admirably, as well as their gutsy, gratifying treatment of distorted guitars. I Sat By The Ocean is cleverly rendered in space; My God Is The Sun is addictively propulsive, from its growling plinth of glistening bass to its tight trio of ever-climbing riffy guitars. Homme’s voice is, as ever, a mile-long track of croon-y honey.

Between PJ Harvey, Mitski and QOTSA, the D1’s aptitude for rock instrumentation — much like my personal proclivities for the same — have been summarily proven. To change tack, and to make a small case for my actually-quite-eclectic-I-promise taste, I threw on my vinyl copy of jazz drummer Roy Haynes’ 1963 album Cymbalism.

It’s a rich and free-wheeling collection of quartet-arranged brilliance, opened up with fast-paced flute-led swinger Modette. Haynes’ ‘snap-crackle’ drums shine immediately, and Frank Strozier’s flute, that threatens to be unlistenably harsh, comes in bright, beautiful and searingly insistent. The double-bass is a subtle, hollow, plucky affair, held up well somewhere between kick and snare; the piano is unobtrusively clear, even sharp.

In Lonnie Liston Smith And The Cosmic Echoes’ sprawling 1973 spiritual-jazz missive Astral Traveling, I found the D1’s tonal strengths on full display. In Search Of Truth’s a slow, sure-footed hike, its footsteps a consistent bass riff over which a spaced-out, upward-spiralling piano, disparate, immaculately-preserved percussive elements and a steady harmonium drone reach towards a mountain’s peak — a full-throated, ensemble-derived answer to the call, and a truly expansive experience in these headphones.

It’s clear to me how the HEDDphone D1 can be marketed simultaneously as a powerful home-listening audiophile product and a pro-grade monitoring headphone. The soundstage is broad and deep across the frequency spectrum; instruments and elements have their space, to be appreciated or scrutinised accordingly. That broad low-end lift could be argued as a platform by which to better examine low-end information, but really, it’s a little gift for you and me.

• Sound quality score: 5 / 5

(Image credit: Future / James Grimshaw)HEDD HEDDphone D1 review: Design

• Unusual — yet welcome — grip on head
• Incomparably comfortable for long
• Slightly underwhelming material choices in places

The HEDDphone D1 are some seriously comfortable headphones — and not in the conventional way, either. Most headphones aiming for comfort have a light touch; they’re trying to be light, airy, and leave little evidence of presence on your head. The HEDDphone D1 are gloriously opposed to this approach.

Instead of a feather-light balancing act, the D1 goes hard, gripping your head with a deep and encouraging firmness. Some super-soft ear cup cushions eat up a lot of that inward force, and a firm foam cushion beneath the headband provides supple support from above. It’s a tight hug in headphone form, and all the better for it. They melt into your head, and, thanks to their open-back breathability, never get old.

Materials-wise, the HEDDphone D1 doesn’t quite have the same quality of build as other headphones at this price point — with a firm and reverential gaze levelled at the likes of Meze Audio. Besides the metal grilles protecting the diaphragm, and the spine of the headband, everything visible is plastic, foam and variably-breathable fabrics.

This is to say that the money’s been spent elsewhere; within. And given the incredible quality displayed within, I’m actually not all that fussed by the less-rarefied material design here. Besides, things work where it counts. The headband adjustment feels firm and reassuring, and the foam used for the cushions couldn’t be better-suited.

There is some semi-significant sound leakage out into the world, as is to be expected from anything open-back; that said, the same can’t quite be said for the inverse — at least, when music’s playing. It’s hard to be distracted when wearing these things.

• Design score: 5 / 5

HEDD HEDDphone D1 review: Value

• An undeniably upper mid-range price point
• Sonic performance that outstrips pricier cans
• Unignorably high bang-for-buck

Value’s always the hardest thing for me to pin down in a piece of tech. Circumstances differ, but MSRPs above a certain point are almost always a big ask. And I think it’s fair to call $799.99 / £599 / AU$999 a big ask. But in comparing that to the value of other headphones on the market, something emerges. At least, to me. The HEDDphone D1 pretty much clears them all for sonic characteristics.

Reservations may rightly be held for the plasticky nature of the chassis in places, but I think the D1’s built well enough to see off any assertions of poor value for money, particularly when they sound as good as they do. As far as fidelity is concerned, this could well be the absolute best bang-per-buck on the market.

