One Love

admin — Fri, 08 Jan 2010 09:00:00 +0000

French DJ and producer David Guetta’s One Love is a dream come true for dance and electronica fans who like hip-hop too. With the smash hits “When Love Takes Over,” featuring Kelly Rowland on vocals, and the auto-tune-saturated “Sexy Bitch,” with Akon, Guetta has placed himself at the forefront of what seems to be a new movement of hip-hop artists showing up on dance records.

Guetta went beyond his strong club fan base and reached a wider audience in 2007 with the hit “Love is Gone,” which got the attention of other artists His collaboration with the Black Eyed Peas on “I Gotta Feeling” resulted in his first number one single in the U.S. The boring FMIF remix is on One Love, along with two other appearances from Will.I.Am: “On the Dancefloor” (also with apl.de.ap of the Black Eyed Peas), is perfect for club heads with its pulsating beat, but the chaotic and annoying “I Wanna Go Crazy” goes nowhere. The same can be said for the Ne-Yo and Kelly Rowland song “Choose.”

In an interview with a British magazine a few months ago, Guetta said he kept hearing from so many artists who felt “trapped in a formula” and were “looking for the music of tomorrow.” He called the sound they began to develop, this mixture of dance and hip-hop, “electro-hop.” Cause for concern if you’re a hip-hop fan worried about the direction our beloved art form—already in trouble—is taking.

Guetta’s work with Kid Cupri on “Memories” is actually worth hearing, although the real standouts are the title song with Estelle’s smooth vocals, and the still hard to resist “When Love Takes Over.” (Is it the backing piano lifted straight from Coldplay’s “Clocks?" Could it be the pleasantly predictable buildup?)

In that same interview, Guetta says that dance music in America has for many years remained a “black, gay underground thing,” but that’s changing now with artists like Kanye West and Timbaland borrowing from house music—an interesting statement since it can be argued that house music was birthed from hip-hop. As one of those concerned hip-hop fans I mentioned earlier, a little “borrowing” doesn’t worry me, but overkill does. Guetta’s mission to resurrect dance music and rule American pop is clear. The future of hip-hop, if too many of its artists ride the “electro-hop” wave, is not.

Written by: Natalie Maxwell, January 8th 2010

Layourbattleaxedown

admin — Thu, 14 Dec 2006 23:14:00 +0000

By The Concretes

Astralwerks

The Concretes are Swedish and adorable. They also have a band name that is part cool ("the" is so money) and part tough cookie (you get it...). Which has nothing to do with the music, really, but come on; you and I have both picked up CDs because of a cutesy band name or cool cover art. Most of the time our whirlwind expenditures result in creepy death metal rock operas or grandma music, which then result in another set of beer coasters. The Concretes, though, deliver every time, even when they're releasing a b-side album to get some stateside love. And a collection of b-sides is exactly what the space bar challenged Layourbattleaxedown seems to be. Now children, just because you liked that one song that was in that Target commercial that one time, don't go branding these Swedees (like sweeties... but you know, Swedish) your new favorite band. I mean, you can, but know what you're getting yourself into. The Concretes rely on languid lyrics, gauzy rhythms and the occasional wail of church organs to get the party started. If anything, Belle and Sebastian better watch their backs. For those who eat, sleep and shit rock and roll, you will cry if exposed to this CD, and not because you were taken to another level or some such junk. If it's just not your thing, it's cool; we understand. It's my thing though, and any member of the band can contact me on my tin can telephone.

Written by: Nicole Sonsini, December 14th 2006