New Music to add on your playlist: Dua Lipa, Kanye, Goldroom & More
Guys, you’d better add the next following songs, albums and tracks to listen on your favorite Apple Music device.
Let’s review a little bit about the new song of Dua Lipa “Don’t Start Now”, the new religion album from Kanye “Jesus is King”, finally we have the album of Goldroom, let’s talk about the new EP from Hercules & Love Affair, also the new one from Chela, we have the new of Juno Disco, finally we have the new album of Brooke Candy, also country star Miranda Lambert dorps her new album this weekend. Scroll down.
“Don’t Start Now” is the lead single from Dua Lipa’s second studio album, her second release of 2019, following “Swan Song” in January. The disco-inspired track kick starts Dua’s new era, first alluded to when a blonde-haired Dua took to social media on October 23, posting a snippet of the track, with the caption “Miss me?”
She went on to announce the song on October 24, 2019, posting another snippet of the track, before revealing its album art. Less than 24 hours prior to its release, one lucky fan was given a preview of the track on BBC Radio 1. Hours later, a Snapchat filterwhich features a snippet of the song was released to the public alongside a tweet with information on the song and music video’s worldwide premiere.
Ed Millet of TaP Management, whom Dua is managed by, described the track as “more upbeat and dance-y” in an interview with Variety (October 2019).
After the release of the song, Dua previewed a snippet of the music video via a trailer hours before the official music video was released.
JESUS IS KING is Kanye West’s ninth studio album and the follow-up to his June 2018 release, ye. The project debuted on October 25, 2019, a little over a year after the initial release date for Yandhi, which was scrapped and reworked into a gospel album.
To the surprise of many, his wife Kim Kardashian took to Twitter on August 29, 2019, to announce Ye’s newest solo effort on his behalf — along with its title, tracklist, and release date. On the same day, producer Teddy Walton tweeted about his involvement with the project:
Been editing these @kanyewest vocals to make it sound like some graduation shit. The year ain’t done.
Throughout 2019, Kanye began hosting “Sunday Service” worship events, where he performs gospel-inspired versions of his classic songs with a choir and special guests. On the morning of Easter 2019, he debuted the album’s seventh track, “Water,” at Coachella’s Sunday Service.
On September 27, 2019, fans speculated that Kanye would release the album after his Detroit Sunday Service. Instead, Detroit’s Fox Theatre announced a free show via Twitter, called ‘Jesus Is King: A Kanye West Experience,’ where Kanye played the album privately. An hour before the show’s start, Kim tweeted once again, sharing an updated tracklist. After the show, Kim uploaded an Instagram story announcing that the album would release on Sunday, September 29, following listening parties in Chicago and New York. This release date, however, went unmet and there were no subsequent announcements for almost a month.
On October 20, 2019, Kanye made a sudden reappearance on Twitter to announce that the new release date was set for October 25, 2019. He also revealed the cover art, featuring blue vinyl.
Goldroom, real name Josh Legg, has released his new album Plunge /\ Surface. The album is comprised of two distinct components in Plunge and then Surface. The double LP contains 12 songs in total and each of the six tracks on one of the albums has a sister track on the other, remade in a different vision and sound. As Goldroom described to us in June, Plunge is best suited for his live band and feels more lively, while Surface is a nod to his DJ sets with a little more energy and focus on the groove, which powers the dancefloor.
The LP has been slowly teased out over the past few months, releasing tracks not in pairs, but sometimes the sister track may appear three singles later. The journey to discovering each sister track is something Goldroom wanted to create with this album — a sonic puzzle of sorts that provides more intrigue to the record than just 12 songs on an album.
After over ten years of Hercules and Love Affair, Andy Butler offers three reimagined versions of classic Hercules tunes and a piece of new music on “The Change EP”. Produced with current partner in crime Alec Storey (aka Second Storey), the two have been touring the Hercules catalog with an approach that incorporates a proper dose of techno while duly engaging Storey’s penchant for breaks and intricate percussion work. Butler decided to put a few of these reworks out for DJS and dancefloors, offering the chance for these great Hercules moments to shine once again.
“I have always wanted to play out particular songs from my catalog in my sets more like “Raise Me Up” from the first LP or “Are You Still Certain?” from Omnion and I figured here is my chance to spin them out and get them into my sets again.”
