It’s been just about four years since Drake’s name has been credited alongside Future’s, since the What A Time To Be Alive days to be exact, but the collaborative drought has ended with “Life Is Good,” so pop the champagne and let it bubble. A sharp exposition of Drake and Future’s synergy, the earlier LP yielded the pervasive cuts “Jumpman” and “Big Rings,” and “Life Is Good” appears destined for the same sort of ubiquity.
The hip-hop mavericks’ latest outing rebels against the conventional song format in which rappers fluidly trade verses over the same sustained beat. In contrast to this stylistic standard, “Life is Good” is essentially two singles bundled under its titular umbrella, one supplied by Drake, the other, Future.
Drake handles the opening duties, and with a decisive switch of the beat, passes the verbal baton to Future, whose flow is characteristically voluble. “Life is Good” is accompanied by a music video that sees both artists assume various service roles as 21 Savage, Lil Yachty, and other artists make cameos.
Everyone’s favorite cartoon girl in a made up world, the talented producer Ducky is again up to her genre-sporadic antics. With a slew of original releases ranging from dubstep to future bass on Steve Aoki‘s Dim Mak, Jauz‘s Bite This!, and her self-owned label Quackhouse, Ducky’s diverse discography has something to offer every ear. Kicking off her year of new releases, she’s materialized with an uplifting progressive single, “Don’t Give Up Still” just released courtesy of Spinnin’ Records. The track is a resplendent progressive track reminiscent of the 2012-2013 Spinnin’ sound.
“This song is a continuation of an idea from years ago,” Ducky writes in a recent press release. “I have an EP from 2016 called Don’t Give Up Yet that was about finally finding hope after a lifelong battle with undiagnosed bipolar and trauma and finally getting help and starting to find relief. This song is about finding myself back in that old place, battling the same demons, going ‘Oh my god, I can’t believe I’m here again’ – and finding the strength to keep going once more, recognizing that I’ve always got that capacity for hope, and that as dark as I go, the light never goes out.”
This emotional significance and positive message can be felt in every aspect of the song. From the galvanizing pitched-up lyrics topping the intro, to the more upbeat and energetic pulsing second drop, Ducky, once again, smashes it out of the park with poise and genre irreverence.
Tame Impala’s fourth studio LP, The Slow Rush, due to be released on February 14, has already proven to be one of the most highly anticipated records of the year. The rollout for the impending 12-track album, landing via Interscope/Fiction Records, started with three previous singles, “Posthumous Forgiveness,” “It Might Be Time,” and, “Borderline.” Now, Kevin Parker has shared the latest single from the album, “Lost in Yesterday.”
The track comes hot off the heels of Bonnaroo’s 2020 lineup delivery, which has Tame Impala headlining the event’s Sunday night programming. Likely the last drop before The Slow Rush‘s Valentine’s Day release, “Lost in Yesterday” yet again alludes to a likely stellar follow up to 2015’s Currents on the way. Listen to Tame Impala’s latest below.
It’s official: The Biebs is back. As “Yummy,” the vocalist’s first original single since 2015’s Purpose exemplifies, Justin Bieber is appealing to similarly aligned pop palettes that he was five years prior. A mid-tempo flex of Bieber’s vocal silk, “Yummy” meshes Bieber’s established pop expertise with R&B inflection, and, as those initiated will note, sonically resembles Purpose staple offering, “Company.”
If “Company” showed Bieber’s possession of a certain sleek R&B sensibility, then “Yummy” is Bieber’s more frontal assertion of the same nature, with its verses as stark examples. Bieber’s alto approach has a distinctive R&B tint on “Yummy,” but beyond that, his lyrical delivery is poised, even calculated. The artist has enjoyed an extended hiatus from original productions, but one wouldn’t know it from “Yummy,” a release that finds Bieber playing to his commercial strengths with familiar ease.
Back with an end-of-the-year original to tide their hungry fans over into the new year, dynamic duo Louis The Child just released a fluttery new single, titled “Here Comes a Feeling.”
The LA-based producers have had a massive year jam-packed with shows and original releases. Their Here For Now headline tour incited cross-US travel for the past two months, and still to come are festival gigs at both Lights All Night and MTV’s SnowGlobe. This past year they also became the first EDM act to collaborate with X-Games on an official theme song, “Big Time.”
“Here Comes a Feeling” with ODESZA collaborator, Naomi Wild and Couros is a pristine soundtrack to ring in 2020. Featuring Louis the Child’s signature airy, free-flowing energy and intricate drumkits, the song is a testament to the sound fans have fallen in love with. Mixed with Wild’s resplendent vocals, the song is a pop-inspired masterpiece.
No one has ever known, or will ever know what to expect from TOKiMONSTA.
