Billie Eilish‘s freshman LP, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, painted the breakout singer/songwriter as the antidote to the shimmery pop acts known to dominate the Top 40. With dark, grungy productions (masterminded by her brother Finneas O’Connell) and lyricism, an exemplar being her summer-defining single “Bad Guy,” Eilish quickly became the hard-shelled succubus that the pop world didn’t know it needed.
Eilish’s newest single “Everything I Wanted” shows the 17 year old drop the act, presenting listeners not with Billie Eilish the grunge-pop star, but with Billie Eilish the person. The soft-stepping tune is ultimately a tribute to her brother, with a personal statement alongside the release that reads,
“No matter what happens, we always have been and will be there to make it better.”
But “Everything I Wanted” goes a step further, offering a touch of transparency to Eilish’s meteoric rise to fame. Lyrics like “They called me weak / like I’m not just somebody’s daughter,” as well as an outro that repeats “If they knew what they said would go straight to my head / what would they say instead?” don’t only show the personal impact of becoming a household name, but add a new dimension of relatability to one of 2019’s breakout acts.
Its been 19 weeks since Lil Nas X claimed the number one spot atop the Billboard Hot 100. Let that sink in—five whole months. In that time, “Old Town Road” has seen a wild, celebrity cameo-filled music video alongside four remixes that kept it afloat, becoming the longest-leading song of all-time on the Hot 100.
However now, competition for the number one spot is back in business. Announced on August 19, Billie Eilish has earned her first number one spot on the chart with “Bad Guy” as well as a few other impressive milestones. Eilish spent nine weeks in the runner-up position, fueled by a standout remix featuring Justin Bieber, which is the longest for any song before reaching the top. What’s more—she not only trumped the longest-leading track’s reign, but she is also the first artist born in the 21st century to top the charts. Lil Nas X—born in 1999—came closest, and at 17 Eilish becomes the youngest artist at the summit since Lorde’s reign with “Royals” at the age of 16.
The country rapper hit Twitter to show Eilish some appreciation:
congratulations to billie eilish!! u deserve this!!
Billie Eilish paired up with her childhood idol, Justin Bieber, on a rework of her number two Billboard chart-topping track, “Bad Guy,” off her WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? debut album. Bieber offers the second verse, adding a contrast to Eilish’s “bad guy” persona. Throughout the verse, the Canadian superstar sings about sleeve tattoos, gold teeth, all of his ice, not holding back, not sleeping, and more in the bouncing cadence that Eilish ran with on the original.
The final verse falls into a heavier trap bead with poetic prose and ad libs from both vocalists. Eilish expressed her excitement on Instagram about the partnership, “JUSTIN BIEBER OUT NOWWW OMGFFFFGGG ANYTHING IS POSSIBLE MAN,” and further proving her passion is the artwork which is an old picture of Eilish in her room that’s covered in posters of him on the second verse of her song.
In May, the Toronto-born duo took to Twitter to announce a full collaborative project, confirming that “Rescue” featuring Dion Timmer and Delaney Jane would be included.
“Rescue is off an upcoming project we’re putting out where we collaborate with a lot of our friends and artists that we play in our sets. The project kind of embodies the type of feel we’re trying to create with our label Deadbeats,” they wrote.
As label heads, they’ve been commended for building a unique roster of creatives from all over the electronic and bass music spectrum, including 1788-L, BLU J, Grandtheft, and more. With the synergistic work that’s come out of their Deadbeats imprint of late, there’s a lot to look forward to in the upcoming album. The boys took to Twitter to confirm a 10-track remix package for “Lift You Up” will precede the project.
The guys are clearly hard at work, continuing to tour the globe well into Fall 2019. Fans can catch performances at Tomorrowland July 19, HQ2 Beachclub in Atlantic City July 28, Veld Music Festival in their hometown come August, with more dates to come.
Just over a week before the upcoming installment of Mad Decent Block Party, the label/event brand took to Facebook to confirm the festival’s imminent cancellation.
The rather nebulous announcement attributes the decision to “circumstances beyond our control,” hindering organizers from throwing the festival “the way that it was envisioned.” The hallowed annual event has been a longtime vessel for Mad Decent to show off its illustrious label roster, as well as gather extraneous, up-to-date talent from across the electronic/hip-hop continuum.
