Jerome Smith, aka “JS aka The Best” is making waves with his recently released album, Breaking the 4th Wall. My favorite track off the album is easily “Level up.” The track’s soaring synths, bombastic bass, and vibing percussion mesh together to support Jerome’s hyphy vocals as he goes hard on each verse. The tune showcases
The line usually drawn between rap and soul music is perhaps a little too thick. The relative heydays of the two genres offer no overlap for direct comparison or opposition; the imagined conflict between the two is more so an extension of the tired polarization of the current and the canonized. Rap’s forebears, both musical and thematic, abound in the soul oeuvre. Functionally and aesthetically, rap is very much a modern analog of Curtis Mayfield’s 1970s. It makes sense, then, as we reach a crescendo of critical and popular obsession with the concept-driven rap album, that some executive at Columbia Pictures would decide that we were due for a remake of Superfly.
The idea of the original cinematic soundtrack (as opposed to a score) as a commercial vehicle is hardly new, although the Kendrick Lamar-helmed Black Panther seems to have ushered in a new era of “curatorial” work from a single star rather than broad-based, systematic courtship of each individual subset of a film’s target demographic. Like everything else, however, the function of the soundtrack has been disrupted by the streaming era. The Superfly soundtrack, curated and executive produced by Future, was initially released on June 8, comprising 13 tracks of which the vast majority featured the Atlanta rapper as a primary performer. A week later, following the release of the film itself, a further 10 tracks were added essentially without notice, including everything from inexplicable updates of decade-old songs (Freeway and Lil Jon’s 2006 “Rep Yo Click” with an added verse from Cyhi the Prynce), previously-unreleased tracks from artists absent from the original soundtrack (HoodCelebrityy’s “Find My Way Out”), and a pair of additional Future tracks that hang with anything on the initial release (“Struggles,” with Dungeon Family legend Sleepy Brown, and “Georgia” with Young Thug).
The obsolescence of a tracklist as a system of record is hardly unique to Superfly; every album could now be more accurately categorized as a playlist, and release dates often indicate a draft rather than a final product. I haven’t seen the movie, but the imagined Superfly that the soundtrack conjures is all over the place. Besides Sleepy Brown’s scene-setting opener “If You Want It,” the first half of the album could pass for a standard-issue Future record, something that could’ve been quietly released in the Purple Reign/EVOL era without drawing much attention. The second, tacked-on half is loaded with the sort of one-note tunes that might accompany a film’s rough cut before the actual soundtrack has been composed, bluntly indicating what the audience should be made to feel at a given moment. Even without reading a plot synopsis, the mere presence of A.CHAL’s “La Dueña” is a clear sign that Superfly contains a scene — probably just the one, and likely no longer than the song itself — set in Mexico or elsewhere in Latin America. Similarly, for what reason could the aforementioned “Rep Yo Click” possibly be revived but to accompany a hallucinogenic club scene?
If this bricolage is the necessary overhead that accompanies a new Future album in 2018, well, we have tolerated worse (consider, for example, What a Time to Be Alive). Even amidst the necessary overtures to every possible listener, there is treasure buried here. “No Shame,” with PARTYNEXTDOOR, is one of the only tracks that even gestures at the film’s promise of a classic re-imagined for the present; the inclusion of a guitar solo doesn’t itself make the song, but the willingness to indulge what it signifies does. Merely by uniting Future and Zaytoven, “Walk on Minks” is a guaranteed success, and the Yung Bans collaboration “Bag” is the rare cross-promotional effort that yields more than the sum of its parts, both rappers at home over a subdued vibraphone loop that recalls Shaft’s “Ellie’s Love Theme.” As a whole, the soundtrack is among the best of the project’s possible outcomes; redemptive value is by no means a guarantee of the increasingly bizarre branding experiments of the Spotify era, and the line between a quality album composed of a set of songs rather than a quality album contained within a set of songs continues to blur. There is, ultimately, much to be gained in pressing play on the Superfly soundtrack — in particular, tracks unavailable elsewhere that will provide Future fans with the novelty they crave. The monetary value of music having evaporated, the only cost is the time spent prospecting; rap recalls soul once again, its richest prizes withheld from mere surveyors of the genre to reward those deep in the (digital) crates.
