Boys Noize is back with more industrial mischief, this time on a cover of Adamski’s late 80’s acid classic “Killer,” arriving on his own Boysnoize Records. For the rework, the producer taps Miami-based singer Steven A. Clark for vocal duties, which were famously handled by Seal on the original. The result is a nostalgic stomper of a track, with Clark’s vocals dripping attitude and swagger the whole the way through. The song’s rebooted debut comes in the form of a psychedelic music video that beckons straight back to smokey New York club nights of decades past.
Boys Noize is on record saying the cover is a love letter of sorts to that era, and that specific track in general. This version has the Mayday artist’s fingerprints all over it, but the feel is still geared towards tributing the original cut all the way. Boys Noize explained the backstory for the cover’s personal significance, and the origins of its creation via social media,
“Being a 90’s kid, I kind of grew up with this song which later became one of these tunes I’d play out at the end of the night. When I met Steven and heard his voice for the first time I immediately thought of that track and the idea of doing a cover version was born. It was initially just for fun, but it turned banging and lit the dancefloors wherever I’d drop it – so here I am sharing my industrial ‘KILLER.’”
Tiësto‘s latest single “WOW” finally gets an official music video, and the concept is impressively creative. This production follows the video game theme in his previously released “Jackie Chan” video, yet this one employs a slightly darker touch.
Directed and animated by Bram Knol, we follow a young backpack-clad hero navigating through a dystopian, post-apocalyptic future. In the “WOW” video, it’s clear that technology has taken over and flying drones are the enemy. Our protagonist runs, climbs, and rolls through burning buildings suspended in the air — pretty impressive for a kid that looks like he hasn’t even finished grade school.
Check out the video and catch Tiësto this Fall, with a string of tour dates in China followed by a residency at Hakkasan Vegas in late September.
“Less is more” is not an applicable admonition when it comes to Martin Garrix releases; Garrix jointly released his latest single, “Burn Out,” with fellow collaborator Justin Mylo on September 14, and now follows the track with the third installment of the third season of The Martin Garrix Show. Episode three shifts the serial’s focus from Garrix’s live performance at Amsterdam Dance Event — as featured in episode two — to the dance music dynamo’s ensuing appearance before a crowd of 38,000 at Gelsenkitchen, Germany’s World Club Dome.
Somewhat of a visual touring diary, The Martin Garrix Show follows Garrix behind the decks to offer an intimate behind the scenes look at Garrix as he electronically engrosses Dome attendees. “I’m going to do a sit-down!” Garrix informs the camera before hopping on the mic to deliver instructions to the crowd — but the highlight of the third episode is Garrix’s exclamation that he “just turned 21!” Episode three concludes with a post set pizza party where the DJ’s closest friends serenade him, wishing the powerhouse producer a very happy 21st birthday.
Nina Kraviz is the latest influencer to partner with Ray-Ban on the eyewear authority’s Feel Your Beat collection. A line of product collaborations with artists who help the brand re-envision classic sunglass styles through a literal modern lens, Feel Your Beat has previously featured aesthetic reworks courtesy of The Martinez Brothers, among other musicians. Whereas The Martinez Brothers assisted in the production of a limited edition take on Ray-Ban’s iconic Wayfarer, Kraviz customizes the cat-eye frame in her exclusive work with Ray-Ban.
“The cat-eye hasn’t been produced by Ray-Ban for a long time, but I was adamant about our collaboration (using it), as that’s my favorite frame style,” Kraviz said. “Besides my limited edition capsule collection, from now on, all cat-eye frames Ray-Ban will make will be named ‘Nina’ after me. I find this amazing!”
The cat-eye frame originally surfaced in the 1960s, but Ray-Ban adds a contemporary edge to the frame’s vintage flair in their release of two different Kraviz-customized versions of the frame. Ray-Ban will market an Eye Green and an Orange Safari edition, retailing for $188 and $178, respectively. They’re available on Ray-Ban’s official website and at a limited number of Ray-Ban stores.
Where there’s Justice afoot, some freakish (and unmistakably French) fun is sure to follow. The duo’s recently released “Love S.O.S.” video is an uncanny manifestation of Justice’s otherworldly aesthetic and improbable journey.
The track comes off Justice’s recently released Woman Worldwide live album, which consists of re-envisioned tracks from their vast repertoire. “Love S.O.S.” mirrors its visual counterpart’s merriment and pervasive vigor.
The video follows an immaculate, though misshapen, bodybuilder/stripper through his volatile performance at a lavish, ultramodern club. The perspective switches from that of the audience, as the camera intently scans the etchings of the dancer’s chiseled physique, to that of the stripper himself, with circular panning to simulate a rounding of the pole and a slew of upside down shots of the seated viewers.
The video’s violent crescendo (the dancer breaks through his glass encasement and proceeds to wreak grisly havoc on the audience) draws probable parallels to Justice’s own relationship to fame, as they undoubtedly know what it’s like to be made a spectacle of.
