Yungblud has shared a re-worked version of his track ‘Parents’, featuring a 19-year-old fan from TikTok.
The new version features Liverpool-based Chloe Noone, who was invited to Liverpool’s Parr Street Studios by Yungblud to collaborate on the track after being chosen from a list of thousands.
Speaking about the process of choosing Noone for the appearance and creating the track together, Yungblud said: “Parents is very much the anthem for my fan base and when I saw it was re-emerging on TikTok I asked them if I should get an artist to remix it and who should that artist be. Then it occurred to me, this song is about us, it is a celebration of individuality and a celebration of the determination of my generation so i thought fuck it I’m gonna release a record with one of my fans because this song is about my fans.
“I found Chloe Noone, a 19 year old from Liverpool who in her verse is singing so passionately about equality for women, it just jumped out to me and especially right now is something people need to hear!
“I love Chloe and her family are amazing, I can’t wait to bring her out on stage to sing it with me. Yungblud is about destroying the barriers between me and my fan base, we are one!”
Listen to the new track and watch a video about its creation below:
Of the experience, Chloe added: “This whole experience has just been surreal. I have been a fan of Yungblud for a while now but I never expected my verse in the ‘Parents’ duet to get much attention let alone being called up by Yungblud and asked to feature on the track. I honestly thought it was going to be a very long time before I was part of something this professional and legitimate.
“I’m so grateful to Yungblud and his whole team for making my dream of being an artist see the light sooner than I expected. Thank you from the bottom of my heart!”
The new version of Yungblud’s ‘Parents’ comes after he shared a new collaboration with KSI called ‘Patience’ last week. Elsewhere, the singer appeared with Avril Lavigne to perform ‘I’m With You’ on The Yungblud Show.
If there’s one thing we’ve learned over the course of the COVID-19 pandemic, people have been extremely board.
Following a massive blizzard that trapped hundreds of cars on highways and left some parts of Colorado buried in two feet of snow, one intrepid snowboarder saw an opportunity. A local man named WesHughes decided to head to the fabled Red Rocks Amphitheatre, where he snuck in for a once-in-a-lifetime opportunity to board down the snow-covered venue.
Skiing and snowboarding are not allowed at Red Rocks, according to the Denver Parks and Recreation Department. Ergo, Hughes was eventually escorted off the property by the venue’s security team, but not before shredding powder down the entire amphitheatre.
Check out the video below, courtesy of Hughes’ Instagram.
Skrillex, TroyBoi, and Virtual Riot, among others, have scored slots on the Justice guest list. Justin Bieber‘s sixth studio album, due March 19, will notably bear both Skrill’s and Virtual Riot’s touch on its opening number “2 Much.” Skrillex’s flourish extends to two other Justice tracklistings, “Somebody” and “Loved By You,” the latter of which also calls on Burna Boy. Ryan Tedder receives writing credits on “Somebody”; Jon Bellion is credited as a co-writer on “Loved By You.”
TroyBoi will assist on a Justice bonus track. Features outside of the electronic scope include Daniel Caesar, Chance the Rapper, Khalid, Giveon, The Kid Laroi, and Benny Blanco. View the Justice tracklist below.
Justice tracklist: 1. “2 Much” 2. “Deserve You” 3. “As I Am” feat. Khalid 4. “Off My Face” 5. “Holy” feat. Chance the Rapper 6. “Unstable” feat. The Kid Laroi 7. “Interlude” 8. “Die for You” 9. “Hold On” 10. “Somebody” 11. “Ghost” 12. “Peaches” feat. Giveon and Daniel Caesar 13. “Love You Different” 14. “Loved by You” 15. “Anyone” 16. “Lonely” feat. Benny Blanco
A TikTok user has gone viral thanks to his impersonation of Tool frontman Maynard James Keenan – watch the clip below.
The video sees user ragerbrown1979 thrashing around topless, mimicking the unique onstage antics of Keenan – also of Puscifer and A Perfect Circle. “Doing the Maynard,” he wrote as the caption.
Soundtracked by a slice of heavy Tool-inspired rock, the footage also includes the message: “Can’t take a Tool fan to the club they gone be doing this shit.”
Since being uploaded earlier this week, the video has registered more than 26,000 ‘likes’ on TikTok where it has been shared over 3000 times.
Last month, Maynard James Keenan revealed that he contracted coronavirus for the second time late last year. He said last October that he was still suffering from lung damage after he tested positive for COVID in February while touring with Tool in Australia and New Zealand.
Keenan then caught the virus again last November, leading to him being hospitalised the following month. “Ugly, ugly. Couldn’t breathe,” he said of the experience.
