Wednesday, November 14, 2018

ZAN Unleahes The Groovy Tune 'SALAFI SECRETS'

Allow us to introduce you to musician ZĀN, an Australian/Pakistani artist taking up homeland space currently in Perth. Now, this new tune is not only electrifying but it uniquely intertwines of a melding of modern and futuristic electronic style. Lush funky and  jazzy the name of the new ditty is called "Salafi Secrets."

ZĀN’s ‘Salafi Secrets’is his tale of being a proud gay individual dealing with being the black sheep within the Islamic community. His fight for freedom folded into withholding his own secrets that are near and dear manifesting the song title ‘Salafi Secrets’.

Liberation, truth, and obscurity beautifully launch a bold and groove-tastic tune. Press play on thee ItsNotYouItsMe hit parade ‘Salafi Secrets’.

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SALAFI SECRETS. 💛streaming on all platforms! thank u / shukriya to everyone who made this one happen. Especially thank you to @ronanchapple , @mattgiomusic & will for doing your magik helpin me get my sound out! Thank you to @tariqalkhater for the beautiful art and for the photo! This song means so much to me - its called Salafi Secrets. If you don’t know what that means / that’s ok. my journey has been through lots of things I understood and didn’t undersrand, and revealing who I truly am to the world made it all the more amazing/challenging/crazy because of it. This song is for that journey and the people still on that journey. Stay true to yourself and eventually it won’t matter what Secrets u got in the closet in the back of ur room. Queeristan zindabad ! Triple J Unearthed Spotify Apple Music Tidal Bandcamp Soundcloud Youtube . . . . #queeristan #SALAFISECRETS #zan #electronicmusic #newmusic #triplej #brownsugar
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Muse's Fast Fused "Propaganda" Official Lyric Video

We are digging this forward-thinking experimental new music from Muse thanks to their new album's 4th track entitled "Propaganda". Lead singer Matt, has described having a 'speech impediment' where when he puts a "P and R together makes the phonetic sound of a 'PW'.

According to reports, Matt wanted to make a song in where he 'exploited this to the maximum', thus, creating the yummy and hypnotic 'Prop-prop-propaganda' chorus! Matt wrote Propaganda when he was driving one day, and he had an idea which he recorded into his phone singing the namesake title.

Matt has also shared about the tune, “We had this sort of Prince thing going on. My voice is not a traditional rock voice, so with my falsetto, I like to go down the Prince route. That is what that song is really. It’s influenced by hip-hop and funk. Jumps out as being influenced by the American beat. A slow, almost hip-hop type beat”.

Muse who co-produced with Timbaland worked at a distance. Matt was in L.A. while Timbaland was in Atlanta.  He sent the song wanting Timbaland to make it sound more urban-contemporary. When Matt received the song back, it contained several in-depth layers and interesting loops which after inspired the group to add more things to it.

Get into the radical groove and hear the innovative futuristic urban rock sounds of Muses' new "Propaganda" lyric video!

Juliette Lewis Hilariously Cries To Britney Spears To 'Save Us' In IG Post

Juliette Lewis is an authentic rock goddess chanteuse and today her natural feel-good time energy has transcended onto her latest Instagram video post.

Yesterday afternoon, thee wildly exuberant and electrifying stage entertainer whipped it, flipped it, and said hayyy to all her 700,000 plus followers. Grooving out in her vehicle to now other than Britney Spears. It was Brit's underground/club hit tune “Work Bitch” that had Lewis in a rock n roll frenzy freak out.

Juliette excitedly hollers, “Simpler times!” while jazzing out sans makeup and an untamed hair do. Lip syncing the lyrics to the song quite impeccably so, Juliette desperately yearns and begs for  Britney to “save us” while exclaiming out “Is Satan controlling the universe?!”

Dig out the crazy sexy cool IG video post right below (and pss, make sure to sidestep to the 2nd video in the slideshow).

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Chance the Rapper, Cardi B & T.I. to Judge Netflix's 'Rhythm + Flow' Hip-Hop Competition Series

Cardi B, Chance the Rapper, and T.I. are coming to a Netflix produced singing competition near you!