Let me couch that in something a little more tangible. I’ve reviewed audiophile-grade over-ear headphones worth upwards of $2,000 / £1,899 / AU$3,550; I’ve even loved them. But not as much as these. And that’s irrespective of price. If the HEDDphone D1 can outperform something three times their price (and something I’ve deemed more-or-less worthy of that price, too), then they are stunningly under-valued.

Yes, $799.99 / £599 / AU$999 is a big ask for a lot of things, headphones included. But if you care about sonic fidelity personally or professionally, and when you’re getting four-figure sound quality at a mid-budget price point, it’s hard to call this anything but a steal.

• Value score: 5 / 5

(Image credit: Future / James Grimshaw)HEDD HEDDphone D1: Should you buy them?

Attributes

Notes

Rating

Features

Passive, open-backed over-ear headphones furnished with some top-flight 50mm TPCD dynamic drivers. They boast a 5Hz-40kHz frequency range — and a 32-ohm impedance guarantees they play well with pretty much any source.

5 / 5

Sound quality

An absolute delight to listen through, from a well-constructed and surprisingly robust low end to crystal clear highs, bywhy of excellent tonal control and some uniquely tactile transients.

5 / 5

Design

They look great, but they feel even better when worn. HEDD D1 aren’t fatiguing in the slightest, whether sonically or physically. A small shame that some parts feel cheaper than others.

5 / 5

Value

In spite of a slightly disappointing chassis, the HEDDphone D1 is incredible value for money. Its transient and tonal clarity reach far above its price point, giving many other more expensive audiophile- grade cans a run for their money.

5 / 5

(Image credit: Future / James Grimshaw)Buy them if...

You want to buy your last set of mid-range headphones
In my view, the HEDDphone D1 achieve something marvellous for their price bracket. They sound easily three times their price, and, even with a slightly cheaper build quality, feel exceedingly comfortable while delivering that underpriced sound. They’re the be-all and end-all for mid-budget listening headphones, and could be the last you buy before something four- (or five-) figures entices you.

You’re an audio professional that wants some daily-drivers
The HEDDphone D1 are unique in how readily they straddle personal and professional use cases. These are begging to be used in the studio all day, and at home on your hi-fi all night.

Don't buy them if...

You want some headphones to commute with
Though the HEDDphone D1 ship with a robust-enough carry case, they are not the most commute-friendly of devices; they’re open-back, which means your travel companions will hear what you’re hearing. Also, while surprisingly good at blocking out external noises, they’re not great at it. These headphones are for home! (Or work.)

You’re stretching your budget
The sound performance on display here is nothing short of magical, but the price point stretches beyond what most casual or mid-range budgets allow. If you’re looking for some pro monitoring headphones, you’ll find a suite of flat, clear and pristine (if slightly less thrilling) headphones in the £2-400 range; if you want some crystal-clear listening headphones for home, other brands like Meze are excelling in that same space.

HEDD HEDDphone D1: Also consider

HEDDphone D1

Meze Audio 105 Silva

Grado Signature

Open-back or closed-

Open-back

Open-back

Open-back

Driver

50mm dynamic, thin-ply carbon diaphragm (TPCD)

50mm dynamic; bio-cellulose, titanium-coated semicrystalline polymer

50mm dynamic

Frequency range

5 Hz - 40 kHz

5 Hz - 30 kHz

6 Hz - 46 kHz

Impedance

32 ohms

42 ohms

38 ohms

Connector

2 x 3.5mm TS

2 x 3.5mm TS

4pin Mini XLR

Weight

350g

354g

460g

Extras

Moulded EVA case, dual-TS to 3.5mm TRS cable, screw-on 3.5mm-6.35mm TRS adapter, drawstring velour cable bag

Carry case, soft pouch for cables, 3.5mm TRS to dual 3.5mm TS cable, 3.5mm TRS to USB-C adapter w/ integrated DAC, 3.5mm TRS to 6.35mm TRS adapter

Source connection 6.3mm; Signature Gold 12-conductor 6ft detachable cable; new B Cushion ear pads supplied

Meze Audio 105 Silva
The Meze Audio 105 Silva are another stunning pair of mid-weight headphones, though much more geared to comfortable home listening than anything else. They’re a little cheaper, and they fall short against the D1 on a few sonic fronts, but they’re hugely comfortable, and slightly more remarkable on the material-design front.
Read our Meze Audio 105 Silva review for more

Grado Signature
The Grado Signature S750 are open-backed on-ears, and significantly pricier than the HEDDphone D1. These are the choice for luxuriant, up-close at-home listening, but also an illustration of just how high the D1 are punching. 
See our in-depth Grado Signature S750 review for more

HEDD HEDDphone D1 review: How I tested

• Tested for 5 weeks
• Used as primary home listening headphones, for streaming and vinyl
• Predominantly tested using Qobuz on a Windows laptop, connected to a UAD Volt 4 audio interface
• Also tested on a Vestax turntable setup with an Audio-Technica VM-95EN cart

I spent a month with the HEDDphone D1 headphones, wherein they were used as my primary home listening headphones. They split their time between my attic office space and my living room hi-fi stack.

