If you remember any scene from the trailer for Bradley Cooper’s new A Star Is Born remake, it is almost certainly the one in which Cooper’s character, declining roots-rock god Jackson Maine, calls from a car window to Lady Gaga’s aspiring singer, identified only as Ally. It’s a scene that’s appeared in all four(!) versions … More »
Every few years, a major national publication will publish an overview of the Christian music industry. This week, Kelefa Sanneh has a good one in The New Yorker. Sanneh’s history of Christian rock and pop begins way back in the 1950s, with Martin Luther King, Jr.’s advice-column exhortation that gospel and the devil’s … More »
There often comes a time in great artists’ careers when they have acquired a certain level of devoutness from fans that allows them to truly feel free from the confines of an appealing facade or obligation to appease. Three decades into his into his artistic journey, David Guetta surpassed that milestone many musical epochs ago. Yet, with his Big Beat-housed, double-sided 7 album, Guetta endeavors to show the world there is uncharted sonic terrain worthy of the trek.
The two-disc album is certainly indicative of the different hats Guetta has worn over the years, most broadly as a ubiquitous dance-pop deity and more recently, the reveal of less radio-ready stylings from his alter-ego, Jack Back. Disc-one is Guetta as the world knows him — in all his prophesied pop eminence. Riddled with weighty collaboration, the first side of the venerated French powerhouse’s new studio work features a slew of larger-than-life joint efforts, including his previously released, immaculately sung “Flames” with Sia, a reunion preceded by their sublimely successful 2011 smash, “Titanium.” Guetta seems to cover all his streamability bases in this first portion, enlisting equally exalted dance pop sharks like Justin Bieber, Nicki Minaj, Martin Garrix on “Like I Do” and the Steve Aoki-assisted “Motto.” Guetta casts a wide net of appeal, following commercial counterparts like Major Lazer in sprinkling in some ever-so-timely Afro-pop, bolstered by the South African Black Coffee, on “Drive.”
Guetta’s recently unraveled side-project, Jack Back, drives home disc-two, which is comprised of groove-heavy, largely atmospheric tech-house. With winding, instrumental tracks like “Overtone” and “Afterglow,” it stands as an ambivalence-inducing paradox. On one hand, it represents the mainstream dance circuit’s acceptance of a more avant-garde product, of the scene’s most prominent figures’ willingness to deliver a raw, less-calculated extension of themselves. On the other — succeeding fellow icons like Calvin Harris, who recently announced he’d be receding back to his club-adept roots — this return to form can easily be construed as an overdue attempt to delineate oneself from the improbably saturated, monotonous sea of over-compressed bass drops. Tech-house, following progressive, future bass, and future house, takes its place among one of the most recent sub-genre crazes. The resurgence has been actualized by the likes of longtime devotees like Claude VonStroke, Carl Cox, and Green Velvet, who have been championing the jazzy, instrumental sound for decades. David Guetta plants his flag on side two. He’s earned the status to return to a less commercially viable aesthetic. What’s more, fans deserve something potentially more stimulating from such high-held superstars. Our palates are savvier than they were in 2010, and radio-ready blockbusters can only take an artist so far, and Guetta uses the back half of the gatefold to address that shift.
Yes, two years in the making, 7 is Guetta’s seventh studio album. But the French DJ/producer wears the number as a badge of continuity.
“7 is a magical number and represents a full cycle to me. When you’re just starting out as an artist you go step by step and it’s only positive energy; passion, love, challenges,” says Guetta. “…This is why ‘7’ is a perfect name to me, because I feel like I’m going back to my original energy which can be heard in this album.”
Existential turmoil aside, whether Guetta has been biding his time to showcase this doubtlessly more nuanced side of his artistic repertoire or he simply seized a timely opportunity to reinvent himself, 7 performs as a spacious snapshot of contemporary dance music.
Justin Bieber is off the market now. Sorry, everyone. The pop star reportedly interrupted his slow-motion evolution into shop-class hesher long enough to tie the knot with his fiancée Hailey Baldwin. Baldwin is a model and also the daughter of Stephen Baldwin, the Usual Suspects star who became a loud and public fundamentalist Christian and … More »
The full version of Post Malone’s “No Reason,” featuring Justin Bieber and Kanye West, has surfaced on the internet. The unreleased track was originally recorded for Post Malone’s 2016 debut Stoney. Various snippets from the song, including an unused rough draft verse from Kanye, have previously leaked online. Listen here or below. More »
David Guetta is coming in hot with his seventh studio album, promptly titled ‘7.’ ‘7′ follows the release of his latest studio album ‘Listen,’ which dropped in 2014. His newest album is scheduled to release on September 14. The tracklist for David Guetta’s ‘7′ is star-studded, to say the least. Featuring collaborations with the likes
On The Run II is bracketed by a pair of slow dances. OK, technically it’s bracketed by Jay-Z’s “Holy Grail” — with Beyoncé taking over Justin Timberlake’s hook duties and thrashing her hair in circles during the Nirvana interpolation — and “APESHIT,” the rousing Migos-powered lead single from the Carters’ new collaborative album Everything Is … More »
The young electronic prodigy that is Whethan is back with a brand new remix for us to enjoy. It’s of Post Malone and Justin Bieber’s hit song “Deja Vu”, trust me this is something you definitely want to hear. Simple but also a continuous flow of vibrant sound and rhythm, this remix enters the eardrums
The post Whethan Hits Home With Stunning Remix of “Deja Vu” By Post Malone appeared first on EDM Sauce.
At first, Korn were a myth to me. When they released their self-titled debut album in 1994, I was 11. I may have glimpsed their spooky dreadlocked scowls in magazines or TV ads, or wherever I found out about new music in that nascent internet era. But for a suburban Christian kid who spent his … More »
imagine DJ Khaled thinking of e-mailing his family about the new music he’s produced: “No Brainer.” a Disney–Pixar animation of DJ Khaled — as a penguin — in a post-apocalyptic polluted Earthand the polar caps now are now like Miami now: beaches, floral that’s mingled with Dark Matter storms the past centurycommunication as a language everyone “just gets.”
OMG, but then Asahd Tuck Khaled come in the mix as a Mortal-Kombat sprite criptwalking
lookin’ like the turtle from Finding Nemo
how much of the world do DJ Khaled own?
why don’t you go to your momma’s house and make all that racket! why don’t you go to your momma’s house and make all that racket! why don’t you go to your momma’s house and make all that racket! why don’t you go to your momma’s house and make all that racket!