Longstanding hub for kickass live electronic music, Boiler Room have today acknowledged and pledged to address the sexism and misogynistic comments found in their chat forums.

For those unaware, Boiler Room often stream live events, usually focusing on the producer/DJ working their magic behind the decks. Overnight, one such Boiler Room show kicked off in Paris, featuring a set from one of Scotland’s best, Nightwave.

A chat section opens up next to the stream, and unfortunately the comments quickly took a turn for the worse. Nightwave sent out a few incredible tweets knocking down the haters after her set:

https://twitter.com/iamnightwave/status/748262828302286849?ref_src=twsrc%5Etfw

https://twitter.com/iamnightwave/status/748264629160271874?ref_src=twsrc%5Etfw

https://twitter.com/iamnightwave/status/748313680899641344

The topic of sexism in the electronic music world (and the music industry in general) is an often-discussed topic that not only needs to be acknowledged, but to be addressed and fixed. It’s frustrating as hell to see this still happening, considering how many people write about it and talk about it, obviously seeing the need for immediate change. Not only can this be found among the peers of female artists, but the fans, unfortunately, seem to have taken it upon themselves to deliver sexist, hateful remarks for no real reason.

Boiler Room were quick to respond with their own tweets:

FACT reached out to Boiler Room for comment, and received word from BR’s head of programming, Gabriel Szatan, about the issue. “We obviously can’t just shut down any comment when someone is like, ‘They fucked up that mix, that song is shit’ but we can’t allow straight up vile transphobic, misogynistic, racist things to carry on. We’re scratching our heads on determining how to monitor it but we know that today is the line in the sand. It [will be] difficult, but that’s not to absolve ourselves. As the biggest live streaming company in the underground that should stand [up] for its liberal values, we know now that it’s our responsibility to lead the field.”

Responding to queries on Twitter, they have further confirmed that they are in the process of hiring moderators to specifically focus on keeping these comments at bay.

Comment sections and chat rooms are notorious cesspits for douchebags and idiots who hide behind a computer monitor to make offensive and downright stupid statements. Unfortunately, the problem is that a moderator will act as a bandaid, but not a cure; it’s one thing to delete comments and block users, it’s another to stop the comments from coming in in the first place. In 2016 it feels like this should be a given, but as we’re all too aware, there are some people out there who ruin it for the rest of us. We can only hope that improvements will be seen across the board, and that people like Boiler Room will do everything in their efforts to school idiots about issues like bigotry and sexism.

Oh, and obviously don’t forget to check out the set. The Paris concert featured DJ Deeon, Nightwave, Feadz, Detente and Marvy Da Pimp, with Nightwave’s fiery set kicking off just before the 90-minute mark, heralded in by a son from the late, great Prince. Take a listen:


Boiler Room Paris x Dailymotion with DJ Deeon by brtvofficial

Read more: “The only place for women in music is bckstage on their knees” – a discussion about misogyny in music

Read more: Hyper-masculinity at gigs is a really big problem

Read more: “It’s NOT weird to be a woman on stage” – Hinds talk sexism in music

Read more: Bethany Cosentino shares personal essay about sexism in the music industry

Read more: Blackmailed for sex: Grimes speaks out

Image: Boiler Room/ Dailymotion

Words by Manick Bhan

Since its announcement, fans have been eager to see more from the upcoming Suicide Squad movie. Will it be a better DC Comics film than the much-maligned Batman vs. Superman: Dawn Of Justice? Will Jared Leto’s Joker stack up against previous all-time portrayals by Heath Ledger and Jack Nicholson? How much is Will Smith’s presence going to ruin this movie? Well, even if Suicide Squad utterly bombs on the big screen, the freshly-released details of its soundtrack mean the blockbuster will at least sound killer.

One big collaboration confirmed by the tracklist release is EDM heavyweight Skrillex confirmed to be collaborating with the big bo$$ Rick Ross to produce a song for the Suicide Squad soundtrack. This confirms a rumour going as far back as April, fans having been dissecting any shred of information ever since Rick Ross’ appearance in Atlantic City where he was apparently heard to say the words “suicide squad” and “purple Lamborghini.”

https://www.youtube.com/watch?v=1klN72RIveI

Indeed, the Skrillex-Rick Ross collaboration is named Purple Lamborghini and will likely be the supervillain movie’s main theme. While the details are now confirmed, we won’t be able to actually listen to the final soundtrack until the movie’s much-anticipated release on August 5th.

The soundtrack is a mix of new songs, Purple Lamborghini featuring alongside original tracks from the likes of Panic! At The Disco, Lil Wayne, Wiz Khalifa, Imagine Dragons, Twenty One Pilots, and Action Bronson as well as classic tracks like Creedence Clearwater Revival’s anthemic Fortunate Son and Eminem’s Without Me.

With so many stars attached and such a good story to tell, with what now looks to be a soundtrack for the ages, it’s difficult to imagine Suicide Squad performing poorly. We’ll have to wait and see.