In the attic, the HEDDphone D1 were used to listen to hi-res audio on the streaming service Qobuz, as well as lossless audio in my digital music library, through the headphone output of my trusty Universal Audio Volt 4 audio interface.

In the living room, they were used to listen to vinyl records played on a Vestax PDX-D3 turntable, outfitted with an Audio-Technica VM-95EN cartridge, via the headphone output of my Vestax PCV-275 mixer.

• First reviewed: July 2026
• Read more about how we test

• Waterpark Simulator is set to leave early access on July 31, 2026
• The game will also come to consoles on that date, and will not receive a price hike
• The launch comes alongside the release of a massive free update

A viral simulator game with thousands of positive reviews is coming to consoles later this month — on the same day that it receives a massive free update.

Under the Radar

Under the Radar is our way of highlighting great games that might have passed you by. Through a regular mix of news stories and features, we'll cover great experiences that we feel haven't found the audience they deserve. Read the full series here.

Currently available in early access, Waterpark Simulator has already been downloaded more than a million times on Steam, where it has an 'Overwhelmingly Positive' user rating thanks to hundreds of glowing reviews from players.

It's a wacky first-person management simulator that has you constructing and managing your own water park. And, while the simulator genre might be filled with low-effort cash grabs, it's actually a pretty well-crafted and in-depth experience.

From creating slides and pools to painting surfaces and placing a huge number of decorative objects for visitors to enjoy, it offers all the tools you need to create the water park of your dreams. Making a successful park is very rewarding, but thanks to some crazy ragdoll physics, messing up can be just as fun.

You might have seen clips of the game on TikTok or Instagram Reels, as it's already proved popular with content creators. It's even been played by the likes of v-tubing giant Ironmouse.

Now, it's finally coming to PlayStation 5 and Xbox Series X and Series S consoles with its 1.0 release on July 31, which also introduces a huge number of highly-requested features.

These include a full multiplayer co-op mode, a dynamic weather system, a new night mode, and overhauled progression.

Best of all, the game isn't receiving a price hike with its full launch. It will continue to cost just $12.99 / £9.99 / AU$17.95 in what Travis Richardson, co-founder of developer CayPlay Studios, says is the studio's way of "saying thank you" to fans.

• Assassin's Creed Black Flag Resynced game director Richard Knight is keeping future content plans under wraps for now
• He says post-launch support "doesn't feel like a crazy bet"
• He hopes fans will continue playing the game after Grand Theft Auto 6 launches

Assassin's Creed Black Flag Resynced game director Richard Knight can't confirm if the title will receive post-launch content yet, but he hopes players will continue playing after Grand Theft Auto 6 releases.

In the same interview with YouTuber JorRaptor where Knight confirmed that Resynced will get a New Game Plus update at some point, the director was asked to discuss the game's post-launch roadmap and the plans moving forward.

"I can't say anything officially, but you know, it doesn't feel like a crazy bet," Knight said.

"We definitely need to support the game. We need to fix bugs. Sorry for anyone running into bugs. They hurt. They're painful for us, too. And we do want to add some quality-of-life stuff. So it's a pretty reasonable guess."

Then, as if considering the stiff competition when the game launches on November 19, he joked, "Also, please play us when GTA 6 comes out.”

As the first Assassin's Creed remake, it's unclear what the future holds for the game compared to new titles like Shadows and Mirage. While some hope for a remake of the original game's Freedom Cry expansion, Knight has said that it's still early days and plans aren't set in stone.

The director teased that there are team members who have "[DLC ideas," but balancing and updating the core game is currently the focus.

"Beyond that, I just want to say our focus with Black Flag remake has always been Edward," he added. "He's the kind of heart soul of the original game, and so you know maybe there could be more to tell there too."

Assassin's Creed Black Flag Resynced is now available on PS5, Xbox Series X and Series S, and PC.

