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bluebuzzmusic · 4 years

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Madeon’s Iconic Breakout Hit “Pop Culture” Turns 9 [LISTEN AGAIN]

Madeon‘s always iconic “Pop Culture” mashup just turned 9.

The smash hit, live mega mashup from Madeon released on July 11, 2011, jumpstarted his career and the rest is history. Featuring hits from Justice, deadmau5, Nero, Ellie Goulding, Britney Spears, Ke$ha, Gwen Stefani, The Black Eyed Peas and so many more, “Pop Culture” is still a banger nearly a decade later.

“This is a little idea I’ve been playing around with to implement in my set, hope you like it,” the producer shared upon the track’s release. This little idea took on a life of its own and nearly a decade later, Madeon is one of the most recognizable names in dance music.

Take a trip down memory lane here with arguably the most insane mashup of all time. Listen to his new remix of “No Fear No More” with EARTHGANG here.

Madeon – Pop Culture (Live Mashup)

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MADEON “POP CULTURE” TRACKLIST

Alphabeat – Boyfriend Alphabeat – Fascination Bag Raiders – Shooting Stars Black Eyed Peas – Gotta Feeling Britney Spears – …Baby One More Time Capsule – Can I Have A Word Chromeo – Momma’s Boy Coldplay – Viva La Vida Daft Punk – Aerodynamic Daft Punk – Around The World Deadmau5 – Raise Your Weapon (Madeon Remix) Deadmau5 – Right This Second Ellie Goulding – Starry Eyed ELO – Mr. Blue Sky Girls Aloud – Biology Gorillaz – Dare Gossip – Heavy Cross (Fred Falke Remix) Gwen Stefani – What You Waitin For (Jacques Lu Cont Mix) Housse de Racket – Oh Yeah Justice – DVNO Justice – Phantom Part II Katy Perry – One Of The Boys Ke$ha – Take It Off Kylie Minogue – Wow Lady Gaga – Alejandro Linkin Park – Crawling Madonna – Hung Up Martin Solveig ft. Dragonette – Boys and Girls Michael Jackson – Billie Jean Nero – Me and You One Republic – All The Right Moves (Danger Remix) One-T – Magic Key Ratatat – Shempi Solange – I Decided (Freemasons Remix) Stardust – Music Sounds Better With You The Buggles – Video Killed The Radio Star The Killers – Losing Touch The Who – Baba O’Riley (SebastiAn Remix) Yelle – Que Veux Tu (Madeon Remix)

Photo via Rukes.com

This article was first published on Your EDM. Source: Madeon’s Iconic Breakout Hit “Pop Culture” Turns 9 [LISTEN AGAIN]

source https://www.youredm.com/2020/07/12/madeon-pop-culture-turns-9-listen-again/

#edm #music #music production #music news #edm news

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kavat · 4 years

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Music tag

Tagged by @secretlizard ! The rules: put your favorite playlist on shuffle and list the first ten songs.

Like a punk, Adam Tensta Ramlar, Håkan Hellström Don’t stop the music, Rihanna DVNO, Justice Donuts, Namasenda Move your body, Sia Bullets, Rebecca & Fiona Kids, MGMT Pull Shapes, The Pipettes A cause des garcons, Yelle

All from my party list!

I tag anyone who feels like doing it! Yes, that means you!

#music #tag meme #whatever cat

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trespeak · 5 years

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What's your favorite house album?

Wow, that’s a toughie. Might just have to give you a list instead.

This ended up being pretty long so I’ve put all the big descriptions I wrote for each of ‘em under the cut, but here’s the gist:

Daft Punk, Discovery (2001)

Kaskade, Fire and Ice (2011)

deadmau5, For Lack of a Better Name (2009) and 4x4=12 (2010)

Phantoms, Phantoms (2017)

Justice, † (2007)

Lazy Rich’s singles

Porter Robinson/Virtual Self – Spitfire (2011) and Virtual Self (2017)

I like a lot of deep house and electro house, so most of my picks here are within either or both of those subgenres (as well as progressive house, in deadmau5′s case).

For more of my thoughts (and there are many!), see below.

