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Sofia Carson on Acting and Writing Music for Netflix’s ‘Purple Hearts’: ‘It’s Very Exciting to Have Entered This Stage of My Career’

When Sofia Carson was cast as Ava Jalali in Freeform television series Pretty Little Liars: The Perfectionists, she had no idea the experience would have such a pivotal effect on her life.

She had already established herself as a multi-hyphenate artist. As an actress, she had co-starred with the likes of Dove Cameron and other soon-to- be-household names in the popular Disney Descendants TV movie franchise, as well as starred in a number of other projects. She was also making waves as a singer-songwriter.

Carson and Liz Rosenbaum, one of the episode directors of the PLL spinoff, which began taping in 2017 and aired in 2019, struck a deep and immediate connection, vowing to work together again. During filming, Rosenbaum handed Carson their next project.

“I remember it vividly,” Carson, 29, says. “It was around Christmas time 2017, and she came up to me on set one day and handed me a script and said, ‘Merry Christmas!’ The script had purple hearts drawn on the cover.”

That was the working script for Purple Hearts, which debuts on Netflix today (July 29) and follows the unexpected relationship of struggling singer-songwriter Cassie Salazar (Carson) and newly enlisted Marine Luke Morrow (Nicholas Galitzine). The only thing they have in common is their desire to get away from their struggles.

“Liz told me when she handed me the script that she wanted to embark on this journey together,” Carson says. “It’s more than just director and actor, but partners.”

Carson has spent the past four years not only bringing Cassie to life, but serving as executive producer of the Netflix film — and co-writing and performing several original songs for the soundtrack, which also came out today on Hollywood Records.

As the script was being revised, Rosenbaum relied on Carson’s experience as a songwriter to inform how Cassie would approach her music. “I was most definitely writing from Cassie’s point of view,” Carson says. “Liz asked me how I write songs and when inspiration hits. I would tell her that sometimes [I] might be driving and I have to pull over to the side of the road and start writing something down, based on something that just happened to me.

“We wanted to kind of capture that essence for Cassie, that inspiration would hit based on the things that were happening to her in her life,” Carson continues. “I was so lucky that I got to live with Cassie, with their love story, with the script for four years.”

Purple Hearts and its corresponding soundtrack is not your typical boy meets girl story. When viewers meet Cassie, she is singing on stage with her band The Loyal as the audience sings along to their rendition of Neil Diamond’s classic “Sweet Caroline.” As The Loyal leave the stage (or forced off by the bar owner) we learn that Cassie and her bandmates are also the servers.

A group of Marines, including a friend she used to babysit, arrive with Luke in tow.

While Cassie and Luke’s “Will they/Won’t they?” storyline is not new, these characters face a much more complicated journey. The odds of a love match between the pacifist daughter of an immigrant who is appalled that the US is still in Iraq and a son who believes going to war is a safer bet than facing his retired Marine father with a disturbing secret leads to some major struggles.

They marry for the insurance benefits, but find themselves falling in love as their world, divided by red and blue ideologies, blends together to turn their hearts purple.

Carson says that the idea of writing songs for a soundtrack, especially from someone else’s view and a story not her own, was daunting. Carson’s first choice of collaborator was Justin Tranter, best known for his work with Lady Gaga, Justin Bieber, and Gwen Stefani.

“I had, of course, been writing songs since I was eleven years old, but for myself, from my point of view… songs that came from my heart, not someone else’s,” she says. “I was so tremendously lucky that I had Justin to be my co-writer in this process.”

The respect is mutual. “Sofia is one of the most dedicated and detailed creators I have ever had the joy of working with,” Tranter told Billboard in a statement. “Getting to craft original songs with her and some of my Facet Publishing team that held up mirrors to the emotions of this movie was an honor.”

The first song Carson and Tranter wrote together was “I Hate the Way,” which was Cassie’s way of expressing her frustration that she was falling for Luke. It served as a gateway to the other songs.

“I had partially already written the song in my notes,” Carson says. “It was, of course, very much inspired by the simple fact that Cassie just hated the way she was loving [Luke]. She hated the fact that she was falling for this man. It was a combination of rage, frustration, and deep passion. And once we brought that song to life, it was like we found Cassie’s voice that was different from mine — which was important to us. And it kind of guided us for the rest of the soundtrack.”

