Anders Trentemøller is a Danish electronic musician who’s known for blending cutting-edge electronic production with dark and moody post-punk, resulting in tracks that can make a grown-up goth kid weak in the knees. For his last album, Lost, he took a more indie-friendly approach, collaborating with members of Lower Dens, Low, and the Raveonettes. On Sept. 1, he’ll release a set of remixes of Lost songs, including his own reworking of “Come Undone” featuring vocals by Kazu Makino of Blonde Redhead. The accompanying video pairs the track’s shimmering electro-funk with greyscale footage of a diver in slow motion, creating a moody, nearly abstract juxtaposition that the old Factory Records creative team would have been proud of. READ FULL STORY
Bed-Stuy, Brooklyn’s Joey Bada$$ is only 19 years old, but he’s got a passion for old-school hip-hop—the kind you normally only find among fans who were buying rap tapes before he was even born.
Over the course of several increasingly popular mixtapes, he’s carved out a style rooted in what’s frequently referred to as the golden era of hip-hop, when a broad coalition of mostly East Coast acts like Gang Starr and A Tribe Called Quest were making seminal, boom-bap-heavy music that went a long way toward getting the genre taken seriously outside of the hip-hop community.
Right now, Joey’s prepping for the release of his debut solo album, B4.Da.$$. He took time out from his European tour to send EW a playlist of tracks that he has in heavy rotation right now. In true budding rap mogul style, about half the selections feature either him or a member of his Pro Era crew. That said, the left-field inclusion of Kiesza’s throwback club-pop burner “Hideaway”–and the hint that the two of them have a collaboration in the works–has us particularly excited.
Right after Nicki Minaj, Jessie J, and Ariana Grande opened Sunday’s MTV Video Music Awards with a performance of “Bang Bang,” MTV premiered the trio’s wardrobe malfunction-free video for the song online.
The video begins with men ogling at Jessie J as she exits a car, but she pays it no mind and enlists female onlookers to join her in showing off their Cadillac-like booties. Meanwhile, Grande twirls around in a Miami-chic bedroom, applies makeup, and belts into a megaphone—A-plus on the multitasking, Grande.
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In today’s pop-music-and-butts news, Jennifer Lopez released a remix of “Booty” featuring Iggy Azalea, who claims “the last time the world seen a booty this good it was on Jenny from the block.” (Nicki Minaj might disagree.)
The original “Booty,” off J. Lo’s latest album A.K.A., features Pitbull alluding to Bubba Sparxxx’s “Ms. New Booty” and commenting on Lopez’s butt-related skills: “The way she twerk it, not fair.” Azalea prefers to talk about her own skills in her verse on the remix, though, rapping, “They beggin’ me to drop down but right now Iggy on top.” Can’t argue with that—three songs featuring Azalea are currently in the top 10 of Billboard’s Hot 100.
After a solid decade as the go-to soundtrack for disaffected youth, emo has pretty much suffocated itself beneath a mountain of asymmetrical haircuts, metalcore breakdowns, and barely sublimated misogyny, and few people are in mourning over it. However, there’s a growing wave of young musicians who are throwing out the subgenre’s recent history and returning to the core values that defined it in the ’90s (before it was absorbed by Hot Topic), fusing punk’s energy and DIY ethos with the swooning romanticism of a teenage Smiths fan and the delicate melodies of a ’70s singer-songwriter.
Philly’s Modern Baseball is at the leading edge of this movement, and may be the most accessible to pop fans who don’t know or don’t care that there’s even an emo revival happening. Their latest single, “Pothole,” foregoes the pop-punk tendencies that define much of their material in favor of lightly fingerpicked acoustic guitar and nakedly raw vocals, to subtly powerful effect. The video, made largely out of footage filmed on one of their tours, highlights the energy that the band and their community of fans produce together at their shows, as well as the monotony of life on the road.
Mikky Ekko, who you may know as Rihanna’s co-star in her mega-hit “Stay,” will release his debut album later this fall (side note/friendly PSA: it’s almost fall). The first single, “Smile” debuted earlier this month and bodes well for the upcoming collection: powerful vocals, delicate finishes, catchy, anthemic choruses.
The Louisiana native, who currently lives in Nashville, has been gaining major momentum, spending last summer touring with Jessie Ware, opening for Justin Timberlake in London in October and is currently working on highly-anticipated projects with artists like Zedd, Gwen Stefani, and Rihanna.
EW reached out to Ekko, asking him to put together a playlist for an occasion of his choosing. What did we get? “10 Tracks to Vibe Out Your Tuesday Night Pizza Party.” Fun, specific, and nuanced (in nature as well as naming), complete with commentary on each selection.
Electronic musician Dan Bodan came of age in Montreal’s fertile noise scene, but after he was exposed to Berlin nightclubs while studying abroad, he turned his attention to more coherent electronic expression. His debut album, Soft, comes out Oct. 28 on the esteemed DFA Records label.
Like DFA founder and LCD Soundsystem front man James Murphy, Bodan mixes danceable beats with aching pop hooks and deeply expressive vocals. He also shares the same disregard for genre boundaries; while the album centers around electropop, there are bits of techno and drum ‘n’ bass floating around in the mix.
Soft‘s lead single is “Jaw of Life,” which blends rich analog synth sounds, the funkier end of the ’80s pop spectrum, and Bodan’s voice into a lovely and unguardedly intimate ballad. READ FULL STORY
For the past few years, indie auteur Stuart Murdoch has been splitting his energies between his usual gig leading Belle and Sebastian and a project called God Help the Girl. It started out as an experiment in which Murdoch and the rest of his group backed a cast of female singers he recruited through an ad in a Glasgow magazine, but since releasing a self-titled LP in 2009, the venture has grown considerably more ambitious.
Sept. 5 will see the release of a God Help the Girl film, written and directed by Murdoch. Starring Emily Browning, Olly Alexander, Hannah Murray, and Pierre Boulanger, it expands on Murdoch’s long-standing fascination with impeccably vintage-attired, romantically entangled young people in Glasgow. It has a strong musical aspect, as you might expect, and the soundtrack is comprised of previous GHTG recordings, new recordings sung by the film’s cast, with dialogue and score woven throughout, helping to underline the overall project’s leaky boundaries when it comes to format.
One of Prince’s defining qualities as an artist is his almost startling prolificacy. While he’s not flooding the market quite as severely as he was during the ’80s, when he was putting a new album seemingly every couple months, along with writing for a stable of proteges and filling his vault with material that for one reason or another he felt was unworthy of release, he still keeps busy.
According to an announcement on this morning’s Good Morning America, Prince will release two albums on Sept. 30. One, entitled Plectrum Electrum, was recorded with 3rd Eye Girl, the all-female band that seems to have been his primary concern for the past couple years. He’ll also release a solo album, Art Official Age, his first since 2010’s 20Ten, which he teased earlier this summer.
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