Daft Punk, Discovery (2001)

Accept no substitutes. For Guy-Manuel de Homem Christo and Thomas Bangalter, making quality tunes seems to just be second nature. Their second album replaces the underground, city-street feel of Homework with a shiny, discotheque-ready sound that stands on the shoulders of giants but does so as a means of updating and widening the reach of their own influences (with “Harder Better Faster Stronger”’s use of “Cola Bottle Baby” as a perfect example thereof). My favorite track on the record, “Digital Love,” perhaps only barely qualifies as house, but between the earnestness of the vocoded lyrics and the heart-stopper of a guitar solo, I don’t even mind – who cares about genre conventions when you’re a smitten robot? It’s utterly brilliant and its era exists as the gold standard for many DP fans, myself included among them.

Kaskade, Fire and Ice (2011)

Ryan Raddon’s seventh album and the one I hold the most nostalgia for. An ambitious effort on Kaskade’s part, Fire and Ice is a double album, with original tracks on one side and remixed, chilled-out versions of the same songs on the other (geddit?). The ICE mixes are something of a mixed bag, with some having more reason to exist than others, but the Fire side of the album earns it a place here on its own, with Skrillex and Raddon giving us their own brilliant take on a classic track from Guy Manuel de Homem Christo on “Lick It,” as well as the smooth vibes of Ryan’s collaboration with his band Late Night Alumni and Inpetto on “How Long.” Another standout track: “ICE,” a big, bumping jam Ryan made with Dan Black and Dada Life.

deadmau5, For Lack of a Better Name (2009) and 4x4=12 (2010)

Oh, Joel. These days he’s earned a controversial status as full-time internet troll alongside his career as a musician, but he’s still had a palpable impact on the industry at large (pop juggernaut Marshmello more or less owes his entire career to the allure of the man in the cute mask, and while Daft Punk did it first, Mello’s own interpretation is particularly and explicitly influenced by the way deadmau5 did it). These two albums dropped when I was twelve/thirteen and still opening my eyes to the wide world of electronica, and I think they’re particularly significant as the point where I went from being a casual fan of it to a devotee, sparking an investment in the Scene® that I still have to this day. The degree of control Joel flexes over his work at its peak was unprecedented for the time and still holds up now – “Strobe,” the album closer on For Lack Of, is particularly notable in how it makes ten minutes feel like no time at all in how it builds and shifts with just a few simple, powerful elements in play at a time. “Ghosts ‘n Stuff” earned Joel and vocalist Rob Swire a crossover hit, and “Raise Your Weapon” stands as an early illustration of what the North American take on dubstep would sound like in the years to come.

Phantoms, Phantoms (2017)

Kyle Kaplan and Vinnie Pergola’s debut record is a clever mission statement for their work. Their deep house tunes are infused with pop sensibilities, placing them in company with contemporaries like Jamie xx and Disclosure as house DJs making an effort to bridge the gap between the radio airwaves and the dance floor. My favorites include “Just a Feeling” with Verite, a modody track called “Downtown,” and the utterly brilliant “Need You Closer,” a collab with Hayley Kiyoko that easily converted me into the Church of Lesbian Jesus. (Their recent work is also worth a nod as well – they’ve been building up singles to drum up interest in a new EP, including one of their best tracks to date, a driving progressive house tune called “Designs for You.”)

Justice, † (2007)

Gaspard Auge and Xavier de Rosnay’s debut record remains their best. There’s so many iconic tracks on this one: The slick vibes of “Genesis” and “Newjack,” the ever crowd-pleasing “D.A.N.C.E.,” the pumping “Phantom” and its sequel, the nu-disco sleaze of “DVNO”, and the ear-splitting delight of “Waters of Nazareth.” The record earned them a positive, if daunting, comparison to fellow French house pioneers Daft Punk, and while their work on it shares an obsession with taking diverse samples and reconfiguring them into their own image, Justice’s fascination with the macabre aesthetic of 70′s horror films and the rock ‘n roll ethos of T. Rex earned them a distinct spot in the pantheon of electronic acts with this record (as well as its followup, the different-but-still-great Audio, Video, Disco).