The new song entitled “Change” for which the EP is titled after is a bass-heavy, gritty number that is a darker offering than much of what Hercules and Love Affair is perhaps known for. That said, change has always been more than evident in the story of Hercules and Love Affair. Initially conceived during the making of Hercules’ last album Omnion, the biting lyrics speak to the inevitability of change and some people’s resistance to it.
“Change is really a double edged sword- while some doors open, some doors close. Inherently there is a kind of death or finality in it.”
The video that accompanies it, produced and directed by Butler and Joie Iacono as part of their A/V project Hoarder, is just as darkly beautiful. Staged amidst an imposing industrial sculptural work by artists Egon Van Herreweghe and Thomas Min, 5 dancers dramatically vacillate between fluidity and jittery glitched out movements- Butler engaged British choreographer Joshua Hubbard, known for his work with Elton John, Roisin Murphy and many others. In his words.
When Juno Disco’s debut EP came across our desk, we leapt at the opportunity to chuck it into our Nintendo-64. The passion project of synthophiles, Albert Salt and Flamingo Jones, Juno Disco’s self-titled EP is the first taste of the duo’s gloriously hyperactive synth-pop.
Drawing from house, R&B, pop and vaporwave, each of the five tracks on the EP deliver a slightly different flavour of dancefloor-synth-goodness. Lead track ‘Give It/Get It’ leans towards the more pop-funk side — like a Client Liaison and Luke Million lovechild. Built on a bed of swirling synths and punctuated by retro percussion and arcade samples, the track could be curated in a daydream. Plus, with a slick bassline and a vocoder breakdown, Juno Disco keep the surprises coming — and it’s completely addictive.
Don’t miss their playful clip for the track too — if you’re lucky you’ll spot the duo in there, and hopefully understand our joke from before too.
The rest of the EP flirts between pop and house, delivered with the group’s distinctly retro charm. ‘Darlin’ is the most distinctly outlying soundscape, with its driving synth line reminiscent of 80s bands like New Order and Blondie, whereas ‘Disco Voyage’ is an undeniable partystarter that pays homage to their house roots.
Moments later, ‘Vogue’ and ‘High Flying’ hook us in with their slowburning grooves and woozy keys. More in tow with the lead single, these tracks perhaps offer a insight into where Juno Disco might be heading next.
Filipina-Australian pop songstress Chela is set to release a brand new, four-track EP tomorrow, Nov. 1, through Minerva Music, a label owned and run by Josh Legg (Goldroom) and André Allen Anjos (RAC).
Sharing a title with its opening track, Delivery features a quarter-hour of big, inventive pop productions that are entirely radio ready but often more thoughtful and layered in their songwriting approach than your standard radio single. While presented with the polish of the inherent shimmer of ‘80s-inspired pop music, there’s an interesting dichotomy at play with the self-reflection and vulnerability in Chela’s lyrical content.
“Prior to approaching Chela about working together at Minerva, both André and I were longtime admirers and fans of her work,” says Goldroom. “Chela’s dedication to her art, in all forms, is something that we would like to embody with our label. Getting the privilege of working with her was somewhat of a mission statement for us — she’s exactly the type of artist that we’re looking to champion — someone for whom songwriting and storytelling and authenticity takes precedence over all else.”
It is very important to Brooke Candy that you understand just how much she likes sex. Sure, most of us enjoy a roll in the hay every now and again, but Candy is on another level. Sex is her primary preoccupation, her raison d’être; where most people have a personality, she has a drawing of a cartoon penis.
Just in case calling her long-awaited debut album ‘Sexorcism’ was a little too subtle for you, there are tracks with names like ‘Cum’, ‘Nymph’ and ‘Honey Pussy’, not to mention the fact that the album cover shows Candy, legs splayed, looking like an S&M lizard with half a dozen breasts.
Lyrically, ‘Sexorcism’ is dispiritingly one-dimensional. The content is presumably designed to shock, galvanise and inspire you, but through sheer relentlessness, it becomes tiresome and unwelcome incredibly quickly — like one prolonged, passion-free dry-hump. It’s not helped by a real dearth of hooks, where the chorus of several tracks is simply a key phase robotically repeated ad nauseum.
