Chance The Rapper announces new album due this summer

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Chance The Rapper announces new album due this summerChance The Rapper Live Lost Lake Lineup

On this third mixtape, 2016’s critically lauded Coloring BookChance The Rapper rewrote the rules at the Grammy’s, grabbing seven total nominations and taking home three gramophones, including Best New Artist and Best Rap Album, without technically moving a single unit. Now, he has officially confirmed the delivery of his next studio project, and if his third was the charm, his fourth might just be an instant-classic waiting to be heard.

A hard release date has not yet been revealed, though Chano and his manager both confirmed a July release on social media. In a video posted to Instagram, Chance, beaming, gives fans a quick look at the busy life of a budding star—he’s preparing for his wedding, actively involved in Chicago’s politics, his non-profit’s work, and of course studio time, all accounting for the three year gap between LPs.

“Life is good, you can get that sh*t when I’m ready,”

“…July, though.”

In those three years, Chance has logged studio time with Anderson .Paak, Kanye West and more, though it is currently unclear if July’s release will be the Chicago emcees’ highly anticipated joint project Good Ass Job. Interestingly though, in 2017 Chance was quick to publicly clarify after winning his Grammy Awards that his first three projects would more accurately be described as mixtapes, not albums.


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Jooly 👀👀

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Update: Now Chance has confirmed on social media this is in fact his first album, and not a mixtape as his previous three projects were designated.

Feed Me unveils dazzling first glimpse of his forthcoming LP, ‘Feel Love’

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Feed Me unveils dazzling first glimpse of his forthcoming LP, ‘Feel Love’Maresdefault 8

Jon Gooch’s legendary Feed Me alias has returned with “Feel Love,” a gorgeous progressive single off his upcoming High Street Creeps LP.

After an epic return to mau5trap with 2017’s Existensial Crisis EP, Gooch took his time crafting his first full-length effort since 2013’s Calamari Tuesday. After over of forced fasting interrupted only by a couple features and remixes, 2019 figures to be the year of Feed Me with a new album and live dates featuring his infamous TEETH live stage on the way.

For now, fans whet their appetites with the album’s first delicious morsel. “Feel Love” is an instant classic, pairing evocative and soaring vocals from Rosie Doonan with Feed Me’s crisp and crackling instrumentation. The producer’s take hearkens back to his earlier progressive-tinged tracks like “Relocation,” with a dash of wistful indie pop melancholy mastered in past hits like “Love Is All I Got.” It’s a brilliant first volley from Gooch’s return, and fans shouldn’t bother reading too much into “Feel Love” as a clue of his LP’s sonic character–with Feed Me on deck, it’s a good bet to expect the unexpected.

Justice cement their legacy as one of the greatest dance acts of all time with Grammy Award for Best Electronic Album

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Justice cement their legacy as one of the greatest dance acts of all time with Grammy Award for Best Electronic AlbumJustice O2 Briton Academy Credit Guifre De Peray

Despite this being their second gramophone, something about Justice‘s victory at the 61st Grammy Awards feels a little more special.

The duo were nominated for their debut album in 2008, the seminal †, and eventually would go on to take home the hardware the following year for their inescapable remix of MGMT‘s “Electric Feel” in 2009. But at the time, electronic dance music wasn’t the global phenomenon it is today, and despite having one groundbreaking studio record already under their belts, Justice certainly hadn’t attained the iconic status they now humbly entertain. In 2019 however, things are much different.

Justice cement their legacy as one of the greatest dance acts of all time with Grammy Award for Best Electronic AlbumUnnamed 1

Justice took home a well-deserved Grammy Award for their most recent LP, Woman Worldwidea live homage to not only their third studio album, Woman, but to their entire catalog. The record was a studio emulation of their live performances in support of Woman, though it covers recreations of their biggest hits, spanning over a decade. Now, Woman Worldwide has even inspired a film project, IRIS debuting this spring at SXSW. On February 10, Justice took home the Recording Academy’s Best Dance/Electronic album designation, during “music’s biggest night,” cementing the Ed Banger duo’s legacy as one of the greatest dance acts of all time. And while many of the trailblazing pair’s electronic contemporaries have brought home Grammy Awards in the years since † first landed Gaspard Auge and Xavier De Rosnay in the mainstream line of sight, few have done so with the degree of timelessness Woman Worldwide surely commands.

