Summer 2020 music: the new albums to listen immediately

Thanks to the restrictions imposed by the lockdown, many artists have made a virtue of necessity and have closed themselves at home – or in the studio – to produce and record beautiful music. But what will be the summer songs, surely the most atypical of our lives? What the catchphrases that will make us dance, albeit spaced and equipped with a mask? Difficult, very difficult to say: during phase 1, the radio ratings dropped significantly. But even in this next transition phase, Music promotion has never been so difficult: due to festivals and concerts stuck in the pits, but also to the cancellation of the so-called events in the store firmacopie. Yet, as mentioned, is out and about to get out of beautiful music: that’s why the need to host a space dedicated to our favorite releases on the pages of Tips Clear.it. Waiting to be able to dance again embraced.

At home with Tips Clear: music playlists to listen to at home

MAYA JANE COLES, WOULD YOU KILL (4 ME)?

How it was born Would You Kill (4 Me)?, and what does it represent for you and your artistic growth?
This was a rather spontaneous and playful release for me. I had done some cut of vocal samples and a part seemed almost to say “kill somebody“… At that time I had just done indigestion of the series” Killing Eve “and probably the theme of the murder was present in my head. In short, it was a funny idea that came out in a very spontaneous way.

From the musical point of view how would you describe this project?
It is club music, with a somewhat dark mood, but at the same time it has that ascendant I don’t know, the usual contrast that I try to create with my music: I like to create a chiaroscuro between dark and melancholic elements , and others lighter and more cheerful.

© Copyright 2018. All rights reserved.

What is the track with a good story to tell?
I remember when I originally made “Magic Piano“, the third track of the EP. I had made an approximate mix, literally half an hour before going out for a date of mine at Fabric in London. I hadn’t had time to make a mixdownnor had I had the chance to listen to it again with a cold mind, so it made me nervous enough to play it in front of such an audience. But then, just before the end of my set, I decided to put it as the last piece. I have had such an amazing response since Crowds, which made me understand that that track had something special. It’s always great to receive that kind of gratification with a track just made. There is no better feeling

Is there anyone you would like to dedicate this song to?
I would say that I dedicate it to my longtime fans, since many have told me that the sounds of this release remind a little of the productions I made a long time ago. My sound is still evolving and there is something new and fresh inside, but I always like to revisit my old stylistic canons, while maintaining the essence of when I started making club music. And I hope that this release will make me find many new fans along my way!

LOLA LENNOX, BACK AT WRONG

How it was born Back At Wrong, and what does it represent for you and your artistic growth?
I wrote Back At Wrong in LA, I lived there and spent my days writing songs and going to the studio. On that particular day I wanted to write a song about the intense relationship I was experiencing at that time when music could describe this passionate and tumultuous love. Publishing this song for me has been like a point of arrival, I have been making music for years and releasing this single is like the culmination of all the work and the effort I put into it, hours of rehearsals and hundreds of songs written on the piano, I am really happy to share my world and my vision with others.

From the musical point of view how would you describe this project?
I like to create a balance between nostalgia and modernity. Back At Wrong it has blues roots and grit but basically it’s a pop song with catchy melodies and a fresh sound. I wanted the music to reproduce the chaos of my relationship and musically has unexpected moments, ups and downs, like on a roller coaster.

Lola Lennox © Kevin Roldan

What is the story of the song?
For me Back At Wrong it is a photograph that captures the story and emotion of a crazy chapter in my life. I was in a relationship as dysfunctional as full of passion and despite the constant clashes we could not stay away. I think most people have gone through a story like this, many carry the baggage of those experiences, and this song is about the wounds that remain in the heart.

With whom (and how) did you collaborate during the making of the single?
I wrote Back At Wrong with Dan Muckala and Ben Scholfeild in Los Angeles and the disc was produced in Nashville. My mom, Annie Lennox and her boyfriend Braeden Wright co-produced the single, it was all very natural, they know me better than anyone else and when we got together in my home studio the music came out very spontaneously. And then I was delighted to work with a genius sound engineer, Spike Stent, who mixed the song.

Is there anyone you would like to dedicate this song to?
I dedicate this song to anyone who has felt humiliated or hurt because of someone. This song is about how to regain your voice, recognize your value and fight for the respect it deserves.

CHARLOTTE DE WITTE, RETURN TO NOWHERE

How it was born Return To Nowhere, and what does it represent for you and your artistic growth?
I’ve always been attracted to the power of vocals, and I wanted to use choral and ancient interpretations once again in my tracks. A couple of years ago, I made a song called “Varpulis“, created with the Gregorian songs. This contribution has proved to be an inspiration for the entire EP. I am very satisfied with the project as a whole: I think it shows a more versatile side than me. In particular, I believe that”Return To Nowhere“is probably one of the best tracks I’ve ever made.

From the musical point of view how would you describe this project?
I dare say it is what people would expect from me: it is definitely made for the dance floor, with a different “twist” to my previous productions.

Charlotte de Witte © Marie Wynants

What is the track with a good story to tell?
I would say that all the tracks of the EP have a good story to tell. The use of those voices turned the whole creative process into something rather emotional. Especially the last track of the EP, “What’s In The Past“, sometimes it can really move me.

To whom do you dedicate Return To Nowhere?
Difficult not to mention the strange period we are experiencing. Many people, and the whole world have suffered, and are suffering a lot. So I would like to close with a message of hope. You’re not alone. We are all on the same boat: better times are coming.

FRAH QUINTALE, BANZAI

How it was born Banzai, and what does it represent for you and your artistic growth?
Banzai was born from the need to tell a few things that happened to me between the release of my first album (Regardez Moi, ed) and this first part of 2020. This side of the disc contains autobiographical stories and lighter pieces, for me it represents a turning point in the search for sounds.

From the musical point of view how would you describe this project?
The sound is closer to the RnB and to a blacker sound than the previous work, I wanted to try to get away from the Italian indie and to make the project as personal as possible, from the instrumental sounds to the use of the voice to the entire artwork of the project.

Frah Quintale © Valentina De Zanche

What is the track with a good story to tell?
In my opinion, Hallucinations (feat. Irbis37) is a beautiful cross-section of the friendship between me, Martino (Irbis) and all the guys of his collective. The song tells about a psychedelic evening that ended at dawn somewhere in Milan.

With whom (and how) did you collaborate during the making of the album?
As for production, I relied as always on Ceri, with me also on all previous works. In addition, there are Bruno Belissimo, Crookers and the microphone IRBIS37 (young talent of the Undamento house). Collaborations are born in a very spontaneous way, sharing the same musical vision is fundamental but it is above all the human side that makes a collaboration special. I prefer to work with my friends than to have the name of the moment on the record.

To whom do you dedicate Banzai?
I dedicate it to those who need to change their skin continuously, to those who are trying to change things in their lives, to those like me who feel the constant need to discover, discover and renew themselves.

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