Tool’s most recent album, ‘Fear Inoculum’, came out in 2019. In a five-star review, NME wrote: “If you’re wondering whether ‘Fear Inoculum’ was worth the wait, then the answer is yes. If you’re wondering whether it’ll touch your heart, soul and spirit, the answer is also so.”
Puscifer, meanwhile, released their fourth record ‘Existential Reckoning’ last October.
As the NFT mania rages on, famed house music producer and FriendShip founder Destructo has tossed his sailor’s cap into the ring.
The renowned music entrepreneur’s foray into the NFT space is an unconventional one. He has minted his music video for “Bassface,” a single released back in 2017, into a trippy 3D visualizer designed by visual artist Shin. According to the artwork’s bidding microsite, the owner of the rare 1/1 NFT “will have guest list access to all Destructo’s land based shows for life.” Destructo also confirmed the unique prize in a recent tweet.
Destructo’s “Bassface” auction will conclude at 9:30PM PT (12:30AM ET) today, March 16th. You can place your bids via Foundation, a popular marketplace for NFT sales. At the time of the article’s publication, “Bassface” has a high bid of 1.969 ETH, or $3,552.59.
After gifting listeners with a full EP in 2020, Zack Martino has returned to the release circuit with a new single, “Lonely With You” alongside Jay Mason. The producer’s music gained considerable momentum in a short period of time due to Martino’s ability to float between mainstream appeal and satisfying house production, with catchy vocal construction at the forefront.
Throughout “Lonely With You,” a delicate melody coats the sonic bedrock of a subtle piano curtain that builds into a progressive house drop. Martino’s characteristic progressive energy, a quality that initially attracted his core fanbase, remains intact in his latest, and Mason’s vibrant vocals assist in rounding out the track.
“Lonely With You” is out now via Armada Music. Stream below.
Architects have announced details of their UK arena tour for 2022.
READ MORE: Architects: “People will recoil in horror at this record – and then find they actually like it”
The metalcore titans will hit the road early next year in support of their acclaimed ninth album ‘For Those That Wish To Exist’, which was released last month.
They’ll kick off the run of dates at Leeds’ First Direct Arena on February 22 2022, before winding up at Cardiff’s Motorpoint Arena on March 1. You can check out the dates in full below.
FEBRUARY 2022 22 Leeds, First Direct Arena 23 Glasgow, The SSE Hydro 25 Nottingham, Motorpoint Arena 26 London, Alexandra Palace
MARCH 2022 01 Cardiff, Motorpoint Arena
The dates come after ‘For Those That Wish To Exist’ became the Brighton band’s first UK Number One album, beating Maximo Park to the top spot.
Celebrating the news, Architects’ vocalist Sam Carter paid tribute to their late bandmate Tom Searle, who died in 2016.
“I cannot begin to tell you how much this means to us,” Carter said. “Thank you to every single person who bought this record. We love you so much and we could not have done this without you.
“To have an album that connects this much, with what we’re talking about – trying and pushing for a better world – it’s unbelievable. As ever, everything we do is for Tom Searle, our brother.”
In a four-star review of ‘For Those That Wish To Exist’, NME said that the record “pushes Architects into unexplored territory and a bold new future where even bigger venues and audiences surely await.”
This is an opinion column. The thoughts and viewpoints expressed are those of the author, Marsh.
It’s September 2017. I’m standing at Heathrow Airport, a suitcase full to the brim. I’m about to say goodbye to my family, friends, and work, emigrate to a new country, and marry my American fiancé Maddy. Little did I know, I was embarking on quite the rollercoaster. In the next three years, I am going to fulfill many of the dreams I’d poured my life into, while, at the same time we’d have our hearts ripped out by the unexpected passing of Maddy’s Mom, Carme.
This is the journey to my sophomore artist album Lailonie, the “safe place” where, over the last three years, I’ve been able to process and unpack my life through writing.
My name is Tom Marshall. I’m a 28-year-old Cincinnati-based dance music producer, DJ who goes by the stage name Marsh. I’ve released two albums, numerous EPs, and have performed at esteemed venues on both sides of the Atlantic, including Printworks London, The Brooklyn Mirage, and The Gorge, Washington.
When I arrived in the States, I felt very out of place. I had no social security number, no driver’s license, no car, no friends close by. I wasn’t legally allowed to work and I had no studio – my studio was on a boat somewhere mid-Atlantic, making its way to me. I’d spent the good part of 2017 perfecting my debut artist album ‘Life On The Shore’, released on Silk Music in June right before emigrating so, in a way, it felt nice to have a break from writing.