With Cassie’s voice unlocked, Carson and Tranter would go on to complete three more original songs for the soundtrack within a week, including “Come Back Home” which is first introduced in a pivotal moment of the movie and was released earlier this month to tease the project. “We wrote two different versions of the song until we landed on the ‘Come Back Home’ that you hear in the film,” Carson says. “And once we did, we just fell in love with it. And we knew that that was our song. It just really captured the soul, the tenderness of this moment, the vulnerability at this moment — and truly the heart of our story.”

Regardless of how Purple Hearts is received, the immersive experience has changed how Carson thinks about her career, she says. Having had the experience of executive producing, she doesn’t want to go back.

“It’s interesting because growing up, I always had the examples of women like Barbra Streisand and Cher who were such trailblazers and really redefined what it meant to be a woman in the industry,” she says. “They did it all. They were not only musicians and songwriters, but they were also directors and producers. So, it’s very exciting to have entered this stage of my career.”

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Amy Grant Postpones Tour Dates After Bike Accident

Amy Grant is postponing her August concert dates — including three shows in Tennessee (Knoxville, Chattanooga and Johnson City) and a show in Wilmington, N.C. — after a bike accident earlier this week.

As previously reported, the six-time Grammy winner hit a pothole while riding her bicycle with a friend. Though Grant was wearing a helmet at the time of the accident, she underwent a brief hospitalization, where she was treated for cuts and abrasions. Her doctors have ordered additional recovery time, and Grant is currently resting at home.

Due to her doctor’s orders, Grant’s August concert dates have been rescheduled for April and June 2023. All tickets will be honored at the new performance dates, and there are no additional changes to her current touring schedule.

Shortly after her accident, Grant’s husband, country singer Vince Gill, canceled a concert Thursday evening (July 28) at Ovens Auditorium in Charlotte, N.C. He has also canceled shows set for Friday and Saturday (July 29-30) at Capitol One Hall in Tysons, Va. Gill’s next show date is Aug. 4 at Nashville’s Ryman Auditorium.

Later this year, Grant will take part in the Kennedy Center Honors as one of this year’s five honorees. The recipients who will be honored at the annual national celebration of the arts in Washington, D.C., include Grant; actor/filmmaker George Clooney; singer Gladys Knight; composer, conductor and educator Tania León; and rock band U2.

“Never in my wildest dreams did I imagine ever receiving this prestigious Kennedy Center Honors,” Grant said via a statement soon after the Kennedy Center Honors were announced. “Through the years, I’ve watched so many of my heroes serenaded by colleagues and fellow artists, always moved by the ability of music and film to bring us together and to see the best in each other. I cannot wait to celebrate with my fellow honorees, friends, and family. Thank you for widening the circle to include all of us.”

Grant is also set to celebrate the 25th anniversary of her album Behind the Eyes when she releases the 30-song, triple vinyl album on Sept. 9.

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Jake Owen Opens Up About Being Sober: ‘I’m Just Trying to Be the Best Version of Myself’

Jake Owen has been sober for just over 10 months now, and he opened up about his journey via a social media post on Friday (July 29).

The country star posted an image that simply read “Sober 316 Days,” accompanied by the caption: “317 days ago I embarrassed myself after drinking too much alcohol one night. It wasn’t the first time either. The next day I told myself, ‘never again.’ I am better than that, and the people I love the most deserve better. My family, my little girls, and my friends.”

He also opened up about why he made the decision to share about his struggle with alcohol.

“Just wanted to share my journey in case anyone woke up this morning and wants to make a change. None of us are perfect…I’m just trying to be the best version of myself these days.”

Owen is the father of two daughters, Pearl (with his ex-wife Lacey Buchanan) and Paris (with fiancée Erica Hartlein).