“I wanted the spectator of the video to find themselves in the same voyeur position as the audience attending the show: first, to find ourselves fascinated by the performance of the pole dance, then surprised and hypnotized by its outcome,” says video director, Edouard Salier, who previously directed Justice’s “Civilization” video.
From breaking backboards to breaking down beats, Shaquille O’Neal executed the ultimate off-court crossover from basketball legend to DJ Diesel at Lost Lands 2018. Billed as Lost Lands’ surprise guest this year, DJ Diesel dished out a half hour riddim-heavy set at the Ohio bass music event, which attendees of the festival heralded as one of the weekend’s hardest hitting performances.
If you told me I was gonna see Shaq play one of the heaviest sets at Lost Lands I wouldn’t have told you your were crazy, and I would woulda been wrong.
While DJ Diesel chopped rhythms behind the decks, Shaq evinced that his paint presence is still just as menacing as it was during his NBA heyday by dunking on a velociraptor — it was quite the fitting end to a wild festival weekend to say the least. DJ Diesel’s Lost Lands appearance seems to be a slam dunk, by all accounts.
Chance the Rapper made a brief, but impactful announcement on his Facebook page on August 17. A thirty second clip entitled “Good Ass Job” shows Kanye West on stage at Chance’s Open Mike event announcing he is making Chance’s next album. It will, of course, be entitled Good Ass Job.
Recently, Chance ignited speculation on social media that the pair’s rumored joint album would use Kanye’s long forgotten tentative fourth album title. As it goes, Kanye’s fourth studio album planned to use the naming convention of his first three records, The College Dropout, Late Registration, Graduation, and ultimately, a Good Ass Job was promised thereafter. The album was shelved in the wake of Kanye’s mother’s passing and a failed marriage, and eventually gave way to Ye’s 808’s and Heartbreak. Now Chance is putting rumors to bed, and hopefully setting the course Kanye set a decade ago straight, confirming Good Ass Job is officially on the way.
Zhu‘s autumn keeps getting bigger, with the latest coup coming in the form of a new Apple iPhone XS ad featuring his 2017 song “Chasing Marrakech.” The mind-of-a-genius producer becomes the latest in a long line of illustrious Apple ad soundtrack contributors including Gorillaz, Daft Punk, ODESZA, and more. Zhu’s theatrical flair fits perfectly over the sleek visuals, and it’s worth wondering he could someday join Gorillaz as a twice-tapped Apple artist.
It’s not the first time that Apple has played a key part in Zhu’s music, with the tracklist for his recently released LP Ringos Desert seeing first light via Apple Music. The spot is a prime avenue of discovery for Zhu, and will likely be the latest chapter from the brand’s history in expanding artists’ audiences to casual music fans. For those not living under a dance music rock, “Chasing Marrakech” is just one of a slew of songs fans hope to hear as Zhu embarks across North America on his DUNE tour.
After taking aim at Die Antwoord frontman Ninja on Kamikaze track, “The Greatest,” Eminem has locked, loaded, and fired a “KILLSHOT” at rapper Machine Gun Kelly, another target from Em’s recent surprise LP drop. Eminem originally targeted Kelly on Kamikaze‘s “Not Alike.” Kelly quickly rebutted the callout with a diss aimed back at Eminem on “Rap Devil.” “KILLSHOT” is Eminem’s scathing response to MGK’s returned volley, and as to be expected, the song is a coarsely worded verbal assault that essentially ends the conflict in four minutes.
“I’m 45 and I’m still outselling you,” Em spits, “I’d rather be 80-year-old me than 20-year-old you.” Eminem taunts MGK in his claim that he has “more fans” in MGK’s city than the Cleveland rapper himself, before taunting, “what good is a f****ng machine gun when it’s out of ammo?” The no holds barred diss track even goes after MGK’s man bun — the veteran Detroit emcee spares no punches. Eminem raps, in a nod to the single’s artwork, a sketch of MGK, complete with the aforementioned man bun and glaring crosshairs on the junior rapper’s face. If anything is for sure, it’s that Eminem just discharged another hollow point, and he’s not only got menacing aim, but plenty of ammo in the chamber.
Slushii is back with a brand new remix of Charlie Puth‘s “The Way I Am.” The new remix effort comes off of Puth’s recently released sophomore album titled Voicenotes, which managed to obtain a Gold certification within four days of its release.
Slushii uses the Grammy-nominated singer-songwriter’s vocals as the centerpiece of the remix, accented by dreamy piano chords, weaving in steep drum builds before a stomping rave-ready break. Injecting Puth’s original work with a hefty tempo bump, the young LA-based beatmaker dips into crossover appeal, using the original’s radio pop groundwork to lean into electro house and happy hardcore territories. The record was premiered by Puth on all streaming platforms, along with a balancing acoustic version to temper Slushii’s fiery dance floor ignitor.