But what has come to be anticipated from TOKi (born Jennifer Lee) output in the years surrounding her climb to notoriety has been continuously impressive, pronounced, even epic. Although she grew up in the humble suburb of Los Angeles known as Torrance, California, TOKiMONSTA’s ability to morph and manipulate her sound surpasses need for modesty.
Whether she’s journeying into house music with ZHU, hip-hop with Anderson .Paak, or venturing alone into soul, funk, or any number of other genres, her level of quality has reached universal reverence. Her latest solo production entitled “Love That Never” is no different.
This track demonstrates Lee’s affinity for restraint, using space and silence like the powerful tools that they are to emphasize the high points. With the cold winter months approaching, she seemed to want to provide a relaxing soundtrack for staying in as precarious weather coats the outside world. Yet the warm, overall feel of the track creates a sense of hope and subtle excitement for when the sun comes out again.
While deadmau5 is most widely known and appreciated for his legendary progressive sounds in hits like “Strobe” and “Ghosts N Stuff,” it’s no secret that the producer possesses a strong command of other genres. His techno-leaning side project testpilot is evidence of this. Therefore, while his new single does not “FALL” completely in line with the styles of his historical discography, one cannot be surprised that it is still of the highest of quality, and is sure to excite his dedicated fanbase.
“FALL,” released via the mau5’s own mau5trap label, is a seven minute journey through the grittier side of electronica. Overflowing with afterhours energy, it’s en route to becoming the producer’s next anthem as he rinses it through his upcoming tour date. “FALL” is a fitting sequel to deadmau5’s recent originals “SATRN” and “COASTED,” and it will be interesting to see what the mastermind has lined up next. Catch him on his remaining Cube v3 tour dates here.
Grimes, Canada’s queen of elaborate concept projects and sonic thought experiments, has materialized for another unearthly release, the two-sided “So Heavy I Fell Through the Earth.” The multi-talented icon of all things eternally odd has delivered two renditions of the song, a radio-intended cut, or Algorithm Mix, as well as an extended Art Mix. She’s also set a date, February 21, 2020, for her forthcoming LP, Miss_Anthropocene, which she’s said will lean heavily on climate change-adjacent themes, from the perspective of… wait for it, a misanthropic demon. The 10-track album is expected to be a stark departure from its 2015 predecessor, Art Angels, which was riddled with frothy, often disjointed pop singles and to which Grimes now refers as “a piece of crap,” and a “stain” on her life.
The song’s cosmically odd appeal harkens back to her Visions era. The ethereal downtempo production wistfully jaunts beneath Grimes’ signature moody, high-pitched croons. It’s the second single from the impending album, preceded by the equally astral and thematically weighty “Violence,” produced by smoldering mau5trap talent, i_o.
“So Heavy” arrives alongside an environmentally despondent visualizer: a foreboding portrait of Earth some years from now, scorching and uninhabitable, from the vantage point of outer space, where Grimes is engaged in a sword fight with a dragon. Armored literally and aurally, Grimes is a valiant envoy to usher us all towards our fiery ends.
Earlier this year, dance veteran ARTY spoke with Dancing Astronaut and conceded that he has “so much new music that 2019 won’t be long enough to release it all.” Since then, he’s kept true to his word, and now he’s back with his newest release, titled “Sunshine,” out now on Armada Music.
The vocals on “Sunshine” steal the show, extending ARTY’s track record preference for strong, captivating vocals that serve to compliment his kicking progressive backdrops. The producer’s most recent release, “Save Me Tonight,” followed a similar format, and could go on to be one of his most notable hits to date. DA linked up with ARTY again ahead of “Sunshine,” to dive into the record’s complexion.
“I think this is one of few times when I tried to combine so many genres in one song. And not just for the sake of doing it, but to tell the story properly, with the right sounds, and constant changing of flow throughout entire track,” says ARTY.
He manages to infuse a variety of electronic music genres into one single cut, ultimately keeping the listener guessing the entire time. ARTY has perfected a method for crafting feel-good electronic products and “Sunshine” is certainly no exception.
Gramatik teased a collaboration with Tom Morello in the spring of 2018, featuring Post Malone. Now a year later that track is out, except, instead of the rap-pop superstar the track features southern blues aficionado Gary Clark Jr.; and the result is nothing to turn one’s nose up at.
“Can’t Stop The Bleeding” is a wedding of masters and lovers of music. The track is a genuine Rock n’ Roll-EDM love child. Gramatik’s familiarity with producing bass-heavy backdrops for guitar riffs shines through. Morello, on the other side of this genre-bending track, is no stranger to head banging and rail riding and “Can’t Stop The Bleeding” allows the listener to do just that. While the union struts heavily underway, Clark Jr. provides a voice for the track that is guiding, soulful, and a very distinct type of loud. His words provide something for listeners to harmonize with and internalize. The guitar riffs and rhythm throughout the track blend and bleed together like brothers in arms, atop a groove that only comes from years of true experience.