The final Suicide Squad tracklist is as follows:

1. Purple Lamborghini – Skrillex & Rick Ross
2. Sucker For Pain – Lil Wayne, Wiz Khalifa & Imagine Dragons (with Logic, Ty Dolla $ign & X Ambassadors)
3. Heathens – Twenty One Pilots
4. Standing In The Rain – Action Bronson & Dan Auerbach (of The Black Keys) (ft. Mark Ronson)
5. Gangsta – Kehlani
6. Know Better – Kevin Gates
7. You Don’t Own Me – Grace (ft. G-Eazy)
8. Without Me – Eminem
9. Wreak Havoc – Skylar Grey
10. Medieval Warfare – Grimes
11. Bohemian Rhapsody – Panic! At The Disco
12. Slippin’ Into Darkness – War
13. Fortunate Son – Creedence Clearwater Revival
14. I Started A Joke– ConfidentialMX (feat. Becky Hanson)

https://www.youtube.com/watch?v=CmRih_VtVAs

Image: YouTube

Almost every record label boasts some form of obsessive following and fandom, yet few if any sit close to 4AD. Founded in 1979 the label drew inspiration by indie forerunners Beggars Banquet, Postcard Records and Factory. Combining co-founder Ivo’s curation of dark, twisted and beautiful music with album artists Vaughn Oliver’s distinctive creative direction, 4AD created discography few music obsessives could resist.

Looking back on more than three decades of music, there can be little question that the London label leaves a distinctive imprint. 4AD not only contributed to post-punk canon, it defined college sound of the ’80s and sat at the heart of the alternative music explosion of ’90s. The failure to licence This Mortal Coil’s cover of Song to the Siren for the 1986 David Lynch film Blue Velvet inspired the director to collaborate with others to capture a similar sound on his own distinctive scores. Yet despite its prominence a favouring creativity over the commercial certainty led to several twists of fortune and near misses with financial oblivion. Even in lieu of its coloured history, the label persists to the present day.
College Rock and Dark Beginnings (1980-1990)

Officially rebranding in 1980, Ivo Watts-Russell and Peter Kent’s DIY label Axis became 4AD. Kent did not remain long, selling his share to Ivo the following year. Unlike some industry minded counterparts, 4AD entertained a true indie philosophy. Fresh off the heels of the punk explosion of the ’70s, the enthusiastic project gained momentum within UK indie charts with some small scale successes of acts like Bauhaus and Modern English. Despite imposing an unusual emphasis on album art, the label’s core belief was that ultimate creative discretion should rest with the artist themselves. It’s perhaps this principle more than anything else which led to the greatest creative and financial triumphs as well as blunders on the label’s record.

https://www.youtube.com/watch?v=OKRJfIPiJGY

While the label would never use the term, the dark atmospherics of early releases became a synonymous cornerstone goth subculture. In 1982 the label signed definitive Australian post-punks the Birthday Party, most notable for launching the career of Nick Cave. The label was also quick to establish its own musical and visual aesthetic. The off-kilter pop of The Cocteau Twins, Dead Can Dance and label project This Mortal Coil created a distinctive visual and sonic archetype: odd haircuts, ethereal lyrics, shimmering riffs and cavernously reverberant production.

https://www.youtube.com/watch?v=HFWKJ2FUiAQ

Despite its non-commercial leanings, the label’s left-of-center music met with considerable commercial success. The Cocteau Twins, Dead Can Dance and This Mortal Coil not only dominated indie charts but made inroads on UK pop culture. By 1987 the label set sights on the US, signing alt-rock acts Throwing Muses and The Pixies. While these acts had been rejected by US indie scene, their pairing with 4AD rocketed all involved to new heights of success. The label also benefitted with a lucrative, but divisive move into dance music. The release of Pump Up The Volume by MARRS was one the labels most commercial successful moments.

https://www.youtube.com/watch?v=RZI-FTcFtn8

Peak Ivo, Alt Rock and Shoegaze (1990-2000)

Having captured music markets both side of the Atlantic the 4AD entered the ’90s on a high note. The label had become a near-mythic centre of alternative music. It was early in this period that the seeds of Ivo’s ultimate departure from the label were sewn. In 1992, 4AD entered into a distribution deal with US branch of Warner. In step with the deal, Ivo relocated to LA. Yet increased commercial dealings and success brought considerable pressure for even more hits. With the styles and sounds the label had perpetuated in the ’80s becoming mainstream cultural currency, 4AD was forced to measure up to previous decade in terms uncharted creative directions and commercial success. Post-punk die-hards were alienated by increasingly commercial signings.

Hit singles and large selling albums with a college rock acts led to continued work with the Pixies. Yet, internal tensions between band members and a failure to break into the mainstream world of rock led the band to separate after delivering 4th LP Trompe Le Monde in 1991. Ironically former bassist Kim Deal solo project The Breeders’ The Last Splash reached a level of commercial and critical success which would eclipse the Pixies for a decade to come. 4AD also became seminal presence in the dreampop and shoegaze scene signing acts like Lush, Mojave 3 and the Pale Saints.

https://www.youtube.com/watch?v=fxvkI9MTQw4

The late 90s saw some of Ivo’s most bizarre signings. The addition of country band Tarnation and Icelandic electronic 9-piece Gus Gus left many 4AD completionists scratching their heads. A personal breakdown saw Ivo suddenly part ways with the label, entering a mysterious form of musical reclusion that lasts to this day.

After the co-founder’s shock departure, the label was sold to Beggars Banquet. It was a divisive moment. Many fans still refuse to reconcile this second life of 4AD with the Ivo-era which came before; a critical view would be that the label ceased to be a trusted brand of curation and slipped back to the status of simply another indie label.

https://www.youtube.com/watch?v=DwuAlsdnrHE

Post Ivo (2000-2010)

Yet the story was far from over. While Ivo’s lingering musical tastes remained, new owners, Beggars Banquet assessed the label’s direction. The period marked by consolidation and a leaner number of signings. There was a heavy focus on pushing big albums from existing bands. This said new acts continued to join the label with Mountain Goats, St. Vincent, TV On The Radio, Blonde Redhead and the legendary Scott Walker signing on. This period also saw further criticism from diehard fans. What had started as a two person DIY project had become a full-scale commercial operation.

https://www.youtube.com/watch?v=03hC_Ml8aAM

4AD Present (2010-2016)

In the last decade at least some scepticism has been allayed. With acts like Grimes, Bon Iver, Deerhunter, The National, Ariel Pink, Future Islands, tUnE-yArDs, Daughter and Purity Ring it seems that the label has seen a return to form, perhaps finding the balance point between commercial success with creative endeavour. It may not parallel the heights of Ivo’s tenure, but there’s an undeniable tenacity. If 4AD doesn’t recapture the glory of the eras past, it stands as something more than a perverse degeneration.