Tritonal trek across the states in ‘U & Me’ Tour

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Tritonal trek across the states in ‘U & Me’ TourTritonal Credit Jason Fenmore

Tritonal‘s U & Me tour is officially under way. The expansive adventure across the states sees the seasoned duo showcasing music from their upcoming LP of the same name, which we know so far includes endearing new singles, “U Found Me” and “When I’m With You. Off the sound of it, U & Me appears to be a culmination of their foray into the softer, pop-leaning world of music and a body of work that encourages singalongs as they take the road.

The tour thus far has taken Tritonal across the West Coast with stops in San Luis Obispo, LA, Seattle, and Albequerque, with the second leg taking them to Salt Lake City, Denver, Houston, and Chicago. It will conclude on the East Coast with stops in New York and Massachusetts.

Find out more on their album and purchase tickets to their remaining shows here.

Tritonal trek across the states in ‘U & Me’ TourTritonal U Me Tour Dates

1/25 – Portland, OR – Roseland Theater
1/26 – Seattle, WA – Showbox Sodo
1/29 – Sacramento, CA – Ace Of Spades
1/30 – Chico, CA – El Rey
1/31 – Santa Cruz, CA – The Catalyst
2/1 – Los Angeles, CA – Palladium
2/2 – Albuquerque, NM – El Rey Theater
2/6 – San Luis Obispo, CA – Fremont Theater
2/7 – Fresno, CA – Rainbow Ballroom
2/9 – Phoenix, AZ – Marquee Theater
2/14 – Salt Lake City UT, Sky
2/15 – Denver, CO – Gothic Theater
2/16 – Oakland, CA – Fox Theater
2/21 – Bloomington, IN – Kilroy’s Sports Bar
2/22 – Houston , TX – Stereo Live
2/23 – Dallas, TX – Stereo Live
2/28 – Urbana, IL – Canopy Club
3/1 – Chicago, IL – Concord Music Hall
3/2 – Pontiac, MI – Elektricity
3/6 – Pittsburgh, PA – Rex Theater
3/7 – Buffalo, NY – Town Ballroom
3/8 – Boston, MA – House of Blues
3/9 – Syracuse, NY – Westcott Theater
3/12 – Mashantucket, CT – Shrine
3/14 – New York City, NY – Terminal 5
3/15 – Philadelphia, PA – North Seventh (FKA Electric Factory)
3/16 – Washington, DC – Echostage
3/21 – Memphis, TN – New Daisy Theater
3/22 – Atlanta, GA – Buckhead Theater
3/23 – Tampa, FL – Ritz Ybor

Ariana Grande shares ‘thank u, next’ album, accompanied by sultry new music video [Stream/Watch]

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Ariana Grande shares ‘thank u, next’ album, accompanied by sultry new music video [Stream/Watch]Thank U Net

Coachella‘s soon-to-be youngest headliner ever, Ariana Grande has delivered an expedient succession to her Sweetener album, released August of 2018.

The 12-track Thank u next, which includes the album’s wall-to-wall eponymous lead single and equally sensational “7 rings,” is out now on Republic Records. The album is a stylistic departure for Grande, as she continues her delve into more pronounced hip-hop accents, with trap beats galore and Grande’s rap-singing on a number of tracks. Her most emotionally charged work to date, the listener gets a front seat as Grande mourns, forgives (but doesn’t forget), and reflects on her circuitous relationship history, most recently her breakup with Saturday Night Live comic, Pete Davidson.