How Eric Prydz successfully manages four separate monikers and his wildly innovative EPIC and HOLO tours is truly a wonder. Only a week after the release of his Elements EP under his Pryda banner, the Swedish electronic mastermind has announced the project is next in his queue: an impending Cirez D EP.
Commonly pinned as Prydz’s darker, cerebral alias, the project’s instantly recognizable Mouseville graphic cropped up in a recent post from Prydz on social media, captioned with no room for speculation, setting fans into a frenzy. Speculation surrounding the new release already points to unidentified new sonics weaved into Prydz Ultra 2018 performance, though an official track list has yet to surface. Release details are sparse at this time, though considering momentum is still high from the recent delivery of Elements, new Cirez D is imminent.
New Cirez D EP incoming… pic.twitter.com/OMBAZ2C3uK
— Eric Prydz (@ericprydz) May 25, 2018
Here is a song by Travis Scott, but it features Kanye West heavily. They compare watches, and then Kanye lets it rip. He raps about Larry David and Seinfeld. He says he stopped taking his “main pills” and mentions his opioid addiction. “Sometimes I feel trapped,” Kanye raps. “Jordan with no Phil Jack.” He continues, mentioning Illuminati and the Sunken Place, which is a reference both to Get Out and to Kanye’s own recent tweets about his house/office. The timeliness of the references in these bars surely means that Kanye has still got it and will likely be coming in heavy on June 1.
The song also has verses from Lil Uzi Vert and Travis Scott, whose song it is.
2017 was an epic year for the genre shapeshifter Eric Prydz. Capping off the year with three headlining performances at the storied Output club in Brooklyn, Prydz has continued to push the boundaries of progressive house and infiltrate the electronic music mainstream deeper than ever before. Known to experiment with alter aliases — Cirez D, Pryda — Prydz announced the coming of his debut EP as the mysterious Tonja Holma alias back in November.
Beginning the new year in stride, Prydz has released the 24th episode of his EPIC Radio show via Beats 1. “As this year is coming to an end, I have been reflecting a lot over all the cool stuff that I’ve been doing this year. All the experiences I’ve had,” he says. The episode features a plethora of tracks, all honing in on the progressive sonic landscape Prydz has helped popularize.
Eric Prydz catalyzed one of the most fervent periods of anticipation for a concert ever when he announced the premiere of EPIC 5.0 in November of last year. And, given the Swedish icon’s intentions to set the audiovisual bar higher than he did with his unprecedented EPIC 4.0 performance, its easy to see why he engendered such fervor.
Last Saturday, May 27, Prydz finally answered fans’ questions as to how he would raise his own staggeringly high bar when he debuted the newest iteration of his Eric Prydz In Concert series at Creamfields’ Steel Yard in London. The artist’s legions of followers who were not in attendance have gotten a taste for the visual proponent of his show through the numerous pictures and videos depicting the updated stage production – replete with the “biggest holograms in the world.”
Yesterday, June 2, Prydz introduced his global audience to the soundtrack of his experience, broadcasting the entire debut performance via his EPIC Radio show on Beats 1. Over the course of the two-hour auditory journey Prydz balanced his primary personae evenly, dedicating roughly half of his performance to his Pryda and Cirez D alter-egos, and further giving a nod to his Tonja Holma alias.
Unreleased and unidentified tracks, of course, abound as well throughout the set. So, too, do Prydz’s self-edits and remixes, including his darker remix of the transcendental “Liberate,” the Pryda remix of Cirez D’s “On Off,” and an emotional, cosmic EPIC edit of his elegiac “Lillo.”