Unlike many of its contemporaries, the label survives in the departure of its distinctive founding-personalities. The longevity and persistence of an aesthetic of brooding, ethereal and off-kilter pop has become something greater than the sum of its constituent parts. At its peak and arguably to this day, left-of-centre musical leanings of the label touch upon a unique resonance. A vein of music which if left unstruck and unnurtured may not have emerged on its own accord. A true testament to the pairing of its artists and founders’ work.

https://www.youtube.com/watch?v=8b0fDIPP-u4

Upcoming Sydney artist AVES has recently released his synth-heavy single Don’t Say, from his upcoming EP due out on July 1st. An emotional, sentimental offering of atmospheric electro-pop, there’s something strange and unique about this track which makes it stand out among the many within a similar musical realm. From the distorted vocals to off-kilter percussive sounds and rhythms, it’s an interesting listen all around:

https://soundcloud.com/notaves/dont-say/s-hU2PB

We wanted to learn a little more about the upcoming Australian act, reportedly inspired by the likes of Grimes and Rufus (though if you ask me it’s got a far more rich ’80s synth feel to it than electro-pop/house – my first thought was Robert Palmer and perhaps a little like an understated Depeche Mode, but hey I’m not the artist) so we asked him to share three albums that changed his life.

Broods, Evergreen

Broods have been one of my favourite acts since their debut EP. I remember coming across Bridges and just thinking “wow, this is what I wanna do”, I’ve admired their work so much and Joel Little is just a genius. To this day, this album is a go to for me. It’s inspired me so much.  It’s a warm album that holds so many memories, it also has helped me and my best mates really connect, it’s our meeting point throughout our different tastes. Always good for our car rides, drinks, any occasion there’s something on it.

https://www.youtube.com/watch?v=vaaF3RERGPo

https://www.youtube.com/watch?v=tNnlYyByWQQ

LIGHTS, Siberia

This album was pivotal for me, no one I knew really liked LIGHTS and this album was my secret little escape. It’s so gritty, but has this really sweet, beautiful feeling. LIGHTS was the first synthpop/altpop artist I really got into. I’d always watch her interviews and behind the scenes videos, she speaks so passionately about her music and synths/electronic music. She sparked my interest in bedroom producing and creating this kind of music. I also admire her humbleness and creativity, a massive role model for me.

https://www.youtube.com/watch?v=Hi7pAjjkhv8

https://www.youtube.com/watch?v=Ub9AY6lE7uY

The Wombats, This Modern Glitch

The Wombats are hands down my go to, pick me up, band. Especially this album, it came along at a time where I was starting to dive into that Triple J world which ended up being a massive part of my later teen years. I had the honor of seeing these guys a couple times the past year and each time was amazing. Both times were at festivals and despite that, they really worked the crowd well. I admire that about them, they put on a great show and write hella catchy hooks, both two things I really want to achieve.

 

https://www.youtube.com/watch?v=d3Il0bRgorM

https://www.youtube.com/watch?v=DRhUIJextp8

With less than two days to go before A$AP Ferg drops his sophomore studio album, Always Strive and Prosper, he has shared a new track with an accompanying video. The track is called FLEM and its release keeps in stride with the A$AP Mob’s Wavy Wednesdays. FLEM will not feature on Ferg’s new album but makes for killer lead up and the perfect ‘get high to’ music for 4/20.

Ferg digs deep on the Kirk Knight (of Pro Era) beat, rapping about his lifetime deal with Adidas, his upcoming album, receiving a co-sign/tweet from Kanye (“put in work the elite will fuck with me/ I know y’all seen the Kanye tweet”), Kirk Knight shout-outs, Coachella, and, of course, an escape plan for if Donald Trump wins. The visuals are as simple as A$AP Ferg and Knight being filmed doing their thing in the studio. Listen and watch below.

https://www.youtube.com/watch?v=v0qWQ6A2aJI

A$AP Mob’s Wavy Wednesdays have been a source of good music for weeks now. Not only did we get new Ferg, but  A$AP Ant also released a new video, SET DAT BITCH OFF (ICYTWAT Remix), and last week Wavy Wednesday hosted the release for A$AP TyY’s Best Kept Secret. Peep A$AP Ant’s video below.

https://www.youtube.com/watch?v=4cvTYaXgSw0

A$AP Ferg’s Always Strive and Prosper is due out Friday American time.

Image: ASAPFerg.com

Brisbabes #3 is nearly upon us; a quarterly showcase highlighting just how much talent swims through the veins of Brisbane’s female musicians. Shaping up to be the biggest and best event yet, this third instalment boasts the gig’s most diverse lineup yet, and considering the fact that the crowd more than doubled in size from the first to the second, all signs are pointing to one hell of a night come April 22 for the third.

