Justin Bieber’s #MusicMonday campaign has already churred out a couple decent tunes, namely ‘All That Matters’ released this week. And with the exception of the songs douchey video, which sees Beebs doing his best Chris Brown impersonation on the Great Wall of China, it’s already proving to be a smart market research idea (we’ll get into that another day). In any case, Netherlands based producer Jeftuz has served up a remix that takes what was already a strong slow jam into a slightly more musical affair. Not much has changed, but the subtitles that he’s applied help to push the track into an even stronger place.
Rihanna really doesn’t give a shit whether you like her or not and for better or worse, thats pretty impressive. Especially considering her superstar status. Her attitude basically gives her license to do whatever she wants – smoke blunts on instagram, get back with Chris Brown, make this ‘Pour It Up’ video. Arguably one of Rih-Rih’s hardest joints to date (to be fair her ‘big choons’ list is ridiculous at this stage) and near enough everyones favourite Fenty anthem, the songs video was always going to be exxxactly this. And why wouldn’t it be? Watch Rihanna pay homage to pole riding athletes around the world werking hard in clubs, donning a ratchet blonde wing and not much else, making it clap and rain.
Bless you Rihanna and thank you. #pouritup #pouritup.
Pusha T’s long awaited, early anticipated debut album My Name is Pusha T is a week away from being released and as has become tradition and in light of any potential (or rather unavoidable) leaks it’s being served up as a full stream via Myspace. The feature heavy album sees Pusha collaborate with Chris Brown, Rick Ross, The-Dream, Kelly Rowland, 2 Chains, Big Sean, Pharrell, Kendrick Lamar and others. And with production from Kanye West, Hudson Mohawke, Swizz Beatz and of course (?!) Joaquin Phoenix – it’s doubtful you’ll be disappointed.
Virginia’s favourite sons team up as Pusha T enlists Chris Brown for ‘Sweet Serenade.’ Produced by Swizz Beatz, the haunting track sees King Push at his menacing best over an understated beat supplemented by choral chants, whilst Breezy delivers a sombre, restrained hook. Along with ‘Numbers On the Boards‘ from earlier this year, the single is another strong taster from Pusha’s forthcoming album My Name Is My Name out on October 8th.
Pusha also just released the artwork for his solo debut, the first of which you can see up top, find the second after the jump.
Future Brown is the new musical outfit which brings together Fatima Al Qadiri, Nguzunguzu & J-Cush and ‘Wanna Party’ is the groups debut collaborative release. Featuring the braggadocios steeze of Chi-town rapstress Tink and some serious swirly, bell-heavy production – this goes hard. Tuck in below.
Catch Fatima Al Qadiri tonight at XOYO along side Evian Christ, Arca, Lil’ Silva & Sampha…
Continuing a string of relatively cringe-worthy interviews for Revolt, producer Timbaland has spoken (again) on the potential release of a new posthumous Aaliyah record. Having already aired his opinions on the matter, Timbo rather unsurprisingly reiterates that new music without him at the helm “will never work”, saying “Chris Brown got a record [with Aaliyah sampled], it won’t work. Drake can go and do a record with Aaliyah, it ain’t gonna work. Aaliyah music only work with the soulmate, which is me”.
There are undoubtedly millions that will agree with Timbaland’s sentiments here, but it might be worth remembering that Aaliyah consciously worked with new producers throughout her career and specifically on her self-titled third and final album. Perhaps Aaliyah wasn’t as defining or as iconic as One In a Million, but it is an album that for many stands as her best body of work.
Still, regardless of personal opinion on how Aaliyah compares to the singers former work, the decision to step away from Timbaland and Missy Elliott at that stage in her career is something that is usually (and perhaps naively) overlooked entirely. In retrospect it appears that Aaliyah got a genuine buzz from working with new producers (a fact she reiterates in many interviews during that period) and lets not forget Tim and Missy were virtual unknowns at the time they recorded One In a Million.
With that in mind it’s difficult to completely agree with Mosley’s sentiments that new music without him would “never work” because the fact is an album without him (for the most part at least) already did work. Timbaland was credited on 3 of 15 songs on the Aaliyah album (‘We Need a Resolution’, ‘More Than a Woman’, ‘I Care 4 U’) and at the time of its release Aaliyah received widespread critical acclaim – although admittedly it did sell significantly less than it’s predecessor at first.
If a new Aaliyah record was to ever see the light of day (and at this stage it seems unlikely it ever will, which is probably for the best) it would be wholly appropriate to have Timbaland & Missy involved, however given their recent outputs (or lack thereof) and current position in music I’m still not apposed to having a new (carefully selected and relevant) producer at the reins. You probably know where my vote goes.
The Revolt interview also reveals a new track produced by Timbaland for Nas featuring Jay Z & Justin Timberlake called ‘Sinatra In the Sand’. Tim excitedly compares Timberlake’s performance to that of Frank Sinatra – take that as you will.
Chris Brown is not shy about making terrible unpopular decisions, but sampling R&B’s holy grail is by all standards brave. It is not a decision any artist, especially one as divisive as Brown should take on lightly. Not only because there’s a very real and probable potential for (genuine) backlash but because she is not here to defend her legacy and therefore anything done in her name should be done with the utmost respect and intention. And although honestly speaking ‘Don’t Think They Know’ isn’t as bad as it could have been, it is not good, strong or important enough to validate the use of such a sacred sample. Brown offers nothing particular interesting on his part, in fact and rather unsurprisingly the most interesting thing about the entire record is… Aaliyah. People didn’t respond too kindly to ‘Enough Said’ (… we did), I think even fewer will react well to this.
According to recent interviews Chris Brown channeled a lot of Michael Jackson, Sam Cooke and Stevie Wonder during the recording sessions for his forthcoming album X. I’d love to know what he was listening to when he was on that Guetta wave… I digress. MJ’s influence on Breezy’s career has been obvious from day one and while to an extent that’s cool and completely understandable – it is a bit worrying now. Despite great (albeit surprising) production from Diplo and a strong melody/vocal performance from Brown, ‘Fine China’ fails to demonstrate any originality, a fact that unfortunately ruins the entire experience. Also a sentiment not lost on his cringe new video either.
We’ve all come to know Chris Brown the ‘singer and dancer’, but will we ever meet Chris Brown the ‘artist’? I’m not convinced.
A$AP Rocky takes a big leap into his inevitable superstardom by joining Rihanna on the official remix of her latest single ‘Cockiness (Love It)’. What’s more Rocky is also rumoured to bewill be joining Rih-Rih on stage at the MTV Video Music Awards this week – nice headway towards that debut album promo. It’s no ‘Birthday Cake’, but hey, A$AP’s verse makes up for that.
‘Wildest Dreams’ is the newest single taken off Brandy’s upcoming Two Eleven comeback album. Unlike her Chris Brown featured lead single this demonstrates a more developed sound, but frustratingly still fails to completely commit to the contemporary edge required to ignite real interest in her forthcoming album. At best ‘Wildest Dreams’ sounds like a moderately confident album track but sadly fails as a single. There just isn’t enough for “new fans” to latch onto here and ultimately that’s Brandy’s biggest hurdle – she doesn’t need to convince her loyal following of her talent, she needs to translate that into something relevant for the generation below her.