This year’s July 20-21 Block Party, pegged to land in Foxborough, Massachusetts, was scheduled to see scene staple performances from the likes of REZZ, Major Lazer (which includes Mad Decent label boss, Diplo himself), RL Grime, Zeds Dead, Billie Eilish, and more across the weekend. Per the announcement, Mad Decent will be issuing refunds to all ticket-holders on or before July 12.
With Diplo’s signature Mad Decent Block Party just a month away, fresh material from the EDM goliath’s very own dancehall collective, Major Lazer, serves as a warm welcome to the impending festival season.
In what started as a project to repackage reggae and dancehall to the dance music masses, the Diplo-led trio—which also sports the talents of Walshy Fire and Ape Drums—has blossomed into an auditory melting pot of cultures, fusing musical and visual inspirations from around the globe. Major Lazer’s new single, “Make It Hot,” does just this, finding common ground among Eastern and Latin sound palettes all within a trudging moombahton beat.
Rio de Janeiro’s very own Anitta supplies vocals, which not only puts a much-needed sheen on the amalgamation of sounds present, but slathers the summer-ready beat with Major Lazer’s patented brand of grinding EDM swag.
Hosted at the Gillette Stadium in Massachusetts on July 20 and 21, this year’s Mad Decent Block Party is headlined by Major Lazer, Billie Eilish, G-Eazy and Miguel. Tickets to the event can be found here.
Diplo, the DJ-turned-pizza-authority recently joined Barstool’s Dave Portnoy as the first electronic artist in over 600 episodes of Portnoy’s One Bite pizza reviews. In the episode, Diplo drops his review of an artisan pie from Sotto 13 in New York, while Portnoy does the same, between an anecdote involving Diplo, the cameraman and, unsurprisingly, a Sports Illustrated Swimsuit after party.
The ‘za reviews are topped with a taste of what’s to come at the Super Mega Ultra Giant Mad Decent Block Party Festival. Splayed across July 20-21 at the New England Patriots’ Gillette Stadium, this year’s outdoor party needs not an ounce of bolstering, with headliners like Billie Eilish, Miguel, and Major Lazer on the roster.
TLDR: Diplo’s final thoughts on the pizza: Mad Decent.
Tickets to the Mad Decent Block Party are available here.
The festival features eight different stages to cater to fans of rock, indie, country, folk, electronic, and hip-hop, so regardless of one’s musical persuasion, this lineup features something for everyone.
Tiësto continues to steamroll through releases, adding a hybrid big room, G-house, and Brazilian bass spin to Billie Eilish‘s single “Bad Guy,” off her debut album, When We All Fall Asleep, Where Do We Go? The Dutch DJ builds a four-on-the-floor percussion arrangement along with riding open hi-hats that cascade into the haunting melody from the original, hand in hand with a bouncing bass line.
The 50-year-old patriarchal force in dance music proves his production prowess is keen as ever, re-envisioning the 17-year-old prodigy with ease, in turn curating a collaboration that spans generations. Tiësto ended last week by releasing his collaboration with fellow touring musician, Justin Caruso, “Feels So Good,” featuring vocalist, Kelli-Leigh. The track was the ninth song from Tiësto’s recent Together EP, released via his own imprint, Musical Freedom.
When listening to the “bury a friend” by Billie Eilish, you’ll note that the vocals stand out as percussive elements that you might find in a horror movie. Around the two minute mark, a heavy synth glides by, leaving bass heads yearning for more low-end action. The track works with so much empty space that a remix to fill the original’s sonic voids seemed only a matter of time, and now, Zeds Dead deliver a rework that does just that.
The Deadbeats label bosses add their classic spin to Eilish’s track, which hails from Eilish’s debut LP, WHEN WE FALL ASLEEP, WHERE DO WE GO? The result is a gritty, downtempo bass remix of the aforementioned album inclusion. The remix has an “Eyes On Fire” feel, evocative of Zeds Dead’s highly acclaimed take on the Blue Foundation original. Playing with a dynamic percussion patterns and sustained bass notes that rest among Eilish’s sultry vocals, this collaboration fits like a glove.