Diplo and MØ create playful music video for hit single, ‘Get It Right’

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In the latter part of 2017, Diplo and released their hit single, “Get It Right” featuring striking harmonic piano chords, breathtaking vocals, and a captivating melody. The track, infused with future bass vibes quickly amassed widespread support for its fun spirited, infectious sound and inspiring lyrics.

“Mø and I have been working together since 2013 so being able to create this dance piece together was really special..get it right music video out now with my sis”

-Diplo

Riding a wave of success after the debut of their uplifting original, Diplo and MØ have dropped an invigorating music video for the tune. The video showcases both the artists’ impressive dance moves as the two sway together with melodic beats. Needless to say, Diplo has some tricks up his sleeves that continue to surprise us. the playful music video for “Get It Right” is another testament to the two artists’ innegenuity.

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Watch this poignant orchestral cover of Flume and Beck’s ‘Tiny Cities’

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Flume‘s 2016 sophomore studio LP, Skin was unanimously hailed as a triumph that not only built on his self-titled debut album from four years prior, but cemented the young Australian producer’s reputation as one of the brightest music makers in the world right now. The project brought in firepower from the likes of Kai, Vince Staples, AlunaGeorge, and Beck, all complementing Flume’s amorphous, fluid creations, and ultimately snagged the Grammy Award for Best Dance/Electronic Album in 2017. However, of all the ensuing remixes, reworks, and covers that were inspired from Skin, the Chamber Orchestra at Westridge School in Pasadena, California’s rendition of “Tiny Cities” stands head and shoulders above the rest.

Covering all of the original’s complex intricacies, the orchestra delves into the song’s bold strings, precise piano notes, and fleeting percussive accents. Even without Beck’s syncopated delivery and vocoded topline, this acoustic version of “Tiny Cities” is a justified homage to one of Flume’s top masterworks.

 

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A-Trak shares sharp scratch routine of Porter Robinson and Madeon’s ‘Shelter’ [WATCH]

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A-Trak‘s taste in music is generally a pretty solid barometer for what’s hot right now. He closely keeps up with fan favorite pop, dance, and hip-hop, but where he differs from the rest of us mere mortals is his ability to step behind Technics and a mixer and do something magical with the earworms he’s into. In the tail-end of the year, A-Trak has ramped up his video channel, frequently sharing short scratch routines and personal edits of the tracks that are in his rotation at the moment. He’s covered Chance The Rapper, Major Lazer, DJ Snake, Post Malone, N.E.R.D. and more, though his latest addition to the ‘#REALDJing’ video series is a flawless tribute to Porter Robinson and Madeon‘s sweeping success “Shelter.”

Clocking in at just a minute, A-Trak chops up the young superstars’ hit collaboration with his legendary Midas touch, finessing his way through immaculate padwork and scratch breakdowns. Not quite a remix, but rather an homage so to speak, A-Trak’s rendition of “Shelter” and obvious seal of approval for the next generation of dance music’s torch carriers.

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Is this fourth grade band class better than Daft Punk?

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There’s something about a group of students from Namsong elementary school in Daegu, South Korea that has the internet in a frenzy. In a recent video, the fourth-grade students perform Daft Punk’s Discovery-era classic “Something About Us,” complete with electronic keyboards, drum machines, and even one talented kid rocking out on a vocoder.

While the take many not have the same galvanizing groove as the original, it’s an impressive rendition nonetheless, and certainly that one listeners will be wanting to play one more time.

H/T: Gizmodo

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Ephwurd releases lyric video for ‘Function’ [WATCH]

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THEY. drop off new remix of Charli XCX hit ‘Boys’

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THEY. stand with one foot in the electronic classification and another firmly planted in hip-hop territory, yet the LA-based producer duo refuse to confirm to either. Which is probably what makes their brand of brooding, urban hip-hop and trap so sophisticated yet altogether absorbing. Following the Mind of a Genius-signed pair’s 14-track Nü Religion: Hyena LP, THEY. are closing out the year with a new remix, finding the perfect specimen in Charli XCX‘s summer hit “Boys.”

