Diplo‘s tag line, “Random white dude be everywhere,” is no joke. From appearing in the new Detective Pikachu movie, to debuting the very first album as the production backbone of power trio, LSD, to working on the presumed last Major Lazer album, Diplo’s schedule this year indicates no idle hours.
And for his next trick, Diplo has rendezvoused with Madonna yet again, for her new track, “Future,” featuring Quavo, of Migos. This isn’t the first Diplo-assisted Madonna original, either. The Mad Decent maestro shared production credits with Sophie for Madonna’s cheeky, 2015 declaration, “Bitch I’m Madonna.” The first single from her forthcoming album, “Future” exudes a Caribbean dancehall style in a similar vein as Diplo’s radio-ready Major Lazer efforts. The impending album, Madame X, housed by Interscope Records, will be Madonna’s first in four years
Billie Eilish has liberated her debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? With an air of authenticity, listeners are gifted a peek into the mind of the talented singer and songwriter, who uses her sultry voice to express a contrast of apathy and pain throughout the project. Her center-stage vocals are surrounded by the haunting and heavy production from her brother, Finneas O’Connell, that showcase a beauty in minimalistic pop with a lo-fi edge. The harmonies between Eilish’s voice, sometimes artfully stacked, and tasteful melodies are another strong point in the producer’s repertoire.
The maturity in her music is certainly impressive, at the young age of 17. She released four singles before unleashing the rest of the 14-track LP: “you should see me in a crown,” “wish you were gay,” “when the party’s over,” and “bury a friend.” This includes an intro where Eilish takes out her Invisalign, a proper introduction to the personality that follows.
Louis the Child release an extensive nine-track EP, Kids At Play, inviting listeners to their sonic playground filled with sultry harmonies, soulful wonderment, unique sounds, and youthful fervor. Colorful sounds ooze out of , from the tropical steel drums on “Better Not” featuring Wafia to the blue guitar twangs on “Save Me From Myself” with NoMBe and Big Gigantic. These two kids from Chicago showcase their electronic dance-pop crossover skills on what could have easily been a full-length.
Genre bending and intelligent synth design becomes apparent through each of the EP’s distinctive tracks. “Interstellar” features a dynamic and glitchy arrangement that feels fitting of its futuristic name. “Braking News,” featuring RAYE, implies a playful relationship between the collaborators with rolling synths and hi hats that create a bounce in their step.
The Wafia-assisted “Better Not” featuring Wafia was the first track released off the project, amassing to a total of 72.5 million plays on Spotify, the duo’s most listened to track on the platform to date. “Ohhh Baby” is quite the percussive piece, illustrating an organized chaos similar to an uplifting G Jones. “LOVE” featuring Elohim is the second collaboration between the two, the first being “Love is Alive.” The chorus features the West LA Children’s Choir, adding to the album’s childish delight.
“Dear Sense” features the soulful vocals of MAX and offers an LCD Soundsystem feel. “The City” featuring Quinn XCII offers bouncing melodies and punching percussions underneath a fervent voice. “Save Me From Myself” features EDM’s sax man, Big Gigantic, and the R&B clad, NoMBE. The acoustic guitar creates a campfire feel that drops into big, emotive synths, spaced out for effect. “Space Jam” contains a classic Louis The Child synth feel, sounding similar to an old-school 90s video game with frolicsome percussive elements. Listen to Kids At Play by Louis The Child below.
Following the delivery of DJ Snake‘s debut LP, Encore, in late 2016, the Parisian hit maker famously announced that his first album would in fact be his last in a now-deleted tweet. With Encore‘s overwhelming success, along with the Pardon My French proponent’s intermittent new material drops over the last year and a half, not many believed, or wanted to believe, that Snake didn’t have another album in him. Luckily for us, Encore’s successor is now officially on the way.
Currently, release details on the impending new album are few and far between. The project’s release date and track list have yet to surface, though Snake’s sophomore studio effort will likely mirror the playbook from his first major delivery. Expect an Interscope Records release featuring marquee collaborators brought together to craft widely-appealing radio-ready hits over a lengthy 12+ track span. Last time we got a studio record from the French superstar we got hits like “Middle” and “Let Me Love You.” If DJ Snake repeats his formula from Encore, we’re likely looking at one of the biggest dance records of the year on the way.
DJ Snake has taken 2018 by storm with a load of new music and the inception of his record label, “Premiere Classe” which debut its first release with international banger “Whistle” by 4B and TEEZ. If you were at Ultra Miami or watched the live stream, odds are you heard the track roughly 104 times
Since hitting the Electronic Music scene in 2013 with singles “Bird Machine” and “Turn Down For What”, DJ Snake has become a household name amongst music fans. Since stepping onto the scene in 2012 with a produced track on Lady Gaga’s “Born This Way” album (which recieved Grammy Nomination), Snake has continued to bless the
I was a wee 19-year-old puppy struggling to maintain a “work-life” balance in college my ears were initially infiltrated by “Human” by Zedd and Nicky Romero. To follow, Mathew Koma and Zedd blessed with “Spectrum. The rest is history. Zedd is an international superstar, I graduated college, work in corporate America and am sitting here
Garrett Clark Borns — aka BØRNS — catapulted himself into the stratosphere seemingly from nowhere, with the release of debut album Dopamine. On his sophomore effort, Blue Madonna, Borns dives further into the deep glitz-rock dreamscape that defined his singular sound from the start.
Save for a feature from Lana Del Rey, the album, released on Interscope Records, sees Borns occupy center stage. Opening track “God Save Our Young Blood” is a pointed entrance into the journey known as youthful salvation. “Climbed up the tree of life,” sings Borns, undoubtedly there are times when the facade of youth becomes a bit overdrawn. “Kicked out of paradise” he continues, the effort is welcome regardless its simplistic lyrical approach. The album’s kick off track sees two of glam-pop’s most forthright purveyors synthesize their artistic prowess successfully. The project plays through in its entirety fairly quickly, too, with “Man,” the album’s longest, clocking in at a modest 3:57, that provides fans with an easy entry.
Aside from a few notable pitfalls, the project’s central focus around the thematic concept of disillusioned youth simultaneously nods to a variety of influences ranging from Bowie to Tame Impala‘s Kevin Parker to Beyoncé herself. BØRN’s latest project is an eager step forward and, for all its imperfections: a welcome one.
Chicago-based Louis The Child, comprised of Robby Hauldren and Freddy Kennett, have released their second collaboration with female vocalist Ashe, “Right To It,” Ashe last lent her voice to the self-proclaimed “music that makes you happy” production duo for their jazzy single “World On Fire,” which was released on their acclaimed Love Is Alive EP.
“Right To It” veers towards the experimental side of pop, and fits swimmingly with LTC’s prominently lighthearted discography. The song keeps summer alive, radiating a tropical sensation in its lush drums, shakers, and lyrics: “We can get down to it. Mix some vodka with some ‘OJ.”
Gryffin is the latest to put his spin on “Feel It Still,” originally performed by Portugal. The Man. Gryffin’s decision to take on an unconventional remix target should come as now surprise as it was his highly regarded remixes of tracks by illustrious acts like Maroon 5 and Tove Lo in 2015 that broke him into the scene, before the release of his debut single “Heading Home,” in 2016.
Gryffin keeps his sound design bright and spirited, as usual, in his version of the smash-hit: a clear contrast to the Zhu‘s characteristically hazy, enigmatic rendition of the track. Gryffin’s dynamic, sped-up guitar pluck matched with the colorful future bass reverb is a fresh, rousing approach to the to the playfully infectious original.