The Music Mix Music news, reviews, albums, concerts, and downloads

Tag: Pop (51-60 of 1131)

'Billboard' Hot 100 recap: Magic! stays on top but has new challengers

OK this is getting ridiculous. Aside from a few songs trading positions and one relatively drastic two-slot drop for Jason Derulo and Snoop Dogg’s “Wiggle,” the Top 10 is exactly how it was last week, making it a solid month since there was anything close to a shakeup at the top of the Hot 100.

Luckily, for those of us who prefer an active and exciting pop chart that isn’t being smothered by the unstoppable combination of “Fancy” and “Rude,” help may be on the way, in the form of a few could-be hits waiting for ignition.

Pharrell Williams’ “Come Get It Bae” just released its video yesterday, and its Miley cameo and “women of all shapes, sizes, and colors are beautiful” theme have already earned it over a million plays. The clip is already on its way to “Blurred Lines”-style popularity, so while this week it’s only at No. 60, down four spots from last week after nine weeks on the chart, a viral boost from the video could give it the momentum to turn things around and make its way toward the Top 10. It doesn’t hurt that the song’s stripped-down, clap-happy beat brings back some of the original Neptunes flavor that made Williams a star in the first place.

Kiesza’s “Hideaway” video has been out since February, racking up over 60 million views in that time, but it’s just now cracked the Hot 100 with its debut at No. 97. The fact that it’s still gaining popularity nearly half a year later bodes well for it, and its hooky amalgam of pop and house, redolent of early ’90s club-pop divas like Cathy Dennis, is at the bleeding edge of current retro tastes, if that makes any sense. Plus its video is the type of shamelessly corny fun that’s hard to deny, even if you’re the type of hipster who’s supposed to be mad that they shot it in Williamsburg.

READ FULL STORY

Jenny Lewis' 'The Voyager' started as a challenge from Ryan Adams

Jenny Lewis’ excellent new solo album The Voyager doesn’t officially arrive until this Tuesday, July 29, but you can currently stream it in its entirety over at Amazon Music. It’s a remarkable album, full of sweet summertime memories and vivid storytelling.

Several of the tracks from The Voyager have already been released, including the Hollywood cross-dresser assisted “Just One of the Guys,” the breezy “She’s Not Me,” and the stark, heartbreaking title track. READ FULL STORY

Watch El May's NYC-centric video for 'I Played a Role'

For the first video from her forthcoming sophomore album, The Other Person Is You, singer-songwriter Lara Meyerratken, aka El May, took to the streets of New York City with director Yaara Sumeruk. The Australian musician brought along a pair of headphones and an iPhone loaded with her bouncy, dancehall-infused single “I Played a Role” and captured the reactions of people on the street hearing the track for the first time. Like Meyerratken, the song and the video’s conceit are fun and more than a little cutesy without crossing over into full-blown twee quirkiness.

“The train scene was our dream come true,” Meyerratken, who resides in L.A., writes in an email. “We had imagined a best-case scenario, where our journey around the city over the two days coincided with some amazing subway dancers. At the end of the day, headed to our final locations, exhausted on the J train, we heard the famous call: ‘SHOW TIME!’ So we approached them… it turned out to be a real highlight!”

The Other Person Is You, which features contributions from indie rock royalty like the Vaselines’ Eugene Kelly and Britta Phillips and Dean Wareham from Luna, is out Aug. 26.

Q&A: Broods talk about their breakout single 'Mother & Father'

Broods are a brother and sister—Georgia and Caleb Nott—based out of Auckland, New Zealand. Geographically inclined pop listeners will note that this is where zeitgeist-dominating teen pop phenomenon Lorde also lives, and the two acts have more in common than just a hometown–Broods’ upcoming album, Evergreen, was produced by Joel Little, who also helmed Pure Heroine, and they share a common goal of uniting radio-friendly pop hooks and the cool-toned minimalist aesthetic that’s been dominating hip-hop during the Drake era.