Brisbabes is an event that aims to encourage and foster confidence in women in music especially, but the community as a whole as well. It’s an inclusive event that serves as a showcase of acts that might (sadly) not get the gigs or recognition they deserve, which can sometimes come down to something as simple as gender. Trying to pull down those barriers, Brisbabes wants to show Brisbane – and the world – that these acts are out there if you look for them, and wants to offer alternatives to the often male-heavy, stock standard lineups that often pop up in the local music scene.

Each of the 5 acts this time around is lead by some of the most talented and inspiring women Brisbane has to offer. From the smooth RnB-pop of Romy, the stomping blues rock of Deena, the soulful seven piece led by Erin Fitzsimon in Inigo, the gentle dream that is Cheers G’Day led by Irina Strauss and the totally self-made synth sounds of Post-Dusk, Brisbabes #3 has something to offer everyone and their hope is that each person takes something away from the night.

To get you even more excited than you obviously already are, we asked each act what their ultimate pump up jam is. Their empowering, get-up-and-go song. Their “yas kween, slay bitch” tune, if you will. Given the diversity of the lineup, it’s no surprise that the answers were just as diverse and interesting. Check out 5 songs that makes this month’s Brisbabes artists want to get up and seize the day with both hands below, and jump on the remaining tickets here!

Inigo
Laura Mvula, That’s Alright

First of all, Laura Mvula is a total badass in her own right. Despite all circumstances, she kicks so much musical ass creating her music, and it was so hard to pick just one song. I went with That’s Alright. When you have lines like “I will never be what you want and that’s all right“, “I play my own damn tune” and “Who made you the centre of the universe,” all in the same song, how can you not feel better prepared to go out and kick some ass yourself?

https://www.youtube.com/watch?v=hYjHixQ9Ns4&feature=youtu.be

Cheers G’Day
Shania Twain, That Don’t Impress Me Much

Most specifically the ‘dance version’ (who doesn’t love an early 2000’s dance-pop remix?). Beside the ethereal guitar solos and the blatant sass, this song appeals to me on a more personal level. When I’m not playing music with 3 of the most respectful men I’ve ever met (shout out to Nick, Sam and Harry, the other 3/4 of Cheers G’day), I’m a social researcher. I encounter a lot of sexist bias in science and constantly find myself justifying the importance of investigating gender roles or toxic masculinity, and treading most carefully around male colleagues and supervisors when sharing these beliefs. I find my scientific knowledge and education being questioned on a daily basis. Shania doesn’t give a shit about fragile masculinity, her lack of enthusiasm for male boasting is inspiring. She’s a female in country music who sings about more than her dream leather clad hubby, that’s admirable stuff. Besides being a little jealous of her vocal range, I’m mostly impressed with her unapologetic audacity. Pump this jam whenever someone tells you to “smile more” or asks if you actually play guitar or “just sing”.

https://www.youtube.com/watch?v=mWjVQlSruY8&list=RDmWjVQlSruY8

Post-Dusk
Grimes, Flesh without Blood

It was hard to choose between this and Dominion by Sisters of Mercy – but Grimes’ unrelenting determination and dedication to her work wins this round. When I hear someone doing exactly what they wanted to do, following their true north, it makes me feel really settled about just being exactly myself, doing things just the way I want them to be done, with a quiet knowledge that these two things combined lead to a place I’d probably be pretty stoked with. A+ formula. I’m pretty impressed with this newest evolution of Grimes. She works hard and gets better every time – and this song is just sick. Nothing like twirling out the front door in my cowboy hat with this song blaring, dance-walking all the way to the bus stop. How can I even be mad when my bus is running half an hour late? Oh no. Not more Grimes dance time. That would be a terrible way to start the day.

https://www.youtube.com/watch?v=Tv9YoYCKNoE

Deena
Whitney Houston, Greatest Love Of All

Sorry I had to do it, I had to put Whitney in. You can’t have empowerment without featuring Whitney. The combination of her powerhouse vocals, 80s drumbeat and layers of dramatic synth really works together through the tender parts to then ultimately conquer all doubts, insecurities and judgments. You just can’t help but stand with one leg propped up, arms out wide and eyes looking out towards the horizon as you realise you’re gonna go for American presidency.

https://www.youtube.com/watch?v=IYzlVDlE72w

Romy
Dario G, Sunchyme

It is often too difficult a task to pick just one song from any genre or artist, let alone era when there’s so many great songs with lyrical messages that crave to be heard. So, I have decided to select the least likely suspected choice, a song with no lyrics at all – Sunchyme by Dario G, purely for the way that this song makes me feel: free, inspired, motivated, enchanted and full of joy. Ready to take on the world (or the day). It doesn’t need to say any real words because it already says so much. Music is a universal sound that resonates within us all. It doesn’t matter the style, age, race or gender, every one of us just connects with the way music makes us feel inside.

https://www.youtube.com/watch?v=1YTqmMDd3zs&feature=youtu.be

What’s striking about 2005’s Human After All is that it continues to resonate with electronic pop more than 10 years after it’s release. The filter sweeps of Grimes’ Art Angels, the dynamic shifts on Tame Impala’s Currents, the infectious repetition of Caribou’s Our Love, and the loose experimentation of Animal Collective’s Painting With- Daft Punk’s prescient album has it all. Yet despite making such a remarkable musical statement, the duo’s third helping was widely dismissed as mediocre at best.

In order to appreciate the album, it’s worthwhile considering what came before. In the 90s, electronic dance music surfaced from the underground, exploding into dozens of genres. Emerging from the French house and techno scene, producers Thomas Bangalter and Guy-Manuel de Homem-Christo quickly captured the attention of the European music press.

https://youtu.be/k5dqPiLy4uY

From the start the duo were breaking down barriers. Having arrived at a time where the general public didn’t consider producers or DJs to be “real musicians”, Daft Punk took their music out of the studio and performed it before crowds of thousands. Like many great pop bands, the duo may not have always been the first. But what they did do, they did better than anyone else.