Maddy and I spent ten days exploring Hawaii on our honeymoon and two weeks building IKEA furniture. Life was good. The studio finally arrived in Mid October and I was back to writing.
My heart has always been in music and though I loved my job in the UK, I couldn’t face getting another office job. I’ve always said I’d be happy to scrape by if it meant doing music full-time. But to scrape by in music, you need to play shows, and to get shows, you need to be backed by a label that venues go to for their bookings. There are thousands of electronic music labels but there is only one that ticked all my boxes.
I’ve closely followed Anjunadeep since its launch in 2005 and have always felt that it was the true home for the music I was writing. Their releases process every human emotion in an authentic, raw and honest approach. At the heart of every release, there is a consistent theme of soulful, emotional music. Anjunadeep is also one of the only labels in this niche world of deep and progressive house music that can actually create an opportunity for an artist to begin touring. But how to work with Anjunadeep was my biggest challenge. I’d already spent years trying to get an opening with the label, but none of the music I had sent seemed to work for them.
Come December 2017, I sent five fresh demos, different from anything I’d written so far. I believed strongly in the music I had sent but this was a pivotal, make or break moment. If I could land music on the label I might be able to make music my living—but my Green Card application was being processed and I knew that as soon as that arrived, I’d have no excuse but to “get a real job.”
I’d almost lost all hope, but after weeks of waiting, I woke one morning, and there in my inbox was an email from Anjuna. They wanted to sign two of the tracks I’d sent: “Black Mountain” and “Soul.” They had given me the opportunity of a lifetime and I’m still pinching myself about it today.
Fast-forward one year to September 2018. Anjunadeep had just emailed, giving me plans for the long-awaited release of “Black Mountain.” Maddy and I were approaching our first wedding anniversary and had come to Estes Park, Colorado for a week’s hiking in that glorious scenery. We’d found the most beautiful AirBnB and had the fridge filled with a week’s worth of groceries. We had so much to celebrate.
Then, at that moment, came a phone call from the hospital in Cincinnati to say that Maddy’s Mom, Carme, had been brought in. She was in a coma and they didn’t think it likely that she would pull through.
We got the earliest flight home and spent the next few days with Carme in the intensive care unit. It was as if time had stopped. On September 11th, 2018, we had to say goodbye. No one should have to say goodbye to their Mother so young as Maddy was. Just like that, our lives were flipped upside down. We’re still processing and healing from this loss, which has been incredibly difficult for us both to unpack. I have watched Maddy battle this trauma while working as a nurse, caring for children with cancer and blood diseases. She’s been incredibly brave, continually growing, blossoming and it’s a privilege to have her as my wife.
We live in a world with so much going on and we all process emotion in our unique ways. I think it’s important to have a “safe place” where you can go to catch your breath, process life, and grow. The studio is my safe place. I sit down with an empty project, start tapping away, jamming on the keys, and in that moment, my head seems to connect with my heart. I’m able to process, feel, and release emotion that has been bottled up. I’ll find myself opening up to all kinds of emotion—not always sad but expressing the whole of my life experience. This is how the story of Lailonie began to unfold.
“Leilani” is a Hawaiian word meaning “heavenly flower.” Maddy’s Mom, Carme gave her own unique spin of the word, giving Maddy “Lailonie” as a middle name. The album is a series of snapshots taken at different points over the last three years. Lailonie has been my way to process everything.
Anjunadeep
All sorts of emotion are packed into the album. There are tributes to the memories created by “Florence” Terrace, the quaint house I lived in whilst at University, and to “Beech Street,” the road we have lived on for the past three years. There’s the feeling of infatuation explored in “Over & Over,” “Lailonie” and “Amor.” Then there’s processing the many hard ways I’ve had to grow in married life: The feeling when you’ve given everything but it “Wasn’t Enough,” the feeling when you’ve let someone down or you’ve been let down by someone else when they said they would be “There For Me.” There is the awe of seeing incredible waterfalls and scenery in Iceland in “Foss” and also the pain of loss expressed throughout the album but given specific focus in “Carme.”
One theme that stands out to me is that feeling when life has all become too much and we’re crying out for a “Healer.” Both Maddy and I have been in this place independently and together through our marriage but we have concluded that the only ‘healer’ that has actually made any difference in our lives is Jesus. He’s transformed our minds, filled a void that nothing else in life seems to fill, and continues to heal our souls from the pain of losing Carme. He is the fountain of hope and joy that spills into my creations and keeps me going.
Ultimately, I will always strive to be real with the people that enjoy and support my music. With Lailonie I feel like I’ve opened up and had the opportunity to process some of the deepest things going on in my life through the music. I hope the album resonates with people and if it brings any joy or healing, I’ll be a very happy man!