Occasionally, the production can be moderately interesting. ‘Rim’ — an ode to the joys of anilingus — features the kind of early ’90s Miami bass sound that Azealia Banks was so keen to explore a few years ago. For the most part, though, it’s uninspiring re-hashes of well-worn electro tropes and, while minimalist backings can sometimes give an opportunity for an MC to shine, Candy doesn’t have the chops to make tracks her own.
What’s particularly ironic is that — thanks to a protracted saga involving her previous label — it’s taken so long for Candy to release her first album that she’s actually been upstaged in the arena of spitting button-pushing, hyper-sexualised, unapologetically crass bars. Over the last few years, CupcakKe has stepped up to the plate and shown how this kind of thing can be done with both technical proficiency and a wicked sense of humour, two things which — on the evidence of ‘Sexorcism’ — Brooke Candy seems to be sadly lacking.
In fact, it’s some of the guest appearances that really show how limited Candy’s range is. Charli XCX is no MC, but she does an alluring turn on ‘XXXTC,’ turning her Home Counties vowels into something more sultry. Similarly, Rico Nasty shows up on album closer, ‘FMU,’ offering a tantalising glance at what could have been.
Ultimately, ‘Sexorcism’ is lacking in ideas and appears to have arrived at the wrong time in Brooke Candy’s career trajectory. There’s always a place to explore and celebrate sexuality in music, but this feels more like a say-nothing, protracted crotch thrust to the ears. Candy’s uncompromising approach has been a breath of fresh air when providing guest verses in the past, but a whole album of pornographic paeans will leave you feeling limp.
The fantastic remixes for Madonna and Swae Lee’s Craveare finally available for streaming and digital download.
Crave — Remixes Pt.1 includes some of the promotional versions released in the past weeks by Tracy Young, Benny Benassi & BB Team, RNG and Twisted Dee & Diego Fernandez and two previously unreleased mixes courtesy of Otto Benson and Dan De Leon & Anthony Griego. The EP does not included the MNEK Remix, that is available for download separately since last August.
Crave will move up to №6 in the Dance Club Songs chart for week of 2 November, 2019, its fifth on the Billboard chart compiled from reports from a U.S. national sample of club DJs (it does not count streaming and downloads).
Miranda Lambert opens Wildcard with confidence: “I’m finally on the up and up.” It’s jarring to hear her use the word finally here, as she’s seemed to be on a long ascent for the past few years. Following the public dissolution of her marriage to fellow country star Blake Shelton, her 2016 double album The Weight of These Wings debuted at №1 on Billboard’s country charts. Last year’s reunion with the Pistol Annies delivered another bout of biting, clear-eyed songwriting from Lambert and her bandmates. With Wildcard, she cheerfully exposes her sometimes-chaotic inner life, wearing her heart on her sleeve as she reaches for another shot of tequila.
Lambert packs Wildcard with her quick-witted, cheeky observations about her world; it’s as if she strode off the set of a Steel Magnolias reboot and headed straight for the studio. Opener “White Trash” contrasts her have-not days with her more glamorous present, while “It All Comes Out in the Wash” offers reassurance that no stain — be it a splotch of Merlot or some messy gossip — is permanent. The songs are warm, funny, and comforting, acknowledging the hassles of existence outside of the upper class while transforming them into sing-along choruses. Maren Morris joins Lambert on “Way Too Pretty for Prison,” which makes for a punchy later-day foil to the Dixie Chicks’ “Goodbye Earl.” Lambert and Morris let their cooler heads prevail upon considering the practical realities of incarceration. “The bars there ain’t got boys to buy us drinks,” for one. The pair flip the traditions of timeless murder ballads: they don’t go through with their crime of passion, but they could get away with it if they really wanted to.