The release is accompanied by the official music video for “break up with your girlfriend, i’m bored,” the album’s concluding track. So far, two of the tracks from thank u, next have eclipsed the top spot on the Billboard Hot 100: “7 rings” and “thank u, next.” While Grande may be flaunting her newfound onto-the-next-one attitude, her thickly layered latest album demands full engrossment from its listeners throughout its duration.

Luttrell speaks on shooting off ‘Into Clouds’ [Review/Interview]

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Luttrell speaks on shooting off ‘Into Clouds’ [Review/Interview]Luttrell 1

When San Francisco native, Eric Luttrell, (known musically by his surname) and longtime best friend/musical counterpart hybrid, Swardy, decided to put their brainchild, the OWSLA-akin The M Machine, on pause, Luttrell had no choice but to venture new sonic pathways alone.

Two years into his solo endeavor, Luttrell brought his first full-length album, the aptly titled Into Clouds, to fruition through his steadfast label housing, AnjunadeepThe project, according to Luttrell, is highly emblematic of his “dive into the unknown,” upon Swardy’s decision to move to South America to finish a solo EP, soon after, permanently settling in LA to live with Mat Zo, working in a managerial capacity for Zo’s Mad Zoo imprint.

While Into Clouds may not offer a linear, discernible narrative, the album is by no means devoid of cohesion. Though the project is inclined to experimentation, Luttrell is mindful not to stray from his free-flowing melodies and omnipresent orchestral accents. Even within these contexts, Luttrell paints the length of his inner life. From the quixotic plucks of “Quiet Even Dark” to the outro’s plaintive piano musings, Into Clouds is effusive from start to finish. Luttrell’s influx of emotion is at times turbulent, though never jarring. “Layover” for example, teases gruff techno bass in its opening moments, though a menagerie of analog light soon pours through, all the while, the track’s steady kick sews the seemingly contrasting sentiments together.

The album’s non-electronic influences, too, quietly innovate its visceral vista. Luttrell’s affinity for ’90s grunge is strategically stressed in the warbly, Smashing Pumpkins-esque vocal rendering of “Quiet Even Dark,” while the stirring cinematic progressions throughout the entirety of the work are indebted to his partiality to “movie music” particularly the mid-century composer and film score writer, Aaron Copland.

Luttrell offered Dancing Astronaut a window into his intention with the record, the range of his inspiration, and seguing into a solo career.

Q&A below:

DA: How did you and Swardy decide to go your separate ways and branch off from working together on The M Machine? 

Luttrell: It was never like a real set-in-stone decision. I was just doing both, and I had all this music I was writing on the side as we were writing the last M Machine record. I was writing more deep house and melodic-techno-inspired stuff that didn’t really work for The M Machine. 

We were down at Mat Zo’s house. He was helping us on our record to mix a couple tracks. I shared some of my solo work, and he was like ‘Oh you should send this to Anjunadeep.’ So he sent it to them and they agreed to put out a single and and EP. I started getting a couple gigs, touring as M Machine and Luttrell. We did The M Machine Glare Tour. By then it just seemed like the tides were going in that direction. Swardy was writing his own music too. We had been working on music together for 10 years and we had never tried to do something by ourselves. We’re not totally finished with The M Machine. It’s just right now, we want to focus on ourselves. 

How are you adjusting to a solo career?

It’s a very transitional part of my life, this launching off into clouds, like this dive into the unknown, but still going forward. My bandmate and best friend moved away which I 100% support, but this person you’ve been working on music with for ten years is sort of gone and now you just have to keep goin’. It’s a huge change: writing music by myself all day. I’m fully responsible for making things happen and making things work. Luckily I also have a great team. 

In what ways do you feel like Anjunadeep delivers (or doesn’t deliver) as a label? 

It just seemed to work right away. It’s sort of like a relationship, in that you know right off the bat whether or not you’ll be compatible. They liked what I was doing, and it fit, but it wasn’t too similar to everything they were working on at the time. They’ve been super supportive and given me a lot of opportunities with tours and putting me in good slots at their festivals. They have a really dedicated fan base and following. The vibe there is very unpretentious. Everyone is focused on thoughtful music. 