Recently they released the first single from Evergreen, “Mother & Father,” and with its sweeping hook and up-to-the-minute production it’s already looking like it has a good chance of continuing the Kiwi takeover of the American pop charts. (Their upcoming tour with Sam Smith should help as well.) EW got on the phone with Georgia Nott to discuss it.

READ FULL STORY

Q&A: Neneh Cherry is 'never really worried about being trendy'

Twenty-six years ago, Neneh Cherry turned the pop world on its ear with her single “Buffalo Stance,” which whipped pop, R&B, punk, and two genres—hip-hop and dance music—that at the time had just started to emerge as distinct musical movements into an addictively danceable froth. The song made it almost all the way to No. 1 on the Hot 100, thanks to its infinitely catchy chorus—a sneak diss at a materialistic ex—but mainstream listeners didn’t know exactly what to do with Cherry’s experimental ways and protean identity. She followed up her debut, Raw Like Sushi (which “Buffalo Stance” made into an unlikely hit) with an album where she collaborated with both Michael Stipe and the Notorious B.I.G., and a confused public quickly bailed.

Cherry maintained an underground following, though, and they stuck around while she spent over a decade in semi-retirement. In 2012, she re-emerged with an energetic collaboration with the Scandinavian free jazz combo The Thing, and earlier this year she released Blank Project, recorded alongside the British electronic duo RocketNumberNine and dance music experimentalist Kieran Hebden (aka Four Tet), that felt like a quieter, more mature continuation of the work she did at the beginning of her career. At the same time, that early work has become more influential than ever as a generation of young artists have rediscovered Raw‘s brilliant genre-blindness and made it their own.

Over the weekend, Cherry performed at the Pitchfork Music Festival, and afterward EW sat down with her to talk about her legacy, her comeback, and the process that drives it all.

READ FULL STORY

Chippy Nonstop unveils her dirty-cute single 'Peeka'

Rapper and burgeoning pop star Chippy Nonstop resides in Los Angeles, but it might be more accurate to say she lives on the Internet, where she’s amassed an army of fans on Twitter and other social networking platforms through virally popular singles like “Money Dance” and “Kicked Out Da Club.” The latter single perfectly sums up both her sound (club rap with an emphasis on regional styles like Bay Area hyphy) and her philosophy (which is YOLO to the extreme).

Her latest single is called “Peeka,” which pairs a buzzy, bass-heavy beat with pitch-shifted vocals that use the name of the most popular Pokemon character as a euphemism for a very non-G-rated act. She says that it was recorded in just one day, and that, “I want my fans to have this song for the summer time to dance outside their homes in the sprinklers in.” As I write this, those fans are feverishly posting memes in anticipation of its release, so without further ado, here it is.

Diplo's new remix turns the lights on Lorde's 'Tennis Court'

Globetrotting DJ/super-producer Diplo was one of the first big artists to give Lorde a co-sign, and judging by their social media presences, the two have remained buddies throughout her rapid ascent into pop’s A-list. Today the two took their friendship to the next level with the release of “Diplo’s Andre Agassi Reebok Pump Mix” of “Tennis Court,” the opening track from Lorde’s breakthrough album Pure Heroine.

The original (currently at No. 78 on the Billboard Hot 100) juxtaposes huge vocal hooks, a gothy minimalist synthesizer arrangement, and some precociously over-it lyrics. Diplo being Diplo, his remix splashes neon light over Lorde’s brooding pop with pitch-bending keyboard arpeggios that candy ravers will go cuckoo over.


READ FULL STORY

Salme Dahlstrom premieres 'Pop Ur Heart Out'

You may not recognize Salme Dahlstrom’s name, but it’s very likely that you’ve heard her song “C’mon Y’all” in a commercial (for everything from Special K to Subaru), a movie, a TV show, or a video game. Or you may have heard another song from her 2008 album The Acid Cowgirl Audio Trade somewhere, since she managed to license every single track on it, Moby-style.