Earlier this year, the UK-bred songwriter recruited everyone from Diplo and Flume to Mark Ronson and Chromeo for the “Boys” video, and now the track is getting a deservedly extended shelf life by way of THEY. Laying down their snappy, percussive production style around the track’s infectious vocal offerings, THEY. swap out the original mix’s 8-bit accents and snares for tight hi-hat rolls, going with a futuristic R&B/pop theme on their remix that does Charli XCX justice on one of her biggest tracks to date.

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Baauer threatens to take action against FCC for use of ‘Harlem Shake’

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Net Neutrality laws set in place by the Obama administration in 2015 have officially been repealed by the FCC, to the outrage of millions of Americans. As if to add insult to injury however, FCC Chairman Ajit Pai iced the cake with a PSA video that essentially deems the whole of humanity undeserving of the internet anyway. The video is perhaps the most cringe-worthy display of disconnectivity Generation X has ever put forward, and it’s easy to tell because it ends with the most rinsed out display of internet use of all time: a “Harlem Shake,” a la Baauer.

The PSA reassures viewers that they’ll still be able to do things like shop for Christmas presents online, “these eclipse glasses are so cheap,” howls Pai. The next solar eclipse isn’t for eight years, scumbag. In that time, under these new regulations, internet service providers are going to be able to do things like block websites or charge consumers for higher-quality content and services. But luckily, we’ll all still be able to “gram our food.” Terrific.

The legal battle over Net Neutrality is likely just beginning and Baauer is also looking to get in on the fight. It appears the use of his “Harlem Shake” was not authorized by the FCC, go figure. 

The LuckyMe producer is threatening legal action, joining dozens of other public figures from across the spectrum who are speaking out against the FCC’s 3-2 decision. Somehow “Harlem Shake” may have another day in court, though hopefully this time around the internet uses the song’s power to take Ajit Pai down. Get ’em, Harry.

 

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Hundred Waters share striking new music video for ‘Wave To Anchor’

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Earlier this year, OWSLA‘s electronic folk tro, Hundred Waters shared their third studio album, Communicating. The album reflected a period of change and growth for the group, and resonated as a closely personal account of the journey between the band’s sophomore record and their 2017 follow up. Now, as the year draws to a close, Hundred Waters offer an additional piece to the album by way of a new music video for “Wave To Anchor.”

Bright and upbeat, the tune features frontwoman Nicole Miglis’ whispering vocal work over a jubilant, fluttering break. Filmed entirely on location, the new music video for “Wave To Anchor” juxtaposes Miglis’ vivacious presence against a backdrop in the villages of Bulgaria, making for a visually striking accompaniment to one of Communicating‘s standout pieces.

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How J Dilla used a sampler to make his mark on hip-hop history

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Arguably the two most pivotal moments in hip-hop history were the advent of the drum machine and the embrace of sampling, and over the course of hip-hop’s development, the movement’s most influential figures, from Dr. Dre to DJ Premier all commonly wielded both of these tools to make their mark on what is now unequivocally America’s most popular music. By the early 1990’s, fully customizable sampling machines like Akai’s MCP 3000 reigned supreme, and one legendary producer had an ability to use it that was head and shoulders above the rest: the late J Dilla.

Dilla’s MPC 3000 is now being honored in the National Museum of African American History in Washington, D.C.. His loose, intentionally imperfect drumming style is enshrined in hip-hop history and still largely inspires artists in various corners of the rap and hip-hop space today. In a new Vox feature that delves into the beloved beat maker’s distinctly renown style and equipment of choice, Dilla’s distinguished technique is described as “humanizing” in the way that he would circumvent his MPC’s quantization capabilities and manually place his beats with keen rhythmic improvisation.

Well worth the watch, the video dives into a revealing lesson in hip-hop and electronic production history behind the work of one iconic producer and his equally iconic piece of hardware.

Via: Vox

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