"Netflix isn’t shying away from marquee names for its first music competition. The streamer has landed Cardi B, Chance the Rapper and T.I. for Rhythm + Flow, a 10-part hip-hop talent search that is set to debut in 2019.

The project has an impressive musical pedigree, also hailing from John Legend and his Get Lifted Film Co.

Cardi B, hip-hop’s current reigning queen, is no stranger to reality television. The 26-year-old performer rose to fame on VH1’s Love & Hip Hop: New York. Chance the Rapper has also been expanding his portfolio beyond just recording, starring in the 2018 horror-comedy Slice and hosting an episode of NBC's Saturday Night Live. (For his part, T.I. is also something of a reality fixture, having appeared in a variety of vehicles across the Viacom portfolio on MTV, VH1 and BET since 2009.)

The reality push at Netflix has been a significant one, with hits such as Queer Eye for the Straight Guy, but it has thus-far skirted shiny-floor shows like the ones that have dominated traditional TV for the better part of the last decade. That seems to be changing: In addition to Rhythm + Flow, the streamer also has a big culinary competition on deck with The Final Table.

Rhythm + Flow comes to Netflix from executive producers Legend, Jeff Gaspin, Jesse Collins, Nikki Boella, Jeff Pollack, Mike Jackson and Ty Stiklorius. The series intends to find and foster undiscovered hip-hop talent in multiple cities. Cardi B, Chance the Rapper and T.I. will serve as the three main judges, though additional artists and industry personalities will be announced in the run-up to the premiere.

Rhythm + Flow is being produced by Jesse Collins Entertainment, Get Lifted Film Co. and Gaspin Media. The three main judges also will receive exec producer credits." -

Whatever You Like - Live Your Life (T.I. ft. Rihanna)(VMA 2008) from joaoantonio on Vimeo.

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Repost Worthy 1 Year Ago Today : ItsNotYouItsMe Album Spin - Gorillaz

Gorillaz has returned to our world with their fifth studio album Humanz. The album is a mix of 
Electronic, R&B & hip hop sounds with some pretty impressive collaborations such as Grace Jones and De La Soul. If a full new album wasn't enough, be sure to check out the Gorillaz videos that accompany the animated band members.

Check out our 6 ItsNotYouItsMe Album Spin picks below from Humanz.

The Number Ones: The Beatles’ “Hey Jude”

It's time for your daily dose of The Fab Four!

"The Beatles – “Hey Jude”

HIT #1: September 28, 1968

STAYED AT #1: 9 weeks

“Hey Jude” remains the Beatles’ biggest-ever hit, the one that stayed at #1 for the longest. It’s also a document of the moment that the band finally started coming apart for good. And from at least one perspective, it’s a song about that fracture — one band member wishing a warm and only slightly premature farewell to his greatest collaborator.

In the spring of 1968, John Lennon separated from his wife Cynthia, leaving her for Yoko Ono. Paul McCartney felt bad for Julian, John’s five-year-old son. He went to visit Cynthia and Julian, to check in on them. And when he was on that trip, he came up with the idea for “Hey Jude,” thinking of it as “Hey Jules” at first. (He ultimately liked the name “Jude” better.) Julian didn’t learn until he was a teenager that the song was about him, but he also has memories of being closer with McCartney than he was with his own father.

So McCartney, by most accounts, wrote “Hey Jude” to comfort Julian. But John Lennon heard something else in the song. Years later in interviews, Lennon said that he thought the song was about him — that it was Paul giving him his blessing to go off with Ono and to leave the band behind him. For that matter, Paul McCartney had only just broken up with his longtime girlfriend Jane Asher and taken up instead with his future wife Linda Eastman. So maybe he was singing the song to himself.

In any case, the Beatles were not in the best shape when they recorded “Hey Jude.” McCartney and George Harrison got into a bitter argument over what Harrison’s guitar should be doing on the song. (McCartney won, probably fortunately.) Four days after the single was released, Ringo Starr quit the band, only coming back after his bandmates tracked him down on Peter Sellers’ yacht in the Mediterranean and convinced him to return. Producer George Martin, who always indulged the band’s whims, was uncomfortable with the idea of a seven-minute Beatles single, worrying that radio wouldn’t play it. Lennon correctly told him, “They will if it’s us.” (To be fair, Richard Harris had hit #2 earlier that year with the even-longer “MacArthur Park,” which would’ve been a 6.)