I’m not saying I won’t ever put out anything with another label. I would be open to that idea, but so far it has just worked so well with Anjunadeep, so I don’t see any reason to stray. 

How did you decide you were ready for an album and what were your intentions behind the project? 

I was compiling a lot of music. When I was writing the EPs, I had five or six other songs that didn’t really fit with those, but they all had a certain sound to them. My management was kind like ‘Hey you should just write a full-length album.’ Two years into Luttrell I thought it would be the next good step for the progression of the project. It seemed a little daunting. I was definitely working against a timeline; you have to get the stuff out to go on the tour that’s supporting the album. So everything was moving really fast. I probably wrote like 25-30 songs and had to whittle it down to the most cohesive 10. 

You think we’ll hear some of those songs later on?

Absolutely. Some of the album tracks are old. But I had never played them out or finished them. Old things can always come back around and turn into some of the best work. You can come back and you’re a year older and have different experiences. You come back and try to find the magic in those. 

How would you say the project varies stylistically from your past Luttrell releases?

I think most obviously the cohesiveness of the album. If you listen front to back, it feels like each song is meant to be in the place that it is. There’s not necessary a huge narrative. There’s a general theme. None of the EPs had much of a theme. They were more like ‘Here’s four songs that I feel are good enough to put out.’ So this definitely feels a little more curated. 

It’s not a departure at all from the melodic house/techno Luttrell style that people know me for. 

I heard you’ve been drawing a lot of interest lately from music outside the electronic realm. Can you tell me about how you’ve been able to incorporate those influences into your sound as Luttrell? 

A decent example would be “Quiet Even Dark.” The vocal part that I sing, the processing and style is much more of an indie or psychedelic rock-style vocal. I’ve been listening to a lot of bands like the Dandy Warhols, Yo La Tengo, Spoon, and that kind’a stuff. I grew up listening to like ’90s alternative grunge: Nirvana, Smashing Pumpkins. It’s on the more pop side. Especially the vocal style. Mellotron stuff is totally Smashing Pumpkins’s staple. That’s basically like a keyboard that plays sample strings and samples vocals. There’s an old warbly antique sound to it, very old-fashioned.

I like a lot of strings and orchestral stuff. I really love all sorts of movie music. Aaron Copleand. Love those big sweeping string progressions that just make you feel really good. And all that stuff that doesn’t go back to techno music. I use it as an accent. It doesn’t necessarily take the front seat. 

What would you say has been the pinnacle of your solo career? 

Closing out ABGT300 Hong Kong, with the Hong Kong skyline in the background and a sea of people. Somebody had a profile of my mustache and my sunglasses on a flag they were waving. I just thought ‘Wow this is totally bizarre and awesome.’

*This transcript has been slightly modified for readability. 

‘I never said I was making an album,’ Skrillex expounds on plans for new music

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‘I never said I was making an album,’ Skrillex expounds on plans for new musicSkrille Studio Footage Boys Noize Dog Blood

With the end of 2018 came the end of a much-deserved year off for Skrillex. While the “Buckets” producer maintained an active studio presence and a relatively busy itinerary, 2018 came and went without the release of a major project. The anticipation that has drummed up since Skrillex’s last solo release has reached an all-time high, and while the public is aware something new is coming, hopes of a full-length album may have just been dashed by the man himself.

It’s no secret Skrillex has a trove of new music under the hood. Social media is ablaze with clips of new tracks and fellow top-tier producers hyping yet-to-be-heard instant classics underway. Though in a recent interview with Billboard on the production behind Skrillex’s new Kingdom Hearts III theme, the OWSLA-helmer was ambiguous in his wording about a new project underway. Says Skrillex,

“You know, people have been asking me about when I have a new album coming out, and it’s a little strange, because I never said I was making an album.”