• Streamers are now included in the ATSC's loudness guidance for advertising
• Ads should not be louder than the programs before or after them
• Californian legislation is driving US-wide changes

For almost as long as there have been ads on TV, advertisers have tried to make those ads as loud as possible through various technological tricks. After many years of increasingly loud ads, the US introduced loudness limits for cable, satellite and broadcast TV, but legislation didn't apply to streamers — until now.

ATSC, the broadcast standards organization, has published a major revision of its digital TV loudness guidance. And this version applies to streamers as well as broadcast and cable.

The document is called A/85 Recommended Practice: Techniques for Establishing and Maintaining Audio Loudness for Digital Television. And while it's a technical document the executive summary is simple: STREAMERS, STOP SHOUTING.

What are the rules about too-loud ads?

Legislation was brought in in the early 2010s because of an advertising loudness war: studio tools such as compressors and maximizers can boost the perceived loudness of audio, so advertisers turned everything up to 11 to really capture your attention.

When the FCC's consumer call center started reporting top complaints in 2002, loud ads were one of the most common reasons for calling.

There are two key bits of legislation regarding ad loudness in the US. The first is the US Commercial Advertisement Loudness Mitigation Act, or the CALM Act for short. That came into force in 2012 and requires commercials to have the same average loudness as the programs they accompany. It compels TV stations, cable operators and satellite TV providers to implement the A/85 Recommended Practice. Non-profits aren't covered, but political ads are.

Streamers aren't covered by that legislation, however, but we live in a world where not only do all the major streamers have ad-supported tiers, but today's TVs and streaming sticks also offers lots of free ad-supported streaming TV (FAST) linear channels.

In 2015, California passed SB 576 to include streaming in its loudness reduction rules. That legislation came into force this month, July 2026, and applies to any service that serves consumers in the state. The ATSC's revised version of A/85 effectively makes that nationwide.

The guidance isn't just a list of "don't do that" items. It recommends best practices in audio measurement, monitoring, production, metadata, dynamic range control and loudness management so that TV services can be consistent across multiple platforms, and viewers won't get a different audio experience depending on where they're getting their shows from. If you're in California you should be hearing the benefits already.

Thinking of buying a new TV?

Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

• Group‑IB discovers HollowGraph malware targeting Israeli entities, exfiltrating files via Microsoft Graph API
• Operators hide instructions in future calendar entries, then attach encrypted stolen data to events
• At least 12 systems were compromised; overlaps with Lyceum noted but attribution remains low‑confidence

Cybercriminals have found a way to communicate with the malware installed on victim devices through compromised Microsoft Calendar apps, experts have warned.

Security researchers at Group-IB have detailed a newly discovered piece of malware called HollowGraph designed to exfiltrate sensitive files from compromised devices.

What makes the malware stand out is the way it communicates with its operators. The best way to spot hidden malware is to monitor the traffic flowing in and out of a device, which is why cybercriminals try their best to hide this traffic, or blend it with another, legitimate one. In that respect, HollowGraph is unique because it abuses Microsoft Graph API and a compromised Microsoft 365 mailbox calendar.

A dozen victims

After landing on a device and compromising the Microsoft 365 account, HollowGraph uses that account’s permissions to access Microsoft Graph. Operators create calendar entries containing instructions and place them far into the future (in the year 2050) to avoid being spotted. After acting on the instructions and harvesting valuable information, the malware exfiltrates it through the same channel.

Instead of uploading files to a suspicious server, HollowGraph attaches encrypted stolen data to calendar events and sends it through Microsoft Graph. For defenders, all of this traffic seems legitimate and usually flies under their radars.

So far, all of the victims are Israeli entities, Group-IB said. The researchers identified at least 12 compromised systems, three of which were still actively communicating with the attackers’ infrastructure during the investigation.

The researchers did not attribute the attack to any known threat actor, but hinted at a potential. They identified technical similarities in command structures and plugin mechanisms between HollowGraph’s framework, Cavern, and a .NET backdoor used by Lyceum (an Iranian-nexus threat actor associated with OilRig). However, Group-IB explicitly emphasizes that these overlaps are not distinct enough, so they assess this link with low confidence.

• Surfshark's study puts total recorded deepfake fraud losses at $3.7 billion
• Social media is the leading origin point, accounting for 47% of losses
• 2025 and 2026 alone are responsible for 89% of the damage

Deepfakes have graduated from an internet curiosity into a serious financial threat.

New research from Surfshark finds that people have now lost at least $3.7 billion to deepfake fraud, and the pace of that damage is accelerating sharply.