Wildcard hits its hellraiser high-water mark with “Locomotive,” a rollicking number where Lambert draws on a familiar country artifact to make a case for her own unbridled power. She belts every verse before careening into a rapid-fire chorus, while a harmonica imitates the long wail of a train horn in the background. The track’s funky instrumental coda sends it out with a stomp. “Tequila Does,” which arrives late in the album, is a steller last-call anthem. Lambert tempers her casual dismay about barroom wannabe-cowboys (who are “all hat, no cattle”) with a chorus that radiates the warm, rosy glow of one-too-many. Not one to sully her beers with tears, Lambert relishes the prospect of going home alone rather than surrendering to potential disappointment. Lambert’s sleight-of-hand with country tropes distinguishes her as a clever songwriter who honors the music’s history without kowtowing to the hagiography of the genre.
“Bad to You” featuring Ariana Grande, Nicki Minaj,and Normani, is a song from the Charlie’s Angels Sountrack, released in November 2019. It was originally intended to be a collaboration between Ariana Grande and Dua Lipa, however, Ariana tweeted that the plans for their link-up single was cancelled due to the release interfering with another single of Dua’s. On the song, the three artists separately “scold” their partners for how they treat the relationship, and at the same time display similar harsh tones back.
The song is the sixth collaboration between Ariana and Nicki, and the first collaboration Normani shares with either of the other two. However, Normani did play as an opening act for Ariana’s 2019 Sweetener World Tour.
“In My Room” is the second single released by Frank Ocean in 2019, following “DHL” released in October. The track came as an unannounced surprise to his fans early Saturday morning.
On the track Ocean is braggadocious, dropping lines on jewelry and his excessive spending. The track’s title is taken from the outro, where Ocean describes a libertine encounter with a lover.
Fittingly, the single cover art shows Frank sitting in his room.
Frank raps over up-beat production credited to
Michael Uzowuru, a long-time collaborator of Frank’s responsible for songs such as “Chanel” and “Nights.” Sàngo confirmed he provided some of the track’s drum programming also.
A cover of Donna Summer’s “I Feel Love” was announced via Twitter on October 25, 2019, through the account @SSmithCharts. Sam Smith posted a poster of the cover on their Twitter header on October 31, 2019. The track was released 1st November 2019.
“I Feel Love,” which was written by Summer, Giorgio Moroder and Pete Bellotte, was once hailed by English songwriter-producer Brian Eno as “the sound of the future.” Since then, the song has been performed by Madonna and Christina Aguilera, among other artists, and has been enduringly popular in the LGBTQ club scene.
Smith, who is genderqueer and nonbinary, cited the LGBTQ legacy of “I Feel Love” on Twitter when explaining their decision to record the song.
“As a queer person ‘I Feel Love’ has followed me to every dance floor in every queer space from the minute I started clubbing,” the four-time Grammy winner tweeted. “This song to me is an anthem of our community and it was an honor and most importantly so much fun to have a go at it.”
“Highest song I’ve ever fucking sang,” they added in a second tweet. “But a joy.”
Though Smith is best known for tearjerking ballads, they’ve begun exploring more dance-oriented sounds on their recent singles like “Dancing With a Stranger” and “How Do You Sleep?”
“I feel like I have recently shown people a side of me which I normally keep to myself or for my family and friends,” they said in an interview on “The Zach Sang Show” in October. “I feel like it’s almost given me permission to kinda do what I’ve always dreamed of doing but I was always scared to do, which is pop music.”
In true Scorpio fashion, drag superstar Pabllo Vittar is ringing in her birthday the best way she knows how — with the long-awaited release of some new music.
On Friday (Nov. 1, also Vittar’s birthday) the singer dropped the first part of her highly anticipated trilingual album, titled 111 1. Effortlessly switching between languages and styles, the star transitions from her Portugese dance-floor track “Amor de Que”, to her English-language, Charli XCX-assisted pop banger “Flash Pose,” to the irresistably Latin-infused “Pnte Perra,” sung in Spanish.
Speaking on the album, Vittar thanked her fans for the birthday wishes, and said she wanted to pay their kindness forward. “All of these songs are for dancing a lot,” she said. “Remembering that this is just the first part of the album coming out. Next year will have the second part, which is amazing.”
That’s not the only good news for Pabllo’s self-proclaimed “Vittalovers”: the star also announced that she will be performing at the MTV EMAs (Europe Music Awards), where she is nominated for best Brasilian act, and will get to sharethe stage with fellow all-star performers like Halsey, Rosalía, Dua Lipa, Niall Horan & many more.