Having reached his thirties and an obviously new chapter in his career, Skrillex reflects on his time off, and the need to “be human for a little bit.” He does assure fans,

“I’ll release some new music soon, but I’m just trying to do it organically. At the same time, I still love to make music, and I’m obviously working.”

While a proper follow up studio album to Recess may not actually be what Skrillex has in store for fans, he’s definitely got new material up his sleeve, and it be seeing the light of day very soon.

Via: Billboard

Rihanna’s ninth studio album is reportedly complete

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Rihanna’s ninth studio album is reportedly completeRihanna Album Simone Joyner Credit

Rihanna‘s sources let Us Weekly in on a little secret: her 9th studio album is complete. It’s been three years since RiRi dropped her previous Anti LP,  which featured hit songs like “Work” with Drake, “Kiss It Better,” “Needed Me” and “Love on the Brain.”

The upcoming album looks to explore the Barbadian artist’s dancehall roots, having sifted through 500 tracks from various producers looking to nab publishing credits with the pop icon. Out of the 500 songs, only 10 will make it to the long play. An unnamed source told Rolling Stone, “They’ve [Rihanna’s team] been having writing camps and trying to keep them quiet for almost a year and a half now. I’ve been flying to Miami, flying to L.A., cutting records nonstop for this project.”

Three years is a long time between album; however, when the scope is to explore roots and deliver a project meant to thrust dancehall back into the popular sphere, it’s worth the wait.

H/T: Complex

Photo Credit: Simone Joyner/Getty Images

The Chemical Brothers release new single, announce ninth studio album

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The Chemical Brothers release new single, announce ninth studio albumChemical Brothers

The Chemical Brothers continue gaining momentum as a result of their recent reemergence within public earshot.

Their return endures with, “Got To Keep On.” The duo has formally announced their ninth studio album, No Geography, which will be out April 12 on Astralwerks. “Got To Keep On” employs a menagerie of vintage synths, which the group combines with chanting and an array of noises that have a strategic way of fitting within the thematic of the track. The track is the idyllic representation of what’s in store for the trailblazing electronic outfit.

Tom Rowlands and Ed Simons of the group pushed the reset button when it came to crafting this newest album. They recorded the entire project in a tiny room that housed the kind of kit they had previously used to record the bulk of their first two albums. 20 years later, they revived the equipment to help spur creativity for the new compilation. An official release about the album states that the duo drew inspiration from the concepts of randomness and jagged edges, and that many of the songs were built around vocal samples. This has been apparent through the three tracks that have been released thus far from the album, “Got To Keep On,” “MAH,” and “Free Yourself.”

Track Listing – No Geography

1. Eve Of Destruction
2. Bango
3. No Geography
4. Got To Keep On
5. Gravity Drops
6. The Universe Sent Me
7. We’ve Got To Try
8. Free Yourself
9. MAH
10. Catch Me I’m Falling

Photo Credit: Hamish Brown

deadmau5 confirms date for third level of mau5ville

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deadmau5 confirms date for third level of mau5villeDeadmau5

Just a few days after the release of his first-ever film score for Netflix’s Polar, deadmau5, via mau5trap‘s Twitter page, has confirmed he’ll be unveiling the third installment of his mau5ville album series Feb. 1.

Per a tracklist obtained by Reddit user Good4Josh2, the album will host a number of native mau5trap faces, including No Mana (“Quests with Time Limits”) and C.O.Z. (“Over”), as well as a number of official remixes from the likes of Mark Mackenzie, OFFAIAH, and more. Level 3 will also host another original collaboration between mau5trap’s fearless leader and Shotty Horroh (“Are You Not Afraid”).

The first pair of mau5ville compilations birthed now-hits like the Rob Swire-propelled “Monophobia,” (Level 1) and deadmau5’s long-awaited collaboration with Lights, “Drama Free,” (Level 2).

Photo Credit: Rolling Stone

Deadmau5 – Mau5Ville Vol. 3 [Tracklist] – coming out this Friday from r/electronicmusic