The study also traced where these scams tend to begin, and one channel stands out above all others. Social media is the single largest origin point, accounting for 47% of all recorded losses.

Running the best VPN will encrypt your traffic and hide your IP address, but it cannot stop a convincing fake video of a celebrity or a cloned voice on the phone from talking you out of your savings.

Social media is the biggest source of deepfake fraud

(Image credit: Surfshark)

The scale of the problem has changed almost overnight.

According to Surfshark's data, losses totalled just $83 million between 2020 and 2023, then climbed to $335 million in 2024, surged to $2.5 billion in 2025, and had already reached $764 million in the first half of 2026. Together, 2025 and 2026 account for 89% of all recorded losses.

Most of these losses come from criminals using deepfakes of celebrities and public figures to push fraudulent investment schemes on social media.

"A single deepfake video can go viral in hours, reaching millions of potential victims before it's detected or removed. No other channel offers that kind of reach at zero cost," explains Luís Costa, Research Lead at Surfshark.

Not every viral fake causes harm, though. Costa points out that an innocent deepfake of a footballer during the World Cup might rack up millions of views without costing anyone a penny, while a fake government post promoting a dubious investment scheme can drain thousands of dollars from a single victim.

The threat is spreading beyond your feed

Social media is only part of the picture. Impersonation fraud, where criminals use deepfakes to pose as real people or bypass identity checks, is the second-largest category at $911 million — or 25% of losses.

Fake job candidate schemes, in which AI-generated interviews are used to infiltrate hiring processes, added a further $100 million. These scams are expected to rise, too. As TechRadar previously reported, a 39% spike in "deepfake-as-a-service" chatter on the dark web could end up fueling the next wave of "fake boss" scams.

Everyday communication channels are increasingly in the firing line as well, contributing $174 million between them: phone calls ($71 million), video platforms ($62 million), and messaging apps ($41 million).

The FBI's latest Internet Crime Report also logged $893 million in AI-related losses for 2025, with AI-assisted investment fraud alone accounting for $632 million.

A separate Surfshark experiment found that nearly half of people cannot reliably tell a bot from a human online.

How to stay safe

As Costa puts it, "awareness is the only effective defense when a familiar voice or face can no longer be trusted implicitly".

For personal calls and messages, he suggests setting up a family "safe word" you can use with loved ones to confirm identity when a request feels urgent or out of character.

On video calls, a "glitch test" can help too. Ask the other person to wave a hand in front of their face, as deepfakes often blur or distort when facial features are obscured.

TechRadar has more advice on catching convincing AI images and deepfakes if you want to sharpen your eye.

I know, I know... I'm being greedy when it comes to Little House on the Prairie. Netflix only dropped the first season on July 9, with its second season being renewed months before we even saw it.

Frankly, it's all good news for anybody who loves the Ingalls family. Logic tells us that season 2 will be based on the next book in Laura Ingalls Wilder's original series, On the Banks of Plum Creek.

Having left their little house on the Kansas prairie (which is exactly what we saw at the end of season 1), the Ingalls family travels by wagon to Minnesota, settling on the banks of Plum Creek.

The book covers five years of Wilder's childhood, so we could see the Ingalls stay there for a while should the Netflix series continue to be renewed.

If I were a betting woman, I'd say that Little House on the Prairie season 2 could be exceeded by at least 3 more seasons, if the streamer invests in the IP in the same way as it does with Virgin River. At the time of writing, no further seasons have been commissioned.

Talking to star Alice Halsey, who plays Laura, this situation would be a "dream come true," — and there's good reason to be optimistic.

Little House on the Prairie season 3 would likely be based on By the Shores of Silver Lake

(Image credit: Netflix)

"I love playing Laura, and I would love to do it for a whole lot longer," Halsey tells me. "I would just adore the prospect of being able to be Laura for years to come, to be able to be that kind of person that Melissa Gilbert was to so many people. I think that's really empowering.

"I just hope that people will love season 2 as much as they seem to like season 1. Season 2 is going to be even better. If we have a season 3 or season 4, that would just be a dream come true."

As I've said, I think Halsey is right, and Little House on the Prairie will likely be renewed for both... but let's dig into why. For starters, there's a wealth of source material to work with courtesy of the real-life Ingalls.

Here's the full Little House series list:

• Little House in the Big Woods (1932)
• Farmer Boy (1933)
• Little House on the Prairie (1935)
• On the Banks of Plum Creek (1937)
• By the Shores of Silver Lake (1939)
• The Long Winter (1940)
• Little Town on the Prairie (1941)
• These Happy Golden Years (1943)
• The First Four Years (1971)

We skipped past the first two books by the time season 1 even began, with season 2 confirmed to adapt On the Banks of Plum Creek. That leaves another five novels that are ripe for adaptation, meaning a minimum of five further future seasons in the pipeline.

