She’s one of the most revered and beloved pop-ballad Divas of the modern age, but even Adele has admitted her first efforts at songwriting for her new album were crap.
In an interview with i-D Magazine – her first interview in three years – Adele admitted that some of her first stabs at penning songs for 25 were a bit dismal at best. After she came up with Remedy for the new album with producer Ryan Tedder, things went down hill.
“Because Remedy is so great, and I loved singing it so much I got excited like ‘I’m on a roll!’ I weren’t on a roll,” Adele told interviewer Hattie Collins. “So I started knocking out some shit songs – they weren’t shit.”
“They were good pop songs, but I was just trying to bang it out, I didn’t want to think about it. And, you know, it got rejected. My manager was like, ‘This isn’t good enough.’”
Even record producer and former co-president of Columbia Records, and maybe the greatest living producer today, Rick Rubin, was convinced that this was Adele at her best.
“Yeah, it knocked my confidence a bit, but I also knew, you know. And then I flew Rick Rubin over, to play him the songs and he was like, ‘I don’t believe you.’ That’s my worst fear: people not believing me. So I went back to the drawing board.”
[youtube http://www.youtube.com/watch?v=YQHsXMglC9A&w=560&h=315]
The interview, which comes at about one month before the highly anticipated release of 25, was full of revelations about the new album, as well as personal observations of her own. Most of all, the singer wishes she hadn’t seen the documentary about idol Amy Winehouse. Her fatal overdose in 2011 affected Adele deeply
“I wasn’t going to [see it]. I loved her and I went through my own massive grieving process as her fan. I’d finally got to a place where I felt really great about the impact she’d had on my life, in every way …”
Adele didn’t want to have the last image of the her friend coming from a documentary about her tragic demise.
“I felt like I was intruding so I actually felt a little bit uncomfortable and that ruined it for me. I love watching her, but I kind of wish I hadn’t seen it. But you know, I love Amy. I always have, I always will.”
And after much speculation, the singer revealed that Hello was not a follow-up to Someone Like You, the super soppy, worldwide smash hit that managed to elicit moist eyes from all who heard it. “That’s over and done with, thank fuck. That’s been over and done with for fucking years,” she explains brassily. In fact Hello is about missing home.
[youtube http://www.youtube.com/watch?v=hLQl3WQQoQ0&w=560&h=315]
“It’s about a yearning for the other side of me. When I’m away, I really, really miss my life at home. The way that I feel when I’m not in England, is…” Adele says, “desperation. I can’t breathe anywhere else.”
It’s drawn hilarious comparisons the eponymous single of the same name by Lionel Richie (who Instagrammed a mash-up of the songs) and baffled fans trying to work out why an archaic flip phone manages to appear in the video. But if the phenomenal success of leading single Hello is anything to go by, then 25 will surely be one of the biggest albums of the years – even with such a late year release.
Adele’s last album 21 sold an incredible 11 million copies in the US alone as of 2014. Hello itself managed to accrue a whopping 27.7 million views in the first 24 hours on Vivo, obliterating Taylor Swift’s previously held record for Bad Blood, which had 20.1 million views. Hello Adele, goodbye Taylor.
Checkout the track list for 25 below:
Tracklist
- Hello
- Send My Love (To Your New Lover)
- I Miss You
- When We Were Young
- Remedy
- Water Under The Bridge
- River Lea
- Love In The Dark
- Million Years Ago
- All I Ask
- Sweetest Devotion
25 is out November 20 via XL Records
Japanese Wallpaper, the prodigal young bedroom producer hailing from Melbourne, Victoria, has just delivered another remix of his signature blend of ethereal, emotive air-pop that sounds lighter than helium. Lending his skills as a producer to a Charli XCX, he’s done a rework of her song Need Ur Love that is so characteristically JapWall (as he’s known to his friends) that it’s ridiculous.
The beginning of the track sounds eerily familiar to Arrival, like you’re floating above a cerulean blue ocean which blends seamlessly into the azure sky on the horizon. Then the light, elegant tinkle of the xylophone begins, before Charli’s saccharine vocals blend harmoniously with the gentle strum of the guitar.
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The refrain ‘I need ur love, I need it even when it hurts me’, sounds so lighthearted, so very joyful despite the obvious desperation embedded in the actual lyricism of the song. It sounds like a children’s song, the kind of song that evoke nostalgic memories of jumping carefree on a trampoline or running through the sprinklers on a hot summer’s day.
The whole thing smacks of Japanese Wallpaper’s distinctive sound – he’s really developed his own unique, transcendent style which is starting to verge on the iconic.