Labelled French touch, Daft Punk’s newly minted genre was a presentable and commercially savvy take on electronic music. With an image that glossed over the more dangerous and unsavoury aspects of rave culture, it was dance music for the masses. With no small help from major record labels, the burgeoning duo’s career was soon building momentum.

By 1997, rave music fully broke into the mainstream. Daft Punk’s debut, Homework, road the crest of that wave, capturing the spirit of the time. In their wake, the pair’s amalgamation of classic funk, disco, techno and house was rapidly adopted by a host of hungry imitators.

Looking back, the release of their second LP Discovery served as an epitaph for the 1990s. Released in 2001, the album embellished the group’s trademark sounds with a glittery pop veneer. It was meticulous in terms of production and songcraft, a crystallisation of everything that had come in the decade before.

https://www.youtube.com/watch?v=FGBhQbmPwH8

In 2005, came Human After All. A humble successor to Discovery, the improvisatory LP was captured using an 8-track tape recorder over a period of two weeks. Its music was not only permeated by digital keyboards and vocoded vocals, but also more prominent guitar riffs and classic rock rhythms. Talking to Q Magazine in 2007, Bangalter’s explanation of single Robot Rock is perhaps indicative of the overall idea behind the album. “[Robot Rock] is a tribute to the power of heavy rock chords. In a way I think we were exploring if you can take the essence of rock—that power—and mix it with dance.”

The duo’s new album was also their least lauded. Rolling Stone’s Barry Walters awarded the album two and half stars out of five. He mused that the duo may have become “the victim of their own animatronic satire.” Pitchfork critic Mark Pytlik described the album as “passable and hardly special,” awarding it a paltry 4.9 out of 10. Pytlik struggled to reconcile the rawness of the LP’s rock elements with the band’s electronic roots. In his view, ragged and minimal production was praiseworthy in the world of rock, but Human After All lacked the finesse expected from an electronic band. Like many of his contemporaries, he considered the LP a poor man’s alternative to the duo’s earlier helpings. The general consensus was clear: this hybrid of dance and rock wasn’t where it was at.

But let’s not put commentators like Walters and Pytlik on the firing line. Critics simply articulate the views of the cultures to which they belong. In 2005, the garage rock revival was at its zenith and dance music was slipping back into the clubs. Dubstep was nestled deep underground, new rave hadn’t fully hit and the EDM explosion was still a little way ahead. Daft Punk’s electronica was never far removed from their rock influences but in the minds of many music fans the divisions had yet to come down.

https://www.youtube.com/watch?v=MxUGFWIIZf4&nohtml5=False

In 2016, it seems like the times have well and truly caught up. Like Human After All’s closing track Emotion, Caribou’s Can’t Do Without You from 2015’s Our Love is built around a single musical idea; a single lyrical motif repeated to near breaking point. The similarity is not coincidental. Talking with Pitchfork TV Caribou’s Dan Snaith praised Daft Punk’s earlier work. “This combination of kind of minimalism and maximalism has really spoke to me,” the producer revealed. “The first track of my new record I Can’t Do Without You is just about one repeated phrase and it’s all about building momentum out of the same chord progression over and over again, but just slowing, releasing, building…I think [Daft Punk] are just the masters of that.”

In 2015, UK producer Sophie’s debut album Product embraced trap infused power pop to what seemed like the sickening extremes. The consumer parodying music divided some critics, but it reached a broad audience. Consider Technologic’s musical elements; modulated vocals, industrial textures and lyrical hook “Plug it/Play it/Burn it/Rip it/Drag it/Drop it/Zip/Unzip it” repeated 399 times. This track paradoxically parodied and embraced consumerism long before Sophie.

https://www.youtube.com/watch?v=D8K90hX4PrE

Ratatat’s rock meets electronica sound made an imprint in 2015 with LP Magnifique. Given the album’s guitar driven tracks, squelching keyboards and vocoded sounds, there’s certainly some fingerprints of Daft Punk’s Human After All. It’s perhaps unsurprising given the two groups are long-time contemporaries, but it begs the question how the similar Human After All would have fared in 2015.

Self–produced in Ableton Live, Grimes’ Art Angels embraced a similar DIY aesthetic to Daft Punk’s. A gutsy leap from her cult breakthrough Oblivion, the 2015 album pushed Claire Boucher to further heights of mainstream success. The album is deeply rooted in the world of electronic music, yet hops genres to include more than a few guitar driven numbers.

One explanation for all these similarities is this: With the continuing onset of the project paradigm, more and more home studio-based artists are leading the charge in popular music. Grimes’ and Tame Impala’s latest releases are both highly successful examples of projects recorded with the artists’ own digital audio workstations. Today’s musicians aren’t just capturing their sounds in the bedroom; they’re mixing, mastering and getting creative with their production. As digital recording becomes more commonplace those traditional notions of capturing a ‘realistic’ or ‘natural’ recording continue to filter out. Not only in the minds of the creators, but also the listeners. Daft Punk has always played on the aesthetic of a hyper-digital future, but it’s slowly become a reality.

grimes_10-650-80

Image: MusicRadar

In 2014 came Daft Punk’s Random Access Memories. A global number #1 chartbuster, it was the thing record company execs fantasise about. Moving the group’s sound closer to their disco and funk influences, the album made numerous nods to the very genres which laid the seeds of underground house and techno music in 1980s. It was almost as if Daft Punk were giving us a knowing “I told you so.” They were hip to the artificiality of the rock-electronic divide the whole time.