Feed Me - Feed Me’s Big Adventure (2011) and Calamari Tuesday (2013)

Jon Gooch was one of the earliest musicians to emerge under deadmau5′s mau5trap label, and still shines as one of its leading acts today (High Street Creeps, released earlier this year, has jams for days). While he started his career making drum ‘n bass tracks as Spor, the bulk of his work since 2009 has been under the Feed Me alias, where he’s dabbled in all manner of electronic but mostly hews close to the realm of electro house. Gooch’s experience in making complex tunes meant that Feed Me came out swinging, with tracks like “Grand Theft Ecstasy” and “Muscle Rollers” exhibiting a confidence and technical skill from the outset that most producers would kill for on their first record. By the time his first proper full length released two years later, he’d developed a consistent feel that made collaborations with indie bands (”Love Is All I Got,” with Crystal Fighters) and soulful singers (”Last Requests,” with Jenna G) feel as natural as hard-hitting bangers (”No Grip” and “Death by Robot”). Mix in a little bit of both and you get “Ophelia,” a anthemic ballad made with YADi – my favorite song from the record, and a earworm that still sticks with me six years on. Love, don’t let me drown…

and some honorable mentions!

Lazy Rich’s singles! Richard Billis is a Canadian DJ who retired from producing tunes in 2017, but for the decade or so he was releasing music, the electro house singles he released were nothing short of iconic. Songs like “Blast Off” (with Hirshee and Lizzie Curious) and “Flash” (with Hot Mouth) are energetic, breezy and danceable. There’s nothing quite like a good Lazy Rich drop; his beats hit the dance floor with the weight of a truck, and have a sonic diversity among them that would predict the electronic scene’s shift toward the dynamism of future bass. It makes me sad that we won’t get any more of them, but Billis left behind such an evergreen catalog of singles that it’s hard to be down for very long. (I used to use his remix of Zedd’s “Stars Come Out” as a theme song of sorts on an old website where you could be a DJ with your friends. The fond memories are strong with this one.)

Porter Robinson/Virtual Self – Spitfire (2011) and Virtual Self (2017) – Leave it to Porter Robinson to carve out a completely separate musical persona just to hearken back to his halcyon days as a young producer. My initial introduction to him was just after he’d emerged from the hands-up scene, while he had his eyes set on stardom through what he called “complextro,” and it was surprising to find that his work not only lived up to its genre classification but actively carved out a market for its sound, even before Porter had dropped an album. If the dubstep and house feel of Spitfire was a revelation, the DDR vibes of the Virtual Self EP are a revitalization; similar in ethos, but with an owned, Serial Experiments Lain-styled technological aesthetic. Porter does a lot of work to keep the two projects separate (even going as far as to delineate live shows between the aliases), but rather than fragmenting his work the distinction only ends up strengthening his catalog, in much the same way Jon Gooch’s work as Feed Me complements his earlier collection as Spor.

JOYRYDE’s singles and upcoming album - John Ford Jr. is an English DJ who knows what he likes: fast cars, bumping house beats, mean-muggin’ rap jams, and making tunes that blend all of the above in one way or another. His JOYRYDE project is only a few years old, emerging in 2016, but it’s very much the culmination of years of diggin’ in the crates and building a sound that blends the hip-hop influences of trap with the boogie-bounce sensibility of house. No sooner is this evident than the “parental discretion is advised” warning (and subsequent punchy opening bars) that welcomes you into “HOT DRUM,” though his other tracks (including “MAXIMUM KING” and the Rick Ross-assisted “WINDOWS”) share that kinetic energy. He’s one to watch!