K-pop superstars BTS have snagged yet another Guinness World Record with their chart-topping hit ‘Dynamite’.
The organisation on Twitter that the boyband had snagged the record for ‘Most simultaneous viewers for a music video on YouTube Premieres’ with over three million concurrent viewers. They record, which they jokingly called “the worst kept secret in history”, was revealed yesterday (March 16) through their social media accounts.
Check out the tweet below.
The worst kept secret in history ?@BTS_twt‘s record for the ‘most simultaneous viewers for a music video on YouTube Premieres’ has now been confirmed, with the 2020 single Dynamite clocking up over three million viewers.
Although the music video for ‘Dynamite’ came out in August 2020, the organization had to wait for YouTube’s confirmation on the viewer count in order to confirm BTS’ recent world record.
Last year, Guinness had confirmed that BTS set the record for ‘Most viewed YouTube video in 24 hours’, ‘Most viewed YouTube music video in 24 hours’ and ‘Most viewed YouTube music video in 24 hours by a K-pop group’ with the ‘Dynamite’ music video. The clip had garnred over 100million views 24 hours after its release and, at present, has more than 928million views.
The seven-member group also holds other Guinness World Records titles, such as “Most viewers for a music concert live stream” for their online concert ‘Map of the Soul: 7 – The Journey’ and the “Best-selling album (South Korea)” for their seventh studio album ‘Map of the Soul: 7’.
The boyband recently performed ‘Dynamite’ at the 2021 Grammy Awards, where they were also nominated for Best Pop Duo/Group Performance for the same song. However, the group ultimately lost out to Lady Gaga‘s collaboration with Ariana Grande, ‘Rain On Me’.
Los Angeles-based label Ghetto Ghetto Records has unveiled its latest album, a monster compilation of must-listen house jams called Miami IV.
True to form, Ghetto Ghetto once again does a brilliant job alchemizing hip-hop and house music, blending the genres into a signature cocktail all their own. The style has been embedded in the label’s sonic tenet since its inception in 2017, and they’ve since grown to become a bona fide underground tastemaker. In fact, the Miami series is Ghetto Ghetto’s oldest compilation, according to the imprint’s founder, JulianRagland.
“We use [the Miami series] as a launching platform for artists that we have our eyes on to jump-start their relationship with us and introduce them to our following,” Ragland said. “If you go back you’ll see a ton of artists that probably were somewhat unknown in the bass house world, and then after appearing on the compilation went on to do an EP for us and make their mark in the space and do great things in the community.”
Ghetto Ghetto’s Miami IV compilation features Rich DietZ, Stanley Kubrix, DiploMatt, and SHAW, among many others.
c/o Ghetto Ghetto
Ghetto Ghetto’s status as a tastemaker was only reinforced with Miami IV, a 14-track song-cycle of menacing house bangers. A surefire standout of the compilation is “Freak and Dance,” a tech house chest-thumper from Rich DietZ and Stanley Kubrix. Driven by its funky bassline and an earworm of a vocal refrain, “I came to party / Came to freakin’ dance with my friends,” the track functions as an aural middle finger to the isolation contrived by the COVID-19 pandemic.
“When I made the ‘Freak and Dance’ bassline, I knew we had something; simple, groovy and driving. That is the key, for me at least,” Kubrix said. “When Rich DietZ added the vocals and did their thing with the track as well, we found that sweet spot that highlighted both our talents!”
Additional standout cuts from Miami IV include SHAW‘s “Back Room,” a quirky yet nasty G-House tune, CANDL and DISTAPE‘s minimal bass house beast “Death Void,” and BERK and OffPeak‘s anthemic house bomb “Solitary,” the latter of which represents a “full circle” moment for its creator. “Ghetto Ghetto has always been on my radar since I started releasing music under two years ago,” said BERK, a young beatsmith from New York. “Their catalog also makes up a majority of my set list during live performances. I’ve taken a ton of inspiration from Ghetto Ghetto tracks to create my own, so seeing it all come full circle like this is a really great feeling.”
You can listen to Ghetto Ghetto’sfull Miami IV compilation below and find the record on streaming platforms here.
To keep up with Ghetto Ghetto and its stellar catalog, bookmark their official blog. Fans can expect the label to floor the gas pedal in 2021, according to Ragland.
“We have a full schedule for 2021,” he said. “We have some amazing EP’s coming down the road, including the return of Seb C, we have the second installment of our Ghetto Ghetto x Fraudulent Records collaboration, a sub 49 Collaboration, and our 4-year anniversary compilation. All in all, we have a super packed schedule and are thrilled to keep it going!”
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