The string of impressive tracks that she’s released online over the past two years have established Kitty as an adept if controversial rapper (at least among people who can’t stand it when women make rap songs). But with her new EP Frostbite, she’s moved into more of a dance-pop space that sounds sort of like Britney Spears getting stoned and falling down a Tumblr rabbit hole. Her latest single, “Second Life,” is basically a chill-out techno song by an apparently brony-affiliated producer named PinkiePieSwear given a drum ‘n’ bass remix by Anamanaguchi’s Ary Warnaar, topped by Kitty’s now-trademark hypnotic vocals.
Tag: Buzzworthy (1-10 of 626)
For music fans, both amateur and professional, the final quarter of the year is pretty much devoted to talking over–or arguing about–the music that we listened to, but there’s never much discussion about how we moved to it. Maybe it’s because dance styles often evolve independently of music trends, or because a lot of people who love talking about music are terrified of talking about dance (or dancing, for that matter). READ FULL STORY
Who amongst us hasn’t found ourselves mid-text with a friend, swiping through a limited library of woefully inadequate emoticons and thought, “Damn, I could really use a Cam’ron emoticon right now!” No? Not you? READ FULL STORY
Back during the summer, the duo Thrillers—made up of brothers Jeremy and Gregory Pearson—released a single, “Can’t Get Enough,” that brought the sound of ’80s teen-pop R&B into the here and now, with a slightly ravey, slightly sexy makeover along the way. Now comes the song’s video, which keeps up the retro theme with references to John Hughes’s Weird Science and a sprinkling of emulated VHS glitches.
“Can’t Get Enough” will appear on the Thrillers’ debut Cotton Candy Kisses EP, due out in the spring.
There’s no shortage of Next Big Things in rap right now, but 19-year-old Tunji Ige is starting to rapidly pull away from the rest of the pack. After putting himself on the map with a well-timed collaboration with rising hip-hop eccentrics iLoveMakonnen and Michael Christmas, last week Ige released The Love Project, a full-length full of dark and moody post-Drake vibes whose luxurious build quality belie the fact that they were recorded in his dorm room.
The album’s latest single is “The Love Project (Ooh Ooh).” Its brand-new video turns up the song’s alienated and insomniac feel by sending Ige out to wander the deserted streets and empty bodegas of late-night Brooklyn.
For their upcoming third LP Super Critical, British dance-pop duo The Ting Tings kept up their tradition of recording each of their albums in a different country and decamped to the island of Ibiza, the world’s unofficial capital of raving. “We were quite fascinated with how DJ’s construct their songs,” jet-lagged front woman Katie White explains by phone from her hotel room in Tokyo. “It’s quite different from how you’d write a typical pop song.”
“So we set off to Ibiza thinking we’d probably gonna be inspired by DJ culture and EDM and all of that,” she explains, “and we actually ended up making an album that sounded nothing like Ibiza. We’d go to the clubs, and they were really good, but we’d walk away and go, ‘Oh, could you imagine what it would be like to be in New York at CBGB and Studio 54 in the ’70s?’ We’d fantasize about all of these clubs that don’t exist. So we started to really look into it, and at the music that was played at those clubs.”
Singer, songwriter, and (as of Friday morning) three-time Grammy nominee Sia has two primary musical modes she tends to stick to: cathartic dance pop like her breakout single “Chandelier” and brooding power ballads like “Pretty Hurts” (which she wrote with Beyoncé). The album version of “Big Girls Cry,” from her 1000 Forms of Fear, is firmly of the second sort, but for a new official remix the rising EDM production duo ODESZA strips away the song’s angst and replaces it with the low-key but rave-able energy that they’ve made their trademark.
EW has an exclusive first listen.
Dance music and rap hybrids are pretty much inescapable at this point, but mixing the two was still a daring concept when rapper/producer/party-starter Naeem Juwan (a.k.a. Spank Rock) first hit the scene nearly a decade ago. “I think maybe I was ahead of the curve because I’m okay taking risks,” he says. “A lot of people don’t like to take risks. People like to do things that are easy. I feel like maybe I’m a bit different.”
While it’s taken a while for the dance-rap movement Juwan helped lay the foundation for to fully bloom, his skills are still as sharp as they were when he first started blowing up clubs. Two months ago he released the fiery track “Assassin” with fellow club-rap vet Amanda Blank, which will appear on his new The Upside EP, out Dec. 9 on his own Bad Blood Records.
Its latest single is “12 O’Clock Boys” (produced by Philly beat maker Noah Breakfast), inspired by Juwan’s Baltimore roots and the documentary of the same name about the city’s unique motorcycle culture. “It has the feeling of a Baltimore club break,” he says. “I always think about Baltimore when I sit down to write. It’s such a wild, crazy place. I just kinda wanted to think about some of the friends I lost back home and think about youth culture in Baltimore and try to write something that was—I don’t know. I just wanted to write something about that.”
New York-based Harrison Scott has a real knack for emulating the sounds of ’80s synthpop, but it’s the little tweaks that he throws into the proven formula–like the Auto Tune-esque vocoder–that make his new single “Silence Into Noise” stand out.
With its sticky melody, body-jacking beat, and whiff of haughty intellectualism (which is definitely not a bad thing in this case), the track would have worked well on club dance floors when Erasure first hit the scene—and it still works great now. The video continues the theme of slightly chilly aesthetics by putting Scott in a couture shorts set and a series of mannered poses, which reflect the aloofness that all serious synthesizer artistes should aspire to.
Bahamas unveils a video for the viral hit 'All the Time' (aka that song from the James Franco smartphone ad)
Canadian auteur Afie Jurvanen released his first album under his nom de rock Bahamas back in 2009, has shared bills with Wilco and Jack Johnson, and was nominated for his home country’s top musical awards multiple times, but it took a smartphone commercial for him to finally break through in the States. You’ve probably seen it–it’s the one where James Franco turns falling off a building into a typically Franco-esque exercise in irritatingly competent multitasking to an impeccably chill soundtrack of lilting falsetto vocals and a fuzzed-out staccato bass line.
That song, “All the Time” (from the new Bahamas album Bahamas is Afie) is finally getting its own Franco-free full-length visual. While it’s a low-key, no-frills affair, the buoyant slow-mo and unfussy aesthetic suit the song nicely. And if you only know “All the Time” from the Droid commercial, the full version’s expertly deployed vocal harmonies and guitar leads–which sound like lost moments from a late-era Beatles album–are a revelation.
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