Also worth your time:

Oliver’s Mechanical EP and their album Full Circle

Mord Fustang’s All Eyes On… compilations

Botnek’s singles from 2016 onward

Chris Lake’s releases with his label Black Book Records

Self Help by Walker and Royce

pretty much everything by Ellie Herring and Chrissy (Murderbot)

Fantasmas by Zavala

anything Wolfgang Gartner has made (particularly his early 2010s singles)

That’s all I got for now. If you made it this far, you’re an angel. Thanks for indulging me :)

#Anonymous #treman's world #this post took a long time and I lost it once (almost twice)#i love... house music #askhole answers

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motivandomentesmillonarias-blog · 5 years

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La satisfacción de culminar tu objetivo es de las energías más empoderadoras para seguir y dar lo mejor en todo lo que haces. Dale doble toque si te gusto ❤ No te olvides de ⤵Comentar y compartir tu opinión.⤵ 👸 #MotivandoMentesMillonarias 👑💆 🔝Motivación diaria🔝 https://www.instagram.com/p/BsqGtG-DVno/?utm_source=ig_tumblr_share&igshid=1wyrtbh63lmof

#motivandomentesmillonarias

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sirburgos · 3 years

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Justice ~ Cross (2007)

#12 "Crux ordinaria"

En la década de los 90s propuestas como Air, Cassius o Daft Punk dieron un giro a la música electrónica que inspiraría a nuevas generaciones para experimentar toda la gama de posibilidades que el French House ofrece, años después un dúo francés llamo la atención de Pedro Winter (Busy P) quien los invitaría a forma parte de la disquera Ed Banger Récords, fue en el 2007 cuando Justice lanzaría Cross, un experimento que resulta ser hijo de Human After All con bases de música disco y que no tiene miedo de coquetear con las corrientes más puras del dubstep, para muestra la apertura con Genesis y Let There Be Light, el momento pop del álbum es un homenaje a Michael Jackson con D.A.N.C.E la que posiblemente sea su canción más reconocida valiéndose de un video musical igual de llamativo, algo similar se repite en DVNO sin conseguir el mismo carisma, Newjack es un collage a base de sampleo como si fuera High Life en Discovery, la agresividad regresa con Phantom I y II, Waters of Nazareth que también tiene un video controversial, el dúo no pierde la oportunidad de amenizar el álbum con sintetizadores en Valentine y el tema de cierre One Minute to Midnight.

La idea inicial de Xavier y Gaspard era crear una opera disco, concepto que no lograrían consolidar si no hasta álbumes posteriores de los que hablaremos después, no obstante este trabajo irradia calidad a tal grado que se ha convertido en un referente de la electrónica contemporánea, es inevitable la comparación con sus compatriotas robots, esto último es algo en lo que nunca estuve de acuerdo puesto que las inspiraciones de Justice se inclinan por un sonido más rudo como el de un rock electrónico que afortunadamente funcionó mejor que las propuestas con las que siempre se les compara.

#electronic music #album covers #music #album art #daft punk #justice #french #french house #house #2000s nostalgia #2000s #alternative #indie

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edmtranslations · 7 years

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LOUD No. 168 - Justice Interview [Text Version]

(This is a text version of the full PDF-based translation that I have done, for mobile readers and non-PDF suited environments. The cover and advertisement included in the same magazine are treated in a separate post. Please enjoy!)

Justice - since they gained notice in 2004 with their essential party anthem, Justice VS Simian 'Never Be Alone (We Are Your Friends)', they enjoyed much fame as the leading unit of the new generation of French electronic music. In Japan, as soon as their EP Waters of Nazareth ('06) had debuted, their rocking musical and fashion sense soon brought them into the glory of the limelight. Last year, they released their debut album † (Cross) which subsequently gave rise to club hits such as 'D.A.N.C.E.', 'Phantom Pt. II', 'DVNO' and 'Stress'; this year, they visited Japan for Summer Sonic in August and GAN-BAN NIGHT in October, again demonstrating their incredible popularity.

Now, under the directing efforts of Romain Gavras and So-Me, they have announced the release of their first filmed work, A Cross the Universe. This monumental work couples their American tour that took place in the spring of 2008, captured in a sixty-minute documentary film (DVD), as well as the full seventy-five minutes of their their San Francisco live performance (CD). As Justice themselves have stated, the film is 'an excellent example of what happens when dozens of men get into trouble for a straight month'; Justice and the Ed Banger crew are depicted with brutal honesty throughout. Such is A Cross the Universe, the work that captured without reservations all kinds of happenings. In this interview, we spoke to Xavier de Rosnay and Gaspard Augé of Justice about the mysteries birthed by the work, as well as what they could mean.