It’s been a big year Japanese Wallpaper, real name Gab Strum, who after winning Triple J’s Unearthed High has gone on to play Falls Festival, Splendour in the Grass, perform his own solo tour, all before he’s completed his VCEs. We were lucky enough to speak to Strum when he was in town for his Sydney performance in July. At only 17, he counts Wafia and Airling among his friends, and collaborated with Jesse Davidson and Pepa Knight (Jinja Safari’s frontman) for his debut EP.
All this before he can legally drink. It puts us (older) mortals to shame.
[youtube http://www.youtube.com/watch?v=gR3QOTFLyAY&w=560&h=315]
Big Grams, the epic collaboration between Outkast alumni Big Boi and Phantogram, came together to offer up an electric performance of their hybrid R&B/electro-pop music for an appearance on Jimmy Kimmel Live!.
The outfit performed tracks Goldmine Junkie and Drum Machine, with Big Boi and Sarah Barthel (who was sporting avian-inspired feather dress) out front while Josh Carter held it down in the back with the Maschine pad. The songs were performed alongside the Brooklyn Express Drum Line.
[youtube http://www.youtube.com/watch?v=W9nBUD4VSX0&w=560&h=315]
The songs are off the collaborative collective’s debut album Big Grams, a seven-track EP that originally came about after Phantogram worked with Big Boy on 2012 album Vicious Lies and Dangerous Rumours.
[youtube http://www.youtube.com/watch?v=cLWarOqQyX8&w=560&h=315]
Broadcasting from the Brooklyn Academy of Music’s Howard Gilman Opera House this week instead of its native Los Angeles, Big Grams performance was part of a string of high profile appearances. Even Marty McFly and Doc Brown managed to time-travel into the studio.
[youtube http://www.youtube.com/watch?v=Q0VGRlEJewA&w=560&h=315]
Jay Z also managed to swing by the show earlier in the week, dishing on everything from his favourite New York pizzeria, to his wife Beyonce’s weird pizza eating habits and his upbringing in Brooklyn.
“She’s from Houston, first of all,” Jay Z said. “They don’t have pizza there.”
[youtube http://www.youtube.com/watch?v=MudvLw8hLoo&w=560&h=315]
Even Ryan Adams made an appearance, performing a cover of Taylor Swift’s Welcome to New York from his version of 1989.
[youtube http://www.youtube.com/watch?v=69HxXfjtH8c&w=560&h=315]
Neon Indian: that crazy, electronic, nostalgic blend of psychedelic 80’s-esque pop. Now, he has found a method to generate a light show as bedazzling and enthralling as their music.
The Texan native shared a live performance video of their track The Glitzy Hive shot last week at Manhattan’s Webster Hall, during the 2015 CMJ Music Marathon. The crazy visual display in the background is generated by New York creative agency Listen, who linked up Alan Palomo and his band with Kinect sensors that reacted to their movements on stage.
Kinect, for all you would-be tech heads, is a Microsoft motion sensing input device most commonly used in Xboxes. The dancing projections playing behind Palomo are generated in real time using five Microsoft sensors. The end product is a constantly changing visual show that looks faintly reminiscent of human movement in form.
[youtube http://www.youtube.com/watch?v=l17qkJQIUww&w=560&h=315]
The Glitzy Hive comes straight off Neon Indian’s latest album VEGA INTL. Night School, following on from singles Slumlord and Annie. It opened to resoundingly good reviews, and for good reason too – it’s pretty fucking amazing. The album was recorded in variety of weird locations, among them a cabin aboard a cruise ship, DFA’s Plantain Studios in NY, Pure X’s practise space in Austin and Ben Allen’s studio in Atlanta.
The band even released an apocalyptic short film for track Slumlord Rising, with 80’s synths sounding like they’re straight out of Blade Runner.
[youtube http://www.youtube.com/watch?v=l0wPHAau1ts&w=560&h=315]
Neon Indian is here in December for their Australian tour. Check out the dates below to see where you can catch their epic live performances.
NEON INDIAN AUSTRALIAN TOUR 2015
Friday 11, Saturday 12 & Sunday 13 December – Meredith Music Festival
Monday 14 December – University of Wollongong, Wollongong NSW (18+) – Tickets
Tuesday 15 December – Oxford Art Factory, Sydney NSW (18+) – Tickets
Wednesday 16 December – The Foundry, Brisbane QLD (18+) – Tickets
Censorship. It’s a tactic employed by totalitarian governments, renegade despots and… Janet Jackson?