Thinking back to 2005, so much of the music has passed from our fickle notions of “cool”. The new rave sounds and indie pop that flooded music festivals in a sea of fluorescent clothing seem like a distant memory. But where the music of many of Daft Punk’s mid-noughties contemporaries slips into the periphery of popular consciousness, we’re only now getting a full grasp upon Human After All. In 2016, the barriers between rock and house which the album broke down seem to have more generally subsided. Despite the initial scepticism which it was faced with, the resonance of Human After All more than a decade on suggests that it has that sliver of elusive substance which makes an album truly great, even timeless.

https://www.youtube.com/watch?v=PXYeARRyDWk&list=PLSdoVPM5Wnne47ib65gVG206M7qp43us-&index=1&src_vid=YKaN7a19jLc&feature=iv&annotation_id=annotation_277879729

The Easter weekend always throws a spanner or two in the works when it comes to organisation, so you’ll have to forgive us for skipping last week’s playlist. However, because we know you clearly wait on this to come every Friday, we have collected the best songs not only from this week, but last week too to form one big, mega, super duper playlist overflowing with stellar musical gems. Enjoy!

Thomston x Wafia, Window Seat

Newcomer Thomston has teamed up with rising star Wafia for this brand new track, and it totally blew us away. Sharp beats pierce the hazy synths, ticking away whilst a bed of atmospherics oozes below. It’s got some beautiful and passionate lyrics and vocal efforts from both artists, and shows them both off so well. It’s a pretty intoxicating blend of RnB and electro, creating a gorgeous song that will hold both artists in great stead as they continue to blow up.

Meredith, How Could You Believe That

Just listen to that voice! I was hooked from the get go, but got weak at the knees around 47 seconds when things really kick off. Meredith has been kicking around for a while, but this song is something else all together. It’s powerful, and demands you to sit up and listen- but she makes it sound so easy. Her voice almost has a hint of “I told you so” smugness as she asks the song title over swelling harmonies and explosive synths and cymbals. She’s got the experience behind her, and now she’s got the single to truly break through. Go girl!

Lupa J, Numb

Lupa J doesn’t always release new music, but when she does it’s truly something else. More than worth the wait, she has now returned with Numb; just under 4 minutes of a dreamy, electro kaleidoscopic. Turning and spinning unpredictably, Lupa J keeps you on your toes with this enchanting track. Her breezy voice is sublime as it glides across her shifting bed of noise, calming and hypnotic as it goes. Fresh from supporting none other than Grimes and taking out triple j’s Unearthed High competition for the second year in a row, it’s safe to say Lupa J is the real deal.

Nearly Oratorio, Occlude

You may recognise these vocals as those of I’lls or Kllo, due to the fact that the man behind the voice, Simon Lam, is a prodigal music wizard. Nearly Oratorio is yet another project of his, and it too doesn’t disappoint. Occlude is the latest single from his forthcoming EP, Tin, and is a snapshot into just how precise and meticulous Lam’s mind is. A more intricate song released in recent times, you probably can’t find. Layers of delicate keys intertwine whilst an almost tribal like drum beat quietly comes into play, before Lam’s Grizzly Bear-esque voice falls soft above it. It all kicks in around the 1:30 minute mark, and the gentle but hypnotic concoction of all of his elements tied together with some expert production is almost too good. Bring on the full release of Tin, because we need more of this in our lives!

Verge Collection, Class Of ’09

I really like this song because I think along these lines more often than not. Tackling spoilt brats who think they have it hard, Verge Collection ask us all to check our privilege a bit with the tongue in cheek hook, “Wasn’t high school hard?” Talking about still sucking a silver spoon whilst pretending otherwise, Verge Collection sound pretty fed up with these folks, but they make it sound so damn good with their Aussie indie sounds. Tight guitars and drums, a catchy hook and a searing guitar solo to really take things to the next level, Class Of ’09 is a fantastic track following on from the release of their debut album, Our Place. Here’s hoping we hear more of these guys soon.

Feki, Thankful

I CAN’T GET ENOUGH OF FEKI! Every single time he releases a new song, I am blown away by it again and again. Thankful once again has outdone anything he has released prior to this, making me question just how good someone really can get. Clearly working hard to hone his skills more and more with every track, Feki is quickly becoming one of the most hyped artists in the country, and it doesn’t take long to see why. Thankful is a slow burner, with atmospheric synths slowly climbing to exhilarating heights, where his signature rolling drums and vocal samples come into play. The synths and atmospherics bloom gracefully, swirling around the almost trap-styled percussion, creating a gorgeous build before the real fun begins. Thankful is probably Feki’s most beautiful track yet, delicate and gentle as it rises and falls. Don’t say we didn’t warn you that he’d take over the world!

Big Wild, Aftergold Ft Tove Stryke

Aftergold was previously released just as an instrumental from Big Wild, but now he has teamed up with Swedish pop star Tove Stryke to breathe new life into his already stellar track. Playful and fun, Stryke turns Aftergold into a sassy, boastful, confident jam. Sounding right at home over Big Wild’s jangly chimes and synth sounds, as well as his rolling drums and hard hitting booms. In fact, this new take sounds so good we wouldn’t be surprised if Big Wild didn’t venture further into the pop realm thanks to Stryke. Previously released on ODESZA’s Foreign Family Collective, we can only expect bigger and better things from Big Wild, but we can’t help hoping it’s more material with Stryke. Match made in musical heaven!

