Watching the video for Labrinth's new video "Earthquake" is a bit like moving through a real-life video game. Featuring wild CGI animations, a transforming Cherry Cooper, futuristic soundscapes and wildly booming boomboxes, the video contains just the right amount of bold imagery that the song requires. It's a perfect fit for the larger-than-life sonics of the song that demonstrate Labrinth's uncanny ability to create contemporary pop tunes that are both forward and very now.
One of my favorite moments in the video is when Labrinth appears dressed as a modern-day Obi-Wan Kenobi who finds a moment of Zen before he transforms into one gigantic sonic creature that spits out none other than Tinie Tempah who sets the tune on fire with his spitfire rhymes.
After "Let The Sun Shine" and Labrinth's previous, chart-topping collaborations with Tinie Tempah, this new single firmly positions the vibrant new pop Jedi Knight as a flaming new force to reckon with. Let the music be with him.
In a behind-the-scenes video, the Mario Bros-playing, Star Wars-loving artist producer explained a little bit more about what inspired the concept for the video. "It's definitely a performance based video," he explains. "Effects, energy, loads of performance. It's me affecting my environment with music. That's basically what I do as a producer, as an artist. It's the perfect video for the song."
Arjan catching up with Far East Movement on tour back in August (source)
Fresh off their summer tour with Lil Wayne, Los Angeles' downtown bass heads Far East Movement are back in the studio with their pals of The Stereotypes to wrap up tracks for their much-anticipated second album. The group has kindly shared details with me about this new effort and I even spent some time watching them work, create and get bass in the studio. Things are extremely exciting and I will share more tidbits about that in due time.
Recently, Far East Movement's Kev Nish, Prohgress and J-Spliff sat down together with three Billboard Magazine editors to have some yummy Korean food at Park's BBQ in downtown Los Angeles. The group spoke candidly about the making of their second album and shared a few exciting new details.
Fueled by the group's fresh new creative juices, Far East Movement is built around the "heavy trunk bass sound for the dance floor," according to Kev Nish. He also told Billboard that the "majority of the album is going to be the L.A. dirty bass sound," which is a massive, banging club sound that truly is mighty dirty good.
Besides their longtime collaborators of The Stereotypes, Far East Movement has also been working on album tracks with a very impressive slew of hitmakers, including producers David Guetta, Bangladesh, Cherry Cherry Boom Boom (aka Cherrytree Records founder and president Martin Kierszenbaum), will.i.am and RedOne. Yes, indeed. Very exciting stuff.
The group also talked about a tune they recorded with fellow Interscope artist Rye Rye that they intend to perform at the forthcoming Cherrytree Records Pop Alternative Tour in Canada. Billboard earlier reported that Far East Movement second album is scheduled to be released early 2012. Stay tuned for more details.
Collin McLoughlin brings on the goosebumps on his gorgeous new "Chasing Dreams." The coming of age ballad is a bonus track to his new EP, titled "Stark Perspectives," that will be released on November 1. "Chasing Dreams" was co-written and produced by Suns of Society and Danny King who plays his piano arrangement in the video that comes along with the song, which was shot and edited by Jon Kilmer.
McLoughlin showed us his chops earlier on covers he recorded of Swedish House Mafia's "Save The World" and David Guetta & Sia's "Titanium," but it is fantastic to hear some fresh new material from this very talented newcomer.
McLoughlin injects his emotionally-honest and heartfelt performance with an authenticity and intensity that serves up an inescapable melancholia that is not only wonderful, but also truly moving.
His EP "Stark Perspectives" outlines McLoughline's recent musical journey and experimentations with electronic music. "I fell in love with the infectious rhythms and strong melodies of the genre," McLoughlin writes. "I subsequently spent several months trying to pursue that style of music as a vocalist, largely due to the fact that I truly loved the genre and thought it worked well for a live atmosphere."
The singer took it a few steps further and challenged himself to find a way to combine electronic production stylings with his acoustic singer/songwriter perspective. McLoughlin explains, "After spending countless hours messing around with production I had the idea to incorporate my two favorite genres together into what I saw as an innovative sound, combining the elements which I felt drove the success of my covers (acoustic) and the synth driven sounds of electronic dance music."
He adds, "I spent the summer learning the basics of production, in an attempt to create the best arrangements surrounding the acoustic driven songs I had created." Stay tuned to this blog for more about the remarkable new talent that is Collin McLoughlin and in the meantime treasure that gorgeous "Chasing Dreams."
It's safe to argue that everything young hitmaker Benny Blanco touches these days turns to chart gold (and platinum). After producing massive hits for people like Katy Perry, Britney Spears, Ke$ha, Wiz Khalifa and Maroon 5, it looks like Blanco will continue his winning streak together with Jamaican dancehall superstar Sean Paul.
Blanco produced Paul's brand-new and verrrrry catchy single "She Doesn't Mind" that is taken from the singer's forthcoming new studio LP. Blanco adds his signature spit and shine to the track, cranking out a tightly-produced and finely-tuned pop concoction that is a perfect match for Paul's exuberant delivery and that oh-so infectious "uh oh, uh oh." The song is like a blast of summer that is sure to heat up the dark days of winter with its hip-shaking quality.
"She Doesn't Mind" is paced by Blanco's slapping and punctuating beat, which is a fresh, chart-savvy take on traditional dancehall rhythms that once again underlines the producer's knack for crafting an airtight groove.
In a video interview earlier this year Blanco talked a little more about his production style. "It should be simple," he explains with a smile. "There's so much shit going on in a song. The vocals come first so you want the track to be underneath but hop out when it needs to." I'm curious what he cooks up next while we watch this new track flame right up the charts. (Watch the entire interview here.)
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