Fans are accusing the singer and her press team of deleting Instagram posts containing footage of her Unbreakable concert, in some cases even deactivating their entire Instagram accounts.
Some concert-goers have even received emails from the social-media app claiming that “a third party reported that the content violates their copyright”.
One blogger reported that they had received, “five e-mails from Instagram … about the five videos I had posted … It seems like Miss Jackson’s [legal] team is on fire. What a shame they don’t understand the times we live in.”
[youtube http://www.youtube.com/watch?v=2_t0ffY3JvE&w=560&h=315]
People who repeatedly post footage are at more risk of having their accounts deleted due to the multiple infringement notices they’ll receive. However, an Instagram spokesperson told TMZ that it was a ‘bug’ that resulted in accounts getting deleted. Now the bug has apparently been fixed, and Instagram is trying to mitigate the damage done to the fans who had their accounts deleted.
“We have identified a bug that resulted in the removal of accounts that shouldn’t have been removed,” an Instagram rep said in a statement. “We have fixed the bug and are in the process of restoring the impacted accounts.”
Jackson is known for being rigorously strict about her copyright protocols for just about anything. According to PetaPix, Jackson’s contract for concert photographers states they can only take pics during the first 30 seconds of the first song. And they forfeit all copyright to any photos they take.
A photographer who sent PetaPix the contract they had sign, which is apparently worse than the one Taylor Swift makes them sign, said that, ““I have seen a lot of crazy contracts come my way, but this one is beyond ridiculous.”
“I’m not seeing any money from Janet Jackson’s people,” the photographer added. “Yeah I have my outlet that I work for, but that does not give them the right to take advantage of that, and strong-arm my pictures away from me for doing my job.”
Here are copies of the contract below:
Atlanta wunderkind Raury has delivered again, with track Demo 1: The Sea, demonstrating his effortless ability to integrate soul, folk and rap into his own unique blend of music. With his album coming out tomorrow, the demo won’t be featured on the album.
On Demo 1, Raury changes it up a bit, slowing it down and bringing it back to his guitar-infused roots. After the enormous scope and power of tracks like Friends and Devil’s Whisper, Demo 1 comes as a breath of fresh air to your ears, sweeping you away to a sunny dusk spent on a Georgia veranda, with the warm summer breeze grazing your cheek ever so slightly.
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The organic and bare bones feel of the song allows Raury’s vocal ability to take centre stage, and the organic feel of it makes it instantly timeless. Its emblematic of the 19-year-olds enormous talent, showing us he’s not just an adept rapper, but a soulful singer too, and hopefully we can hear some more stripped back tracks from the Georgian again.
Raury’s debut album All We Need comes out this Friday, October 16 via Sony. Read our recent interview right here.
The Black Entertainment Television Hip Hop awards proved very fruitful for some, and for others not so much. Kendrick Lamar and Big Sean won big on the night with three awards each, which were pre-recorded over the weekend and was aired on Tuesday.
Fetty Wap took home the bacon, winning Song Of The Year for Trap Queen. However, the rapper couldn’t be there in person due to a motorbike accident he had in September which left him hospitalised.
Drake made bank, scoring two awards including including MVP of the Year.
Lamar took home three awards, namely lyricist of the year, award for impact track and hip hop single Alright.
Big Sean scored the award for best collaboration for Blessings and best club banger for IDFWU.
After his massive year with the release of two number one albums – DS2 and his collaborative mixtape with Drake What A Time To Be Alive, it was only right that Future opened the ceremony.
The cyphers for this years performance incorporated a pretty wide range of artists, including Raury, Vince Staples, Tink, to veterans like Redman and Keith Murray and even Charles Hamilton.
P Diddy also took to the stage with Lil Kim, King Los and Styles P, debuting two new songs Workin and The Auction.
Travis Scott also made an appearance, following performances from Future, Puff Daddy, and Rich Homie Quan, the Houston rapper finishing off the night with an incredible performance with TI to help him out.
Veteran hip hop performer and original Geto Boys member Scarface was awarded the “I am hip hop” award for his influence in the hip hop world. However his glory was short lived, as Houston-based rapper was scooped up by the cops after the ceremony for not paying child support. He travelled to Atlanta to attend awards despite reportedly not being able to leave the state.
Check out the full list of winners – and losers – below.