Anna Of The North, Baby

Reminiscent of James Blake, Anna Of The North’s new single, Baby, is an intimate and fragile number that gives you a vulnerable feeling almost instantly. It’s slow, smooth and forlorn as Anna pines after an uncertain lover. It’s got traces of 80’s electro with her drum machines and synths, but has been brought into the future thanks to her forward thinking production. It’s got that on edge feeling you get when you don’t know where you stand with someone, and although that’s not an easy feeling to experience, Anna Of The North captures it so well. A truly beautiful song.

Skies, Speed Boy

Now this is a jam. Adelaide synth pop trio Skies have teamed up with acclaimed producer Steven Schram (San Cisco, The Cat Empire, Paul Kelly) to lend his musical know-how for their latest single Speed Boy, and they’ve pulled it off in spectacular fashion. Sexy, smooth, and explosive in all the right places, this smoky pop/RnB number is inviting and seductive as they pull you in, bewitching you with their tight drums and excellent synth work- not to mention that falsetto. The guys have supported the likes of Tkay Maidza and SAFIA last year, and judging from the sounds of this track here, they’re ready to give it their all this year. We can’t wait to hear what they do next.

Colourwaves, Night Boat

Sydney artist Colourwaves has been doing his own thing for a little while now, so I guess you could say he’s been making waves of his own… All puns aside, this latest track sounds like a fantastic blend of the likes of M83, Neon Indian or Washed Out, melded together with his own flair. It’s woozy and lush, and takes me back to the late 00’s when things were much easier. His vocals soar gracefully over his 80’s synths and pulsing atmospherics, whilst a muffled drum beat keeps things coasting along very nicely. Night Boat is the latest taste of his fourth EP, which is set to drop this month, so be sure to take my word for it and keep an eye out for that!

Nina Las Vegas, EZY

Yassss Nina! The queen of Australian dance music strikes again with this banger. Delving further into that Jersey bounce, big room stuff we’ve heard from her in this past, this track absolutely bangs – and bangs hard. Skittering synths and huge beats combine to make it a total ear worm; a hugely exciting move from the legendary radio host/DJ. Out now on her own label, NLV records, Nina is continuing to slay making her own way as an artist in the industry, and it’s tracks like this that really bring home the message of just how good she is.

Huntly, We Made It

We recently premiered a stunning video for this Melbourne band, and they didn’t waste any time pumping out another utterly sublime track not long after. Titled We Made It, this song is just perfect. From the heavenly vocals of lead singer Elly, to the lofi RnB beats, the gentle blooming synths and more. It’s just beautiful, and wins best track on this list by far. Huntly are onto a really good thing here and I am so excited to watch what they do next. They’re launching their single on April 14 at the Gasometer in Melbourne, with Mondegreen, Corin and our favourite, Squidgenini which promises to be an unreal night. Get along if you know what’s good for you.

LDRU, Keeping Score (The Meeting Tree Remix)

This track was already huge, but The Meeting Tree just took it to the next level. With bass that would blow your speakers, they go in, taking the already dance floor friendly track into the dark, dingy club. These guys are notorious for just having fun, and that’s exactly what they’ve done here. Hitting the road again this June, LDRU is set to play some of his biggest venues yet, as he continues to acquire an almost cult-like following. Fingers crossed the Meeting Tree show up to rip into this bad boy!

Deeds, Dream Song

New Brisbane band Deeds are really fresh on the scene, but the combined years experience of each of the members puts them at veteran status- and their latest single proves it. Dramatic pianos, big crashing drums, stunning vocals and more, Dream Song is as impressive as they come for a new band. Vocalist Beau Lindsay sounds incredible, his voice bellowing as he cries his gorgeous lyrics. I think what I love most about this song is you can really feel how much time and effort has gone into it, and it really shows in how well it has come together. Deeds is a name you had better remember.

Holy Fuck, Xed Eyes

Amazing band name aside, Holy Fuck are actually so good it borders on ridiculous. Xed Eyes is the latest release from their forthcoming album, Congrats, which is out in May, and is just under 4 minutes of weird, glitchy, industrial electro punk. With heavy effects on just about everything, the band have really played around with their sound on this one, and it had me hooked from the get go. Things get really hectic with about a minute to go, and you can practically imagine the heaving crowd that would be whipped into an absolute frenzy when this one would be played live. They’ve just announced some overseas dates, so fingers crossed they set their sites for Australia VERY soon indeed!

River Tiber, Illusions (Ft. Pusha T, Prod. River Tiber, Kaytranada, Doc McKinney)

River Tiber is the latest signee to local label Good Manners, who won’t fall in the “local” category much longer thanks to their knack for signing acts that really are something else. Illusions sees River Tiber team up with none other than Pusha T, who lends a fiery verse for the otherwise blissed out track. It also has production credits from none other than living legend Kaytranada, as well as Doc McKinney, proving that sometimes more hands are better. Illusions is lofi heaven, and a rare occurence to hear King Push on such a chilled out number. Thankfully, Pusha T must have seen what Good Manners saw, and the world is beginning to see- and that is a very talented artist just about to hit his prime. Stay tuned for this guy!

Gypsy & The Cat, I Just Wanna Be Somebody Else

Gypsy & The Cat continue their triumphant return with yet another outstanding single, I Just Wanna Be Somebody Else. Providing the perfect soundtrack for that impending existential crisis, Gypsy & The Cat take things down a few levels from their all out synth jams to delve into a kind of chillwave area – an area they actually sound great in. As dynamic as you can get with a track this chilled out, the thick, buzzsaw synths of the hook paired with the quiet verses creates a back and forth not unlike the feelings and thoughts you’d be having if you were the protagonist of this track. It makes me feel okay to want to be somebody else, as long as I get to listen to this bad boy while I’m doing it.