Why "minimum?" Well, this largely depends on how Netflix chooses to adapt future books. The Ingalls didn't live in the Kansas prairie for too long, but we know that they lived by Plum Creek for a good few years. This could either be crammed into one season, or spread out over a few.

Of course, Netflix doesn't have to use all of Wilder's remaining books, either. As it's already skipped past the first two (understandably to start at the most well-known point), the streamer can pick and choose what it wants to adapt.

In its best-case scenario, we could be looking at an original IP that rivals Virgin River, which is currently the longest-running original series in Netflix's roster. Little House on the Prairie must be similarly cost-effective for Netflix to film, with both shows passing off Canada as various US locations.

As it stands, it's all to play for... but don't be surprised if more announcements come out sooner rather than later.

• Singer Lorde called out Spotify's AI 'About the Song' feature
• She says it featured incorrect details and limits free interpretation for listeners
• Users are starting to catch onto its flaws

Spotify is always dropping new tools to enhance your listening experience, but one of its newest features has been called out by one of the most influential pop artists of this generation.

New Zealand singer-songwriter Lorde slammed the best music streaming service’s ‘About the Song’ feature which launched back in February. The tool is currently in beta, and pulls information from third-party sources to create AI-generated summaries of individual songs offering context and background.

According to the pop star, one of the summaries for her song ‘Current Affairs’ mentioned incorrect details which were sourced from themusic.com.au, stating the following:

“On her Ultrasound World Tour, Lorde turns Current Affairs into a full-on performance piece, stripping down to underwear while a dancer pours water over her stomach so the song plays out like the shower scene she talks about on stage”.

The singer didn’t hold back, taking to Instagram Stories to call out the platform while highlighting the dangers features like this pose on listeners:

“Hey @spotify I’m gonna go out on a limb and say we don't want this. Not only is this inaccurate (not the song I did that in) but reducing a song to an AI-generated meaning right at the source feels like it limits free interpretation IMO. At least make it possible for artists to opt out please,” she wrote.

Lorde calls out Spotify in new post:“Hey @spotify i'm gonna go out on a limb n say we don't want this. Not only is this inaccurate (not the song i did that in) but reducing a song to an ai generated meaning right at the source feels like it limits free interpretation imo. At… pic.twitter.com/JwzEYfhcV3July 16, 2026

It didn’t take long for Lorde’s comments to spark reactions from all corners of the internet, and Spotify has come forward to offer clarity from its side. We reached out to the platform for further comment, and a Spotify spokesperson replied with the following:

“We built ‘About the Song’ because fans want to dig into the stories behind the music. It’s still in beta. The info comes from articles across the internet, and when something’s off, we move fast to fix it, like we did here. Getting it right matters to us”. According to The Hollywood Reporter, the song summary has been removed.

(Image credit: Spotify)‘Half the fun is figuring out your own meaning’

At the time of the feature’s launch, many Spotify subscribers welcomed ‘About the Song’ with open arms — I even went into detail about how much I couldn’t get over it and how it taught me things I never knew before. But despite the positive reception from subscribers, Lorde’s observation of the AI feature has sounded the alarm for music lovers.

Comment from r/Music

Aside from its inaccuracies, Lorde’s comments highlight another big issue with AI features like ‘About the Song’; they remove the listener’s opportunity to interpret the music for themselves. This has been the topic of many online discussions since Lorde aired her comments, especially on Reddit — ‘half the fun is figuring out your own meaning instead of getting AI Cliff Notes right away,’ one user says.

But according to others in the same Reddit thread, it speaks volumes about how art consumption is evolving. Whether you’re reading a book, watching a movie, or listening to an album, everyone looks at things differently which is what allows conversations and debates to flow. Another user went the extra mile, saying “If you need AI to tell you what it thinks the song means, you've stopped thinking”.

That said, Spotify isn’t the only music platform that dives into the background of music — Apple Music includes detailed summaries of albums located under the Play button — but these pockets of context are all written and developed by Apple Music’s editorial team, who don’t rely on AI for third-party sourcing.

But the album summaries is where Apple Music draws the line. As soon as you hit Play the platform leaves you to get lost in the music — which subscribers would rather have over what Spotify is trying to sell them.