— First, please tell us about the documentary! What were your reasons for setting your North American tour as the backdrop of the film? Xavier de Rosnay: The first reason was that we'd never filmed anything over such a long period before. Like, for example, for a whole year... The American leg of the tour happened to take place over twenty days, so we thought we'd be able to film that in an aptly compact way. And the second reason was that every time we went back and forth between the USA and Canada, we could experience all of the four seasons. Unthinkable in almost any other country.

— That's true. Xavier: This tour began in the West Coast of America, and it felt like spring there - but cross the border to Canada and we were right in the middle of winter! It was so cold! Then we moved towards the East Coast and then it felt summery all around. You move around just a little, and everything down to the season and the surroundings change - how could we not film that? Even in Europe the scenery barely changes throughout the year.

— I knew it! Xavier: And I guess we were... kind of anticipating something big to happen? You know, just because it was America? That feeling was strong in both of us. We supposed that if we were going to film this, we might as well choose a location where a lot of things were bound to happen.

— The documentary truly did end in a rather rock-and-roll fashion, it felt that the behind-the-scenes aspect of the tour was laid out bare. This may be a rather direct question, but wasn't it overtaxing a little, showing off your darker sides, or were you genuinely all right with it? Xavier: I see what you mean, and yeah, we were. (Laughter.) And in addition to that, the parts where we limited ourselves... I mean, I guess... they did exist... Basically, no scene in this documentary was forced. It was filmed according to the meaning and value of what was actually there. So anything that was repetitive was edited some, but otherwise we showed it all, whether we were unsightly at the time, miserable, or being complete idiots. The terrible habits we showed in the documentary might well have been, uh, illegal... Gaspard Augé: Ahahahaha. Xavier: But right now it's 2008, and from the present perspective, I don't think there's a problem.

— It's an attitude that still suits your appearance in the work [A Cross the Universe] immensely. Xavier: Thanks a lot. Though we did have to follow regulations some. Like, for example, we had to edit out everything that showed an alcohol brand name. There’s a regulation that says that any scene or footage depicting alcoholic beverages have to be blurred out; but honestly, I never heard of anything so ridiculous. If you saw a video where somebody was drinking a thing, and if it was all blurred out, wouldn’t it be more obvious upon watching it that they were consuming alcohol?

— You're right. (Laughter) Xavier: And also, there was the rule that you couldn't show a woman's nipples. But seriously! Who goes through life without ever seeing a nipple? If you blur that out, you'd be like 'oh my God, these are nipples, all right!' for sure; isn't that more lewd? (Laughter) And if you blurred out a woman's panties, it'd probably look like she wasn't wearing any. It's a real paradox, that. Censoring such things make them more grotesque than if you'd just let them be!

With the Cross

— Returning to the topic at hand, what ideas did the mutual director of the project - Romain Gavras - contribute to the making of this work? Xavier: He was the director, if anything it's us who tossed small ideas towards him. Of course we participated in the production, but this documentary wasn't produced in a pre-structured way. Romain and So-Me had a bunch of videos and images they took of the tour, and we connected them afterwards to craft the scenario [for the documentary].

— I see! Xavier: The work led them to create some interesting methods of operation, which might have meant that Justice wasn't at the forefront of things. There's a lot showing the tour manager - you know, the gun maniac - and the tour bus driver, and that was their idea. Romain and So-Me were the ones who decided to film them, so they did. And as a result, I think the documentary ended up a lot more entertaining than it could have been.

— It wouldn't have been as entertaining without the driver or the tour manager, no! Xavier: That's sort of why the camera wasn't on us a lot of the time. (Laughter) And during our live performances, Romain was always next to the stage and So-Me always in the innermost parts of the venue. The differences in camera angle from them both, as well as what they chose to focus on, really helped to lend a new depth to the work.