Jenny Broke The Window, Airport Love

Jenny Broke The Window are one of those bands that you may say you’ve never heard of them before, and you’re met with a chorus of “Really?! You’ve never heard of them?!” Well, that happened to me anyway, but I’ve since learned my lesson and they quickly earned a permanent place on my radar. If you haven’t heard of them either (Seriously?!), let their latest single serve as the perfect introduction to them. Airport Love is a perfect slice of alt-pop, with breezy, airy vocals and a slowly rising bed of sounds that is added to bit by bit until you’re presented with a fully fledged indie pop tune to boogie to. They’ve locked in some pretty impressive support slots over the past few months, and by the sounds of this, things are only getting bigger and better for them in the very near future- for very good reason.

Boys Noize, Starchild (Ft. Polica)

Fresh off the press just today, Boys Noize has shared a brand new track today through Zane Lowe’s Beats 1 show. Being heralded as Lowe’s latest “World Record”, this time we see the legendary techno wizard team up with Polica for some absolutely stunning vocals. Titled Starchild, this track has a dramatic build, twinkling atmospherics and underground techno/footwork sounds that show Boys Noize is really on his A game with this new material. The track also comes with the announcement that a brand new album is on its way, and will be out in late May. Titled Mayday, it’s meant to be his “most dynamic album to date”, and judging from this and his previous track Euphoria ft Remy Banks, I’d say we are all in for a real treat come May 20!

Ecca Vandal, Truth To Trade

Ecca Vandal rules. Everything she touches rules. Her songs are so badass and unashamedly confident, she makes me want to get up and kick the day ahead in the face. Truth To Trade is no exception. With a guitar that stirs in your loins and her punk vocals not holding back even for a second, she once again gives it her absolute all here. Taken from her End Of Time EP released earlier this year, this track was a true stand out on that record, so it’s only fitting it gets its own single treatment, with a kickass clip to boot. Check out the video below, with footage taken from her Sydney show on her recent tour, and try not to break anything as you thrash around to this!

https://www.youtube.com/watch?v=-X-YsbqXNUw

It’s hard to believe that it’s been almost three years since A$AP Ferg released his debut album Trap Lord, and though he’s released two mixtapes since then, he’s always been known as the Trap Lord. Those winds may be changing soon enough though, with the A$AP Mob big gun this week releasing the cover art for his sequel, Always Strive and Prosper.

All in white, glistening in the light, this is a much more true to self side of Ferg than we’ve ever seen. Album photographer Renell Medrano recently shared some words on the album, and the continuing idea of Ferg being baptised:

“He’s always referred to as the “Trap Lord” and the “Hood Pope.” So he wanted to go for like, the new Ferg. This is him being baptised and reborn. We were going for that feel, that’s what he wanted. He kept telling me that he wants his audience to feel that this [is] a new Ferg. When you do hear the album, he talks about who he is, where he used to work at Ben & Jerry’s, his grandmother that passed away – it’s just pretty much everything.”

https://www.youtube.com/watch?v=exjgZ-a399o

He’s recently shared a list of features for the record, which will include Skrillex, Grimes, Missy Elliott, Ty Dolla $ign, Chris Brown, Clams Casino, Lex Luger, Stargate and DJ Khalil. In recent months he’s released a bunch of music as well – New Level with Future, Trap Anthem alongside Migos, an original titled Tatted Angel, and this week Let it Bang with Schoolboy Q – so it’s safe to say Ferg has been real busy. We’ve also got a date for Always Strive and Prosper, thank god, which will be dropping April 22.

Image: A$AP Ferg Twitter

Sky Ferreira has been vocal about online abuse numerous times throughout her career. Last year, she passionately wrote about how her appearance has been criticised numerous times, as well as the fact that she and so many other female artists have been harassed and abused online.

“Sexual/verbal harassment isn’t funny, it’s mostly unsettling & at a certain point intolerable…and abusive. Women like @mileycyrus@_alice_glass @actuallygrimes @charli_xcx @selenagomez @lanadelrey @azealiabanks & more shouldn’t have to be “okay” with it & should be able to remind people to respect them without it being deemed as complaining. It’s not part of our job. Our job is to simply create stuff,” were some of the comments included in the giant paragraph on Instagram.

Months later, it seems like the issue is still unresolved. Today, she has addressed the internet bullies who are now hassling her about the release of her upcoming album Masochism, assuring them that “bullying [her] on the Internet or whatever will not make the process faster.”

She let they know that “there isn’t a timeline on music or creativity” and she is hoping for “quality over quantity”. She also asks everyone to stop using the word “delay” to describe the wait for the album, which has been pushed back due to poor health and conflicting schedules.

Read all her tweets below:

https://twitter.com/skyferreira/status/711743185408512000?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711743271395917824?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711744909087080448?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711745268153065472?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711745600794923008?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711746421037240321?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711747076023914498?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711747231762685952?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711751309188202496?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711753847719337984?ref_src=twsrc%5Etfw

https://twitter.com/skyferreira/status/711754431205748737?ref_src=twsrc%5Etfw

Ferreira says she’s “excited” for the release, which is a good sign because we are too. In the meantime, she has also been working out her acting chops in the films Baby Driver and Rosy. Both will be released next year.

Sometimes being a little patience makes time go faster. If you are one the people hassling Ferreira, maybe you should try it and see for yourself.

https://www.youtube.com/watch?v=IFCZP1Nz3Ds

Image: Music Feeds