Tracklist (Via 1001):
1. ID – ID
2. ID – ID
3. Pryda – Axis
4. Pryda – Rotonda
5. ToNjA Holma – Feel Trippleton Booty
6. ID – ID
7. Eric Prydz – Liberate (Eric Prydz Remix)
8. ID – ID
9. Pryda – Elements
10. Cirez D vs. Green Velvet & Harvard Bass – On Off Lazer Beams
11. Cirez D – On Off (Pryda Remix)
12. Cirez D – Backlash
13. Cirez D – In The Reds [MOUSEVILLE]
14. Cirez D – The Glitch
15. Pryda – Lillo (EPIC Edit)
16. Pryda – You (Interlude)
17. Eric Prydz – Pjanoo
18. Pryda – Melo
19. Eric Prydz – Every Day
20. Eric Prydz – Generate (Epic Interlude Mix)
21. Eric Prydz – Opus
Featured image by Antonio Pagano.
Eric Prydz’s EPIC 5.0 Official Photo Gallery
In 2016, Eric Prydz raised the bar for audiovisual spectacles with the aptly titled EPIC 4.0 tour. The standard which the Swedish artist set with last year’s iteration of his Eric Prydz In Concert series is one which, realistically, only he could supersede – though even that in itself would have seemed a challenge.
However, on Saturday, May 27, Prydz managed to yet again outdo himself with the premiere of EPIC 5.0 at Creamfields’ Steel Yard, purveying a veritable phantasmagoria which included the “biggest holograms in the world.” This week, he will rebroadcast the audio of the performance in a special two-hour edition of EPIC Radio. In order to relive the visual portion of the experience in the meantime, we’ve compiled a series of photos from the concert, shot by Antonio Pagano, which portray its otherworldly majesty.
Photos by Antonio Pagano
Featured Image by Alex Crane
On Saturday, May 27, Eric Prydz debuted the breathtaking fifth iteration of his beloved Eric Prydz In Concert (EPIC) performance series following months of steep anticipation. Last year, EPIC 4.0 set an unprecedentedly high bar in terms of concert visual spectacles, however, 5.0 has managed to vault comfortably over its its predecessor.
Among the numerous ways in which Prydz and his team raised the stakes for the phantasmagoria set forth by EPIC 5.0 is the inclusion of what the artist has purported to be the “Biggest holograms in the world!!”
In a supercut from the show’s premiere at Creamfields’ Steel Yard, Prydz presents attendees’ perspectives of the shows, as they are engulfed by titanic, rotating double helix, mesmerized by a stunning galactic simulation, and loomed over by a sharply clear image of a satellite. And, of course, the cosmic hologram visual production would not be complete without a giant astronaut, entreating the crowd below to dance with fervor.
Eric Prydz promised that the EPIC 5.0 show was going to be bigger and better than ever before. In fact, Eric Prydz stated that this year’s show would “blow your heads off.” After months of teasing his fans with pictures and posts to his social media, Eric Prydz debuted the EPIC 5.0 show in Victoria
The post Some Fan Recorded Eric Prydz’s EPIC 5.0 On Film and It’s Stunning appeared first on EDM Sauce.
Eric Prydz promised he’d “blow your heads off” with the unveiling of his EPIC 5.0 show in Victoria Park, London. After months of waiting with only a couple tantalizing teasers of what was to come, the Swedish icon certainly did what he said he was going to do in spades.
Luckily for his fan base, one particularly diligent concert-goer by the name of Fred Klem seems to have caught the entirety of Prydz’ set on film, and by the looks of it, it was a veritable night for the books. Crisp, extremely high-definition visuals lit up the geometric backdrop, whose design takes on similar traits to EPIC 4.0’s setup, while plenty of artfully-arranged lasers blanketed the crowd. At times, the visuals seemed three-dimensional in nature.
Prydz of course made sure to provide guests with music as incredible as its accoutrements, drizzling his extended set with plenty of old and gems from his favored aliases as well as a slew of yet-to-be-released favorites, taking his audience on an entrancing journey through the upper echelons of progressive and dark, throbbing techno.
Get a taste of the action above and below:
H/T: YouTube – Fred Klem