Best Hip-Hop Video
Big Sean feat. Chris Brown and Ty Dolla $ign – Play No Games
Big Sean feat. Drake and Kanye West – Blessings
Fetty Wap – Trap Queen
Kendrick Lamar – Alright — WINNER
Nicki Minaj feat. Beyoncé – Feeling Myself
Best Collabo, Duo or Group
Big Sean feat. Drake and Kanye West – Blessings — WINNER
Big Sean feat. E-40 – IDFWU
Fetty Wap feat. Monty – My Way
Nicki Minaj feat. Beyoncé – Feeling Myself
Nicki Minaj feat. Drake and Lil Wayne – Truffle Butter
Best Live Performer
Drake
J. Cole — WINNER
Kanye West
Kendrick Lamar
Nicki Minaj
Lyricist of the Year
Big Sean
Drake
J. Cole
Kendrick Lamar — WINNER
Nicki Minaj
Video Director of the Year
Alan Ferguson
Benny Boom — WINNER
Chris Robinson/Lil Chris
Colin Tilley
Director X
DJ of the Year
DJ Drama
DJ Envy
DJ Esco
DJ Khaled
DJ Mustard — WINNER
Producer of the Year
DJ Mustard — WINNER
J. Cole
Kanye West
Mike Will Made-It
Pharrell Williams
Timbaland
MVP of the Year
Big Sean
Drake — WINNER
Future
J. Cole
Kendrick Lamar
Nicki Minaj
Track of the Year
Alright – Produced by Pharrell Williams and Sounwave (Kendrick Lamar)
Blessings – Produced by Boi-1da and Vinylz (Big Sean feat. Drake and Kanye West)
Commas – Produced by DJ Spinz and Southside (Future)
IDFWU – Produced by Dj Dahi, Dj Mustard, Kanye West and Key Wane (Big Sean feat. E-40)
Trap Queen – Produced by Tony Fadd (Fetty Wap) – WINNER
Album of the Year
Big Sean – Dark Sky Paradise
Drake – If You’re Reading This It’s Too Late
J. Cole – 2014 Forest Hills Drive — WINNER
Kendrick Lamar – To Pimp A Butterfly
Nicki Minaj – The Pinkprint
Wale – The Album About Nothing
Who Blew Up Award
Bobby Shmurda
DeJ Loaf
Fetty Wap — WINNER
Rae Sremmurd
Tink
New song from Raury
Someone with a little too much free time on their hands, and a lot of technical expertise with computer graphics, decided to repurpose Blink 182’s song What’s My Age Again into a new video, recreated in Grand Theft Auto V.
The video shows the main characters of GTA V – Michael De Santa, Franklin Clinton and the meth-addled Trevor Philips – running through the streets of Los Santos butt naked, shocking onlookers and running into unaware bystanders as they streak through the city and across a beach setting which strongly resembles Venice Beach.
[youtube http://www.youtube.com/watch?v=19WZL5vwgZI&w=560&h=315]
The video culminates in the three characters running onto a military base, slapping down any army personnel who get in there way, and running onto an airstrip chased by a tank.
Managing to avoid the tank’s blasts at first, it eventually gets the better of them, running them over and finishing on the video on that oddly disturbing note. Presented in ultra-HD, the video gives startling details to the CGI characters and their surroundings – but all of the characters facial expressions remain weirdly fixed throughout the entire video.
One of Blink 182’s most iconic and revered videos, GTA V’s version of What’s My Age Again really ups the ante on the violence, which is unsurprising considering the incredibly vicious nature of the game. Meth-addict Trevor king hits unwitting pedestrians in broad daylight and the trio of psychopaths trample many sunbathers in their rampage through the beach.
The re-imagining was made using GTA V’s Rockstar Editor by a obviously very dedicated fan as an homage to both the game and the 1999 music video. Check out the original below for your own comparison.
[youtube http://www.youtube.com/watch?v=K7l5ZeVVoCA&w=560&h=315]
The US media’s portrayal of African Americans has traditionally been marginalising at best, and completely and utterly racist at worst. Feeding into this seemingly never-ending cycle of cultural abuse most recently is The Ellen DeGeneres Show, who inexplicably thought it was a good idea to do a parody of Nicki Minaj’s new sitcom. And while we aren’t exactly the biggest fans of pop-infused sitcoms, this is really out of line.
The tasteless skit, which some are calling a ‘modern-day minstrel show’, depicted a young actor portraying Minaj with an enormous fake butt interacting with her family members – also wearing fake butts – in the humorous sitcom style reminiscent of The Cosby Show (not something you want to be compared to). The young Minaj bends over to give everyone a clear view of her bottom and the family members all manage to accidentally knock things over with their giant arses.
Naturally the internet, especially Black Twitter, was up in arms about the whole thing, calling it racist and feeding into the culture of body-shaming black women. Degeneres is hardly a figure shrouded in controversy, and her and Minaj have had a very amicable relationship in the past, including several appearances on the show over the course of her career.