But even though the Beatles were coming apart when they made “Hey Jude,” even though they only had about a year left, they sound like an indestructible unit on the record. They recorded the song during their White Album sessions, and they were confident enough in their abilities to follow McCartney on his big idea, to play that song with conviction. McCartney’s piano is warm and soulful. The backing harmonies are soft and angelic in an intimate sort of way. My favorite thing about the song might be Ringo Starr’s drumming, which has a light and effortless sense of syncopation. Starr doesn’t come in until near the song’s one-minute mark. They’d started that take without realizing he was in the bathroom, and thus the cliché of the drumless power-ballad intro was born.

So “Hey Jude” is the Beatles at the top of their game. It’s a song that instantly conjures massive singalongs, one that echoes down through history. It’s a song that millions upon millions of people love. I am jealous of those people. I am not one of them.

Look: “Hey Jude” is a good song. Clearly. It’s got a great central melody. It’s got that piano, and those backing vocals, and those drums. It’s got a refrain that we can basically sing the moment we’re born, one that’s imprinted on us. It artfully deploys its orchestra, finding a new grandeur with those gorgeous horn drones at the end. And yet there are things about “Hey Jude” that just bug the shit out of me.

Every last entry in this column is fully subjective, and I don’t expect you to agree with it. That’s my disclaimer for saying that I really, really hate the way McCartney yells “Jude Judy Judy Juday aaoow-wow!” at the 3:59 mark. That’s a pure nitpick, but I wince every time I hear it. McCartney’s imitated Little Richard exhortations are stiff and forced, and they do nothing to help this song that he’s written. (I probably would’ve rated this thing one point higher without them.)

And does the song need to be seven minutes? When it launches into that na-na-na outro, it’s a stunning goosebump moment, but then they keep hitting it over and over for another four minutes. They do things to keep it interesting, little compositional tricks that keep it changing throughout. Depending on my mood, I can get swept up in that endless refrain. Usually, though, by the time the song ends, I’m restless and numb. I shouldn’t feel that way. Maybe it’s my fault that I feel that way. But that’s why I’ve never fallen completely for the song the way so many others have.

GRADE: 7/10

BONUS BEATS: Wilson Pickett’s raw, nasty Southern soul cover of “Hey Jude” came out later in 1968 and had an absolutely molten pre-Allman Brothers Duane Allman on lead guitar. It peaked at #23, and I like it better than the original. Here it is:

Wilson Pickett’s highest-charting song was “Land Of 1,000 Dances,” which peaked at #6 in 1966. It would’ve been a 9.)

BONUS BONUS BEATS: The most I’ve ever enjoyed “Hey Jude” was when I saw Wes Anderson’s 2001 movie The Royal Tenenbaums in the theater. During the intro, narrator Alec Baldwin is giving the backstories of all three Tenenbaum kids while Mark Mothersbaugh’s Mutato Muzika Orchestra cover of “Hey Jude” plays on the soundtrack. At the climactic moment where the na-na-na bit kicks in, Richie Tenenbaum sends his pet falcon flying through New York, and it’s just beautiful. Here’s that moment:

THE NUMBER TWOS: Mary Hopkin’s Paul McCartney-produced “Those Were The Days,” a cover of a Russian folk song, peaked at #2 behind “Hey Jude.” (In the UK, it was a bigger hit than “Hey Jude.”) It would’ve been an 8. Here it is:

The Crazy World Of Arthur Brown’s freaked-out shock-rocker “Fire” also peaked at #2 behind “Hey Jude.” I don’t know if I would’ve rated it any higher than 7, but I’m glad it exists. Here it is:" -

The King Energy: Julian Schneyder Poses for Man About Town

"Top model Julian Schneyder teams up with fashion photographer Mariano Vivanco for The King Energy story coming from the pages of Man About Town‘s Winter 2018 – Spring 2019 edition. In charge of styling was Way Perry, with set design from Trish Stephenson, and art direction by Mooks Hanifiah. Grooming is work of hair stylist Alain Pichon, with makeup from beauty artist Adam De Cruz." -

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