An all-star lineup of musicians, songwriters, and executives have penned a letter to SiriusXM Radio parent company Liberty Media threatening to boycott the company over its opposition to a copyright law with wide support in the music industry. Paul McCartney, Don Henley, Stevie Nicks, Katy Perry, Charlie Puth, Tom Waits, Carole King, Carly Simon, Pink, … 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.
Dumplin’ is an upcoming movie that stars Jennifer Aniston and Danielle Macdonald. It’s based on a young adult novel about a plus-size teenager that’s obsessed with Dolly Parton. The film, which was recently acquired by Netflix and will be on the streaming service later this year, got Parton to write and record new … More »
All-star artist trio LSD continues to grow their presence with the release of a new video. Made up of international stars Labrinth, Sia, and Diplo, the super group has released a visual component for their most recent single, “Thunderclouds,” and it’s just as noteworthy as the star power that the group itself holds.
Calling on inspiration from the group’s collaborative acronym, the video for “Thunderclouds” is dreamlike and psychedelic, combining real world and animated elements to create a storybook experience featuring pop colored hues over a carnival ringleader played by who else but Diplo.
Sia’s now iconic music video history is not lost on the group either, as they’ve enlisted Maddie Ziegler of her “Chandelier” video to participate in the theatrics.”Thunderclouds” follows singles “Genius” and “Audio” ahead of LSD’s upcoming album.
Way back in the fall of 2015, a simpler time, Saturday Night Live made the extremely questionable decision of having then-presidential candidate Donald Trump host an episode of the show. Sia was the musical guest. And now, in a new profile with Rolling Stone, the pop star recalls an anecdote about … 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 »
It’s finally here: the quintessential collab of 2018 that will once and for all bring peace to the bitter conflicts between the warriors of both the avant-garde and radio pop factions of contemporary pop culture. We’ve had dreams — nay, premonitions — foretelling us of this hallowed union, of the divine movie director Brady Corbet and his new film Vox Lux starring the sacred apostles Natalie Portman and Jude Law, which will braid together the dual powers of Scott Walker and Sia as they provide the film’s righteous score and soundtrack. Who knows what glory awaits when their respective Twitter stan communities join hands in the holy light of the cinema?
According to The Guardian, Vox Lux stars Portman, who, looking like a whole Black Swan, plays “a pop star trying to balance her career with motherhood.” Although the involvement of Scott Walker (who also scored the director’s 2015 debut, The Childhood of a Leader) is news (which is why we’re here), Sia had previously been announced as attached to the project. Hey, this is, like, a million times better than news that Governor Scott Walker is collaborating with the Securities Industry Association or something!
Vox Lux is premiering at this year’s 75th Venice Film Festival on September 4, followed by a handful of screenings at the Toronto International Film Festival in the following weeks. (If you’re going to the former, don’t neglect to tell me how amazing Luca Guadagnino’s Suspiria [scored by Thom Yorke] is.) Now go shake a poptimist’s hand!
When Brady Corbet’s upcoming musical drama Vox Lux was announced early last year, musician Mica Levi, who scored Under the Skin and Jackie, was rumored to be working on the film. But some changes have been made since then. Natalie Portman has replaced star Rooney Mara, Sia has been recruited to … More »
LSD isn’t only a synthetic crystalline compound — it’s also the charmingly psychedelic supertrio made up of Labrinth, Sia, and Diplo. They released a new single called “Thunderclouds,” a dreamy combination of downtempo genres that intertwine and combine into an uplifting lyrical paradox, turning dark skies into island pop merriment.
Sia shared a psychedelic cartoon snippet in anticipation for the full-length single, continuing the branding from their previous music video for “Audio” and “Genius.” The group’s third single takes a different direction from their more electronic predecessors. Island melodies, half-time beats, casual guitar, and a romantic dance between the two vocal protagonists give weight to the song’s narrative structure and listenability. There’s a sense of nostalgia from the minimal arrangement and cabaret rock canvas. Vocals from Sia and Labrinth carry the project for most of the track. A pristine end-of-the-summer song in what might be a chart climber for LSD.
Photo Credit: @siamusic/Instagram