November 27, 2012 § Leave a comment
After her 2007 release of her breakout third album Good Girl Gone Bad, Rihanna received international stardom and scored number one albums all around the world – except the United States.
Well, the Bajan beauty can finally celebrate a U.S. chart topper with her current album Unapologetic! Her seventh album just made it to number one on the U.S. charts and her single “Diamonds” is dominating the airwaves. This week, she sold a total of 238,949 copies.
Even Rihanna was shocked, exclaiming on Twitter:
Wait!!!!! What the FUCK?!!!! #UNAPOLOGETIC just debuted at #1 in AMERICA!!!!! My first number 1 album there!!! Thank you Navy, u deserve it
This just may be a sign that the signer is finally coming into her one and becoming more accepted as a serious artist.
November 23, 2012 § 10 Comments
It may come as a surprise, but Rihanna has been in the music game for seven years. This year, she recorded her growth in her seventh album Unapologetic. Despite all the controversy surrounding her and her personal life, on November 19 Rihanna showed the world how Unapologetic she really is.
The CD opens with “Phresh Out The Runway”, a heavily auto-tuned track with a buzzing beat. The lyrics are slightly inaudible, but ones that stand out are: “How could you be so hood, but you so fucking pop? How could you be so fun, and sound like you selling rocks?” The #RihannaNavy will eat it up.
Following is “Diamonds”, the hauntingly beautiful track that displays a more mature Rihanna, with its departure from her uptempo pop tracks. Since its release in September, the song has become incredibly infectious.
“Numb” finds Rihanna partnering up again with rapper Eminem. The Bhangra-inspired track is repetitive and has no substance. It is quite possibly one of Eminem’s weakest verses of his career – he tries to bring back Slim Shady but fails. Be sure to keep the blunt lit when listening.
Ratchet RiRi emerged a few months back, when the singer began to promote marijuana and strippers more than ever. “Pour It Up” is the continuation of Ratchet RiRi, where she boasts about her endless cash while channeling Chris Brown’s rap flow. It is her version of Juicy J’s “Bands A Make Her Dance” (it is created by the same producer Mike Will Made-It).
Rihanna gets caught up in a love game with “Loveeeeeee Song” – where her velvety voice suggestively caresses the rhythm. It is a seductive track best played while you inch closer to your partner in the club with drink in hand. Guest feature Future’s bathwater gurgles were unnecessary on this track; they completely take away from Rihanna’s alluring and confident vocals.
With the swagged out “Jump”, the Ginuwine interpolation is genius and the slight Aaliyah influence in Rihanna’s cool tone is evident. Electronic DJs will definitely be using it in their club mixes. “Right Now”, produced by David Guetta, is a made-for-radio pop song. It tries to be a “Where Have You Been” – it is current but unoriginal.
November 20, 2012 § Leave a comment
The Prodigy’s 1997 album The Fat of The Land was known to bring electronic music to the forefront. 15 years later, the band’s influence can still be heard in today’s music scene.
To celebrate its 15th anniversary, The Prodigy is planning an album re-release that will include remixes from their greatest hits.
“Smack My Bitch Up” is one of The Prodigy’s most known songs, and Major Lazer took the role of remixing it into trap-house gold.
Check it out below:
The album will also include remixes from renowned electronic acts like Baauer, Noisia, Alvin Risk, Zeds Dead and the Glitch Mob.
Look out for the re-release of The Fat of The Land coming December 4.
November 19, 2012 § Leave a comment
With “Diamonds” quickly climbing the charts, Rihanna’s team is keeping the momentum going by releasing the remix featuring fellow ROC Nation member Kanye West. Yeezy drops a boastful verse with a flow that is reminiscent of his earlier rap days.
Unapologetic is in stores and available for download on iTunes today.
November 19, 2012 § Leave a comment
After the shocking news of Nicolas Ghesquière leaving Balenciaga, rumours sprung that Christopher Kane will be taking the creative director’s place. While this hasn’t been confirmed yet, the pot continues to stir as the Scottish designer is now parting ways with Donatella Versace’s line Versus.
The house of Versace announced the news today, also stating that Donatella Versace will regain creative control of the brand. Style.com writes:
Rather than remain a traditional fashion collection shown on the runway in Milan, it will transition to become a series of capsules and limited-editions, shown during special events wherever and whenever the spirit may strike. The first will take place in New York this Spring. An e-commerce store for Versus is also in the offing for next year.
The designer said today in a statement that, “the time has come to dedicate all my focus to the future of the Christopher Kane label.” Kane has been the creative director for Versus since 2009.
Photo Courtesy of: Style.com
November 19, 2012 § 2 Comments
Lana Del Rey’s debut project Born To Die set the music industry in a frenzy when it was released last January. After the controversy died down, the singer proved herself and made people want to hear more. On November 13, Paradise was released – an EP with nine new tracks. Born To Die focuses on the bravado rhythms and melodies, but Paradise finds the singer expanding on her lyricism – painting a delicate picture of a melancholic girl ready to break at any time.
The EP begins with “Ride” – a somber booming ballad that is perfect for a classic Americana soundtrack. At one point the singer shouts “I’m tired of feeling like I’m fucking crazy!”, a line that strikes a heartfelt chord that will be felt by many who are fighting with their selves. The cinematic song sets up the tone for the of the record.
“Cola (Pussy)” is the track everyone was dying to hear after the singer released the controversial teaser snippet. She sings about being the “other woman” – “I know your wife, but she wouldn’t mind.” Her breathy sex kitten voice gives nostalgic hints of a 2003 Britney Spears. The track plays up Del Rey’s suggestive Lolita person, that falsetto she hits towards the end of the song shows a more confident artist.