The follow-up to Acid Cowgirl, titled Pop Propaganda Volume 2: Retro Funk Soul Junction, comes out September 16—and if the lead single, “Pop Ur Heart Out” is any indication, she won’t have problem selling these songs either. “Pop”—which Dahlstrom produced herself, like all her material—is relentlessly hooky and ridiculously accessible, with bits of hip-hop and dance music floating around in a matrix of straight sugar pop. Expect to see it in about a million more commercials.

READ FULL STORY

'Billboard' Hot 100 recap: Magic! unseats Iggy, 'All About That Bass' enters the summer jam competition

Over the course of the summer so far, the Hot 100’s been defined by its lack of movement. This week’s Top 10 is almost identical to last week’s, which was almost identical to the week before–four songs remain in the same positions, and the remaining six have only moved up or down by one or two slots.

These small changes can still produce significant drama. At the very top of the chart, Australian rapper Iggy Azalea’s seemingly unbeatable “Fancy” and Canadian faux-reggae group Magic!’s virally popular “Rude” have traded places, knocking “Fancy” out of the top spot and ending its record-setting seven weeks at number one. READ FULL STORY

'Brooklyn Girls' is the most hated song on the internet right now

brooklyn-girls.jpg

Two days after being posted to YouTube, singer-songwriter Catey Shaw’s “Brooklyn Girls” music video has started to go viral. Unfortunately for her, its virality so far seems limited to music critics who are hate-watching it in order to write mean things about it on Twitter.

The song itself is solidly crafted and deeply irritating, the kind that’ll get wedged on a loop in your head even though you don’t want it to. Its foundation is bouncy, anthemic synth-pop with some of the punky spark of Icona Pop’s “I Love It”–and like “I Love It,” it seems specifically designed to target groups of tipsy girls on dance floors. Shaw piles on indie folk signifiers like a highly affected, old-timey vocal inflection and an en masse “whoa whoa” backing vocal in the chorus. It’s an inspired combination in that both of those styles are very popular right now, and there’s definitely some overlap between their audiences. But for anyone who’s at all averse to indie folk, it’s like taking a serviceable but not particularly great sandwich and topping it with a blast of pepper spray to the eyes.

It’s not the music that’s driving the hate-fest online as much as the song’s lyrics and video, which manage to capture every bothersome quirk Brooklyn (or at least the more gentrified parts of it) has to offer. There’s a line about how “gritty” Brooklyn girls are, exemplified by the fact that they wear combat boots during the summer and ride the subway. There’s PBR and street art and bad skateboarding. There’s a guy with a beard and a septum piercing drinking a bottle of kombucha. (To the credit of Shaw and the director, there are also people of color, which is a small relief.)

Shaw herself is, predictably, a newcomer to the borough, having moved there from Virginia Beach. She’s also the type of recent emigre who will say something like, “The whole thing about a Brooklyn girl is that you don’t have to be from Brooklyn.” And she will say it with a ukulele sitting nearby and a bird sitting on her shoulder.

Noisey, who was unsurprisingly one of the first outlets on the story (no one calls out hipster Brooklyn like hipsters in Brooklyn), deemed Shaw “The Rebecca Black of Brooklyn Gentrification,” which is both a sick burn and a fairly accurate assessment of the arc of her popularity so far. But unlike “Friday,” it’s not hard to imagine “Brooklyn Girls” riding the momentum from all the snarky online commentary it’s generating and actually breaking with an audience, one that’s not made up of music critics or people who live in Brooklyn. (Although it’s almost guaranteed to be ironically played at a Bushwick DJ night by the weekend.) Shaw may represent everything that Brooklynites dislike about the idiosyncratic identity their city’s acquired over the past decade, but those are the exact things that people who don’t live in the city, but would like to, are attracted to. There are probably plenty of pop fans out there who live with mom and dad and dream about being a gritty Brooklyn resident who wears combat boots and plays the ukulele and dyes their tips—and “Brooklyn Girls” will probably become their anthem.

Shaw’s playing a record release party tomorrow night. It’s in Williamsburg, naturally.

READ FULL STORY

Latest Videos in Music

Advertisement

From Our Partners

TV Recaps

Powered by WordPress.com VIP