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Tag: Electronic dance music (1-3 of 3)

Hear Estelle's club-poppy new single 'Something Good'

There are two basic sorts of breakup records: the heartbroken, mopey kind, and the kind where the writer digs through the wreckage of their relationship to find whatever lesson it has to offer and uses it as an opportunity to grow as a person. Estelle’s upcoming fourth album, True Romance (out Nov. 4) is firmly of the latter type.

“Something Good,” the album’s second single behind the anthemic “Conqueror,” pairs lyrics about picking up the pieces after a split with a piano-heavy house beat that synchronizes nicely with the current revival of ’90s club pop.

“‘Something Good’ is a feel-good song,” Estelle writes in an email. “A reminder that you’re dope and have something wonderful to offer life and yourself and the world.”

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Rustie discusses his 'non-dualistic' new album 'Green Language'

Glasgow-born producer Russell Whyte, a.k.a. Rustie, is one of a generation of electronic musicians who came up in the wake of dubstep’s emergence out of the U.K. dance-music underground and subsequent adoption by legions of American frat boys—a situation they responded to by adopting an aesthetic philosophy that disregards genre conventions and encourages a mix-and-match approach to styles. It’s a way of working that encourages creative ambition, and Whyte’s proven himself to be remarkably ambitious even by the scene’s heightened standards, blending old-school rave techno, contemporary American hip-hop, and knotty prog rock into a seamless whole.

Whyte’s exotic mix of styles has proven to be more popular than you might expect proggy rap-techno to be. Since the release of his 2012 album Glass Swords he’s found an audience in the mainstream EDM world that’s just as passionate as the one he has in the underground, thanks to tracks like “After Light,” which features vocals by Aluna Francis of the British R&B duo AlunaGeorge and big, ravey synths capable of filling the sports arenas that EDM festivals have made their home.

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Kaskade: A DJ to out-bro all the rest

Kaskade may be the grand exemplar of the ho-hum, euphoria-dealing dudes who monopolize electronic dance music.

Like other top DJs—including Avicii, whose debut album I review this week—he makes a fortune (about $16 million a year) by gigging almost constantly, queueing up dance hits for mobs of party people while doing expressive things with his hands. But unlike Avicii, who on True combines his beats willy-nilly (and not unsuccessfully) with other pop forms, on his tenth album Kaskade distills EDM’s ebb-and-flow pleasure-seeking down to its coolest, most frictionless essence—and enters a terminal space familiar to anyone who has stood in the lobby of a W Hotel.

EDM can claim a long lineage that includes house, disco and many other beloved club idioms, and has percolated in something like its current form for years. (Kaskade, a 42-year-old American house acolyte, has helped keep it cooking.) But EDM is all about creating the illusion that you’re living in the future—a utopia perfectly calibrated to keep lifting your spirits. And in fact, when you’re sweating through your bodypaint at a festival, it’s pretty damn effective at yanking you right into the present, which is plenty for any musical form to accomplish.

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