— In addition to that, the title A Cross the Universe seems to be a homage to the Beatles' Across the Universe. Whose idea was the title? Gaspard: From yours truly. A Cross the Universe seemed like the most fitting title to what happens in this documentary. Xavier: Having such a simple and effective title is what helped to complete this documentary, no lie. What's the most memorable thing in live Justice performances, it has to be the cross. And we - ourselves and our staff - sure are roaming the universe with a cross in tow!

— Did Gaspard also come up with the stage structure as well? The cross, the martial amps - the hard rock-esque atmosphere? Gaspard: That's different. We came up with that together. But as you said, that stage set was inspired by the hard rock feel of the seventies. We had some help regarding the theatrical light effects from a fellow member of staff who'd actually worked in theatre, as well. I think that restorative, monotononous mood was exactly right for our overall image. Xavier: Everyone seems to think that Gaspard's in charge of the metal and I'm in charge of the disco and pop, but that's not the case. As Justice, every idea we produce is something that the two of us discussed together beforehand. There's no one factor that only one of us is in charge of.

The Evolving Live Sound of Justice

— Please tell us about the live CD, which is also at the heart of the film. The live CD gives the feeling that what you play live is very different to what is on the original album ([Cross]). Xavier: That's right.

— How do you feel that Justice's sound has evolved through your live performances? Xavier: Eh... how our musicality's evolved over time, you can probably tell at sight from all the grey hairs we've got. We can barely goddamned breathe nowadays! Gaspard: Hahahaha! Xavier: Or all the hidden kids we fathered all across the universe... (Laughter) Things like musicality are influenced by our spiritual world, too, most certainly... I mean, we're forgetting how to speak French. For real, it's all growing dim. All those things are probably reflected in our live sound in some way.

— Back to the serious discussion. (Laughter) How much ad-libbing is there on average in your live sets? Xavier: Almost none, we barely touch it nowadays. This tour's taken eighteen months in total, and for the first few months, we sought the best format for our performance through trial and error, but around halfway through we felt deep in our hearts that we'd completed the best set we could possibly make right now. And we've played that arrangement ever since.

— Why is that? Xavier: We're a team: the sound engineer, the lighting staff, everyone moves as one. Someone ad-libbing in that scenario would break down everything we worked so hard for, wouldn't they? Our live performances, therefore, are all based around the thought - how complete can we make it? And if you think about it, someone who saw us live in Tokyo today is unlikely to see us live again in Berlin tomorrow. That's just a part of it, but we're always trying to make each performance the best that we can.

— I see. So what's on the CD must be the best set you've played until now! If this is so, where was it recorded? Xavier: The San Francisco live. From March to September this year we've recorded something like seventy to eighty live performances, but only the five or six recordings that we thought were the best made it through. It's a far more perfect set than the one done in Summer Sonic this year, by the way. Festivals, you can't skimp out on.

— What was your favourite thing about the San Francisco performance? Xavier: We made a few little mistakes here and there, but I think we had the most excellent chemistry with the audience there. We recorded this performance with the mic stood in the audience section, that was completely intentional. You know, the weirdly bootleg-like feel. By the way, we actually thought that the live performance in Belgium was the absolute best for us personally - but the audience was so loud that none of that could make it into the CD! (Laughter) They were screaming, like, 'kyaaaa~' for over fifteen minutes straight...

— What a shame! Then, before we bring this to a close, please tell us about your future plans! Are you working on any new songs? Gaspard: Nah. Xavier: We were busy editing [A Cross the Universe] as soon as the tour was over, after all.

— Are you taking a break for a while? Xavier: Nah, it's not about that. We've had our break, as you might have guessed from the film - while we were touring, it was exactly like being in holiday, all the time. (Laughter) I feel as we've mucked around for an entire year and a half, to be honest with you. Thanks to that, we're actually geared up to put some genuine work in at the moment!

Disclaimer: The original text of this interview and associated material, given by Justice and printed in LOUD Magazine in 2008, is not copyrighted by this blog nor by the author of this post. Therefore, the original Japanese text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.

#justice (band)#xavier de rosnay #gaspard augé #gaspard auge #a cross the universe #loud magazine #loud 168 #loud no. 168 #text version #luminatranslations #edmtranslations #interview translations

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