This isn’t the first time Degeneres has parodied Minaj, dressing up as the singer as well as mimicking her in her Anaconda video. But honestly, how could anyone at the The Ellen DeGeneres Show have thought this was a good idea?
[youtube http://www.youtube.com/watch?v=cqp0km5VRj4&w=560&h=315]
For starters, any commentary around Minaj’s posterior is always inherently sexual. So to attach a fake bottom to a young girl is sexualising her in effect. Sexualising a young girl for television entertainment is disgusting. Young girls are already hyper-sexualised enough in the media and attaching an enormous fake arse to a little girl demeans her status as a female and and trivialises her black sexuality as well.
The skit is quite sickening to watch. Sickening in the fact that while you watch it, you feel as if time is turning back and all the progression on the racial equality front is slowly been reversed. Minaj is, and always has been, a highly sexualised figure in the music industry. The difference between the Ellen skit and Minaj’s portrayal of herself is that Minaj exerts sexual agency and controls her image as opposed to being sexualised by others for the entertainment of others.
This parody turns that all on its head, reducing Minaj to the sum worth of only her arse. It zeroes in on one feature and objectifies Minaj, as well as legitimising the entertainment factor of the perceived ‘ridiculousness’ of black women’s bodies.
As a white woman, or a white person, it would be easy to dismiss the barrage of criticism being levelled at DeGeneres as merely an ‘overreaction’. But we have to remember that its easy to forget as a white woman, the way my marginalisation affects me is different to what a person of colour experiences. This is the argument which lies at the crux of intersectionality: I cannot know the kind of systemic oppression and sexism that someone like Minaj knows because the way society treats her is inherently different to what I experience. For her, race always inevitably colours her experience; for me it is an invisibility.
That’s why conversations that stem from controversies like the Ellen skit are important. They highlight the struggle women of colour face to be treated with dignity and not exploited as sexual playthings for the entertainment of others. Although neither Ellen nor Minaj have publicly commented on the episode yet, hopefully an apology from Ellen can mitigate some of the damage she’s caused to Minaj. Unfortunately for Minaj, she’s a already very adept at dealing with the racist and sexist bull crap of the mainstream media.
Chrome Sparks has been keeping quiet a long time. The project of 22-year-old Jeremy Malvin, he’s chosen to release only tidbits of music every once in a while, his reverent fans clambering for any little shred of music the Brooklyn-based producer decides to impart. The Future Classic alumni has chosen to channel his talents into the remixing side of things, lending his uniquely percussive sound to the likes of Rubblebucket, Chela and The Glitch Mob, Panama and Porter Robinson.
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Malvin’s last original song, Losing U, was released over a year ago. A sweeping soundscape of R&B-infused vocal explosions and slick production, the song was a telling sign of the enormous capability and talent of the bedroom producer; the kind of song you can really lose yourself to in a flood of warm endorphins, suddenly overpowering your senses.
Despite racking up a cool 500,000 plays on SoundCloud in the process, the Chrome Sparks production line went quiet and it had seemed that was the last original material we’d hear from the enigmatic producer for a while.
But rather than going good into the cold, dark night, all that was required to signal to his loyal fans that he was back was a simple cover photo change on Facebook. This was followed by another post with a SoundCloud link announcing Chrome Sparks’ new single Moonraker from his upcoming EP Parallelism.
here’s ‘moonraker’~~~~~~~~~~~~~~ from my upcoming ep ‘parallelism’~~~~~~~~~~~~~~out 11/13 on Future Classic
Posted by Chrome Sparks on Monday, October 12, 2015
An addictive collection of organic synthesisers and otherworldly production, Moonraker is impeccable. Slow and subtle in the build up, the apocalyptic synths expand outwards like a sonic supernova, stimulating your auditory neurotransmitters like the needles of an acupuncturist hitting each individual nerve. His music employs a kind of addictive euphoria, provoking an irresistible compulsion to keep coming back for more and more.
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Just in time to close out 2015, Parallelism will be Malvin’s fourth EP, succeeding the very excellent Goddess. His last visit down under was for Splendour in the Grass 2014, where he and his three piece band played to a crowd of worn out – but devoted – revellers on the very last day of the festival.
A background as a classic percussionist, Malvin has managed to develop his talent in unique and unpredictable ways, producing the eponymous track Marijuana – the internet-stoner anthem that no doubt results in thick plumes of pungent smoke it’s played.
Parallelism is out November 13 via Future Classic.
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