I am sitting on a folding chair in the middle of a football field. A few dozen yards in front of me stand two video screens several stories high, each angled slightly toward its respective side of the stadium, converging at the center of the stage like two sides of a triangle. A gargantuan rig … More »
Rudimental and Major Lazer have released their new music video for “Let Me Live.” The feel-good, inspirational single is about controlling destiny. With the help of Anne-Marie, Mr. Eazi, and a colorful dance team, the music video is just as uplifting as the audio. Throughout the video, vibrant colors are contrasted by industrial scenes that represent society, and the discussion of controlling destiny is shown through the colors donned by all individuals in the project.
The UK singer, who previously worked on Marshmello‘s “Friends,” is shown traveling from London to South Africa. Directed by South Africa’s Chris Saunders, the video features local dance troupes from Johannesburg with additional vocals from the five-time Grammy-winning South African group Ladysmith Black Mambazo.
Rudimental’s third album, TOAST TO OUR DIFFERENCES, comes out Sept. 7. “Let Me Live” is a featured single off their upcoming album. To celebrate, the English band invited Anne-Marie, J Hus, David Rodigan and more to join them on their weekly summer residency at Ibiza Rocks.
Photo Credit: @majorlazer/Instagram
The highly anticipated release of this track hit soundwaves back on June 15. Since we have been streaming on the beach and vibing in our rides with the windows down and hands flailing out the window. Diplo and Rudimental brought a smooth island sounding production. Accompanied by the rad vocals by Mr. Eazi and Anne-Marie,
The post Major Lazer and Rudimental Drop “Let Me Live” Music Video appeared first on EDM Sauce.
Polish DJ/producer Sikdope has caught major momentum here in 2018, which includes an exclusive Diplo & Friends mix in early June followed by a remix for Marshmello and Anne Marie‘s hit track “FRIENDS,” along with a handful of singles so far this year. Now, he’s decided to turn it back to 2017, reworking Zeds Dead & Jauz‘s drum & bass heater “Lights Go Down.”
The remix holds short ties with the original bassline house anthem, ensuring that the drum & bass percussion assets are still there, yet takes the tempo up a notch and drops some rapid synths, wobbling bass, and some buzzing modified distortion. The edit is the first of a nine-track remix package dropping in July, which will feature the likes of Gentlemens Club, LICK, and more.
Sikdope will hit the decks at numerous festivals this summer, including Stereo Sunday in the Netherlands and Moonrise in Baltimore come August.
Major Lazer cemented themselves as the deliverers of chart-topping summer tracks with their 2015 track “Lean On,” which recently hit its 1 billionth stream on Spotify. On their latest, they’ve teamed up with UK group Rudimental to deliver another summer heater, titled “Let Me Live.” Both parties have proved themselves collaborators extraordinaire — with Major Lazer working with every artist from Ariana Grande to Travis Scott to Ellie Goulding, and Rudimental with Ed Sheeran and Macklemore — and “Let Me Live” continues that legacy.
Enlisting vocals from Anne-Marie, an artist Rudimental helped launch into now full-on pop stardom, as well as Nigerian singer-songwriter Mr. Eazi, “Let Me Live” is a reggae-pop crossover track that isn’t trying to impress for radio play, but might accomplish just that with its laid-back demeanor. Also featuring vocals from the iconic South African band Ladysmith Black Mambazo, “Let Me Live” is world music on a true global stage.
Hey readers! Do you remember the olden days? The widespread production and use of bronze — amazing! The sad disintegration of Pangaea — great times! Opposable thumbs — what a day!
Well you are not alone in recalling Simpler Times because based on this week’s new releases today’s popstars also have strong memories of days gone by, or if they don’t then they can at least use Wikipedia, and referencing the songs previous civilisations once danced to is THE BIG NEW THING.
Anne-Marie’s 2002 is a strangely joyless celebration of childhood, namechecking Britney’s …Baby One More Time (1998), *NSYNC’s Bye Bye Bye (2000), Nelly’s Ride Wit Me (2001) and Jay-Z’s 99 Problems (2004).
In some ways it’s almost impressive that someone could write a song celebrating 2002 in which precisely none of the referenced songs actually came out in that year, and it’s even more impressive that when she thinks back to 2002 Anne-Marie has such fond memories of a Jay-Z song that wouldn’t come out for another two years.
Incredibly Hello, the lead track from Prettymuch’s new EP, is the second of this week’s new releases to reference the same *NSYNC song: “used to be like ‘bye bye bye’, now you’re here and I don’t mind”.
(It makes sense that Prettymuch should include an *NSYNC reference — their whole sound and style is obsessed with throwback boybands to the point of just seeming dated.)
The new Naughty Boy, Ray BLK and Wyclef track All Or Nothing is beautiful and amazing in a dozen different ways and of all this week’s olden days-referencing new releases it’s the only one that delivers with a sense of warmth and sophistication, and it actually seems to do this without any sense of a crowbar or wink to camera.
In fact, All Or Nothing pulls off a double-whammy: Wyclef’s “when I say ‘someone please call 911′, that’s ’cause I realised the wrong that I’ve done” line is an obvious callback to his 2000 Mary J Blige duet, but Ray BLK’s later statement that “when I said I want TLC, didn’t mean somebody that creeps” is the jewel in this particular pop crown.
What does this mean? Why has this happened? What happens next? Does this mean there will be a second Brexit referendum?
What this means, in the first two of the above instances at least, is that popstars are trying to surf a contrived Buzzfeed-style nostalgia wave, which considering the age of most Prettymuch and Anne-Marie fans is actually nostalgia for something they didn’t even experience, and which therefore means we’re into the dark and gloomy realm of Connoted Authenticity.
This has happened because pop is an intertextual wonder that consists of layer upon layer of its own history.
What happens next is that Little Mix reference Nelly & Kelly’s Dilemma.
No there will not be a second Brexit referendum. (At least not because of this. That all-important vote will actually come about when Robyn releases new music and the UK realises that freedom of movement is vital to decent promo.)
BONUS! BONUS!! BONUS!!!
Forgot about this — another track that came out this week is this absolutely stupendous remix of Tracey Thorn’s Dancefloor, which references Bowie’s Golden Years, Evelyn ‘Champagne’ King’s Shame, Chic’s Good Times and Shannon’s Let The Music Play.
- The Ariana Grande comeback single explodes with superstar quality and pulls off the Into You trick of sounding totally effortless when in reality every split second has clearly been obsessed over for hours on end. That’s probably one of the key pop tricks nobody ever talks about isn’t it?
- As for future superstars, the very talented singer, songwriter, producer and general popstar Naaz releases her Bits Of Naaz EP (album) today.
- Alice (or alice-with-a-lowercase-a, or Alice Chater as she was previously known) is positioning herself as a ‘proper popstar’ and the opening shot sounds like Shakira, so it’s job done in that department.
- Antony & Cleopatra, who partly consist of Anita ‘how about nice new CocknBullKid album’ Blay, are in perky mode on The Islands.
- Lykke Li released two songs this week but they both sound the same so we’re only including one.
- Anne-Marie is at the bottom of the playlist this week on purely fact-related grounds: her song is called 2002 but namechecks …Baby One More Time, which was released in 1998. Anyone recalling the summer of 2002 might indeed factor Britney’s debut single into their memories but all in all we’d say the songtitle’s inclusion is deliberately misleading. As for the rest of the song, it’s fairly pleasant in a nostalgia-by-committee kind of way.