Owen released his most recent full-length album, Greetings From…Jake, in 2019, via Big Loud Records. The album, which was certified gold by the Recording Industry Association of America earlier this year, earned Owen three No. 1 Country Airplay hits, including “I Was Jack (You Were Diane),” “Homemade” and “Made for You,” as well as the top 10 hit “Down to the Honkytonk.” His latest single, “Best Thing Since Backroads,” is currently at No. 5 on Country Airplay.

He is currently on his headlining Up There Down Here tour, which takes its name from a recent song release. He also recently released another new track, “1×1.”

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Grammy-Nominated Duo Nova Wav Talks Working on Eight Out of the 16 Songs From Beyonce’s ‘Renaissance’

With the arrival of Beyoncé‘s highly anticipated seventh studio album, Renaissance, on Friday (July 29) via Parkwood Entertainment/Columbia Records, the superstars mentioned in the writing and producing credits have not gone unnoticed.

Industry veterans like Drake, No I.D., Mike Dean, Honey Dijon, Syd and of course her husband Jay-Z have all contributed their efforts to Bey’s first solo studio album in six years. But no one else had their fingerprints all over the project (beside Beyoncé herself) quite like Grammy-nominated female songwriting/production duo Nova Wav, consisting of Brittany “Chi” Coney and Denisia “Blu June” Andrews.

The two had a hand in eight out of the 16 total tracks. Coney and Andrews are credited as writers on eight songs — “Alien Superstar,” “Cuff It,” “Energy,” “Virgo’s Groove,” “Move,” “Heated,” “Pure/Honey,” and “Summer Renaissance” — while earning production credits on “Alien Superstar,” “Cuff It,” “Energy,” “Pure/Honey” and “Summer Renaissance.” “We love her to death and we appreciate her being the first artist to really, really, truly trust us,” Coney tells Billboard over Zoom.

Both originally from Tampa and Tallahassee, Fla., respectively, she and Andrews formed Nova Wav in Atlanta, Ga. and got their first placement on Rihanna‘s RIAA-certified platinum hit “Loveeeeeee Song,” featuring Future, in 2012. Two years later, the two moved out West to L.A., where Andrews says “we realized that things were popping for us when we would come,” and went on to write and produce for Ariana Grande, DJ Khaled, Teyana Taylor, Kehlani, H.E.R., Jazmine Sullivan and more.

It took four more years to land something with Beyoncé — but as the three women have continued bouncing ideas off of one another over the last few years, they’ve established a unique understanding of one another’s craft. It doesn’t mirror the kind of perfection expected from a superstar like Beyoncé (let alone, a Virgo superstar), but looks more like throwing clay on a wheel and molding it into something excellent.

The two keep mum on whether or not they’ll be working on the next two albums included in Renaissance‘s three acts. But in the meantime, Nova Wav says they’re working with frequent collaborator Khaled (who recently announced his 13th studio album God Did) and City Girls, while seeing how they can continue pushing the envelope with their own sound. “We want to move into the artist and DJ space and just put ourselves in the forefront. At this point, we’ve done so many incredible things. So we feel like it’s boss level time,” says Coney.

Here are some of Nova Wav’s highlights from working on Renaissance. 

Getting the Queen’s Summons

The duo says they began working with Beyoncé in 2014, after they gathered enough money to move to L.A. and got a three-month lease. “Six days later, we got a call to go in the studio to work with Hit-Boy because some writers had canceled on him,” Andrews recalls. The sessions were for the superstar, and for the next four years, Nova Wav hustled and waited to get a placement. And it was worth the wait: The duo co-wrote four songs (“LoveHappy,” “Black Effect,” “Friends” and “Nice”) and co-produced “LoveHappy” on Bey and Jay’s 2018 Grammy-nominated joint album Everything Is Love (billed under The Carters). From there, Bey tapped Nova Wav for The Lion King: The Gift and her 2020 charity single “Black Parade,” which scored Coney and Andrews Grammy nods for song of the year and best R&B song in 2021.

In 2020, Beyoncé’s A&R Mariel Gomerez called them and said, “The Queen is back — the Queen is back working,” says Coney. “And we just knew what time it was.” Andrews adds: “[Gomerez is] like, ‘She wants you guys to come over to the crib and listen to the album.’ We went literally to her house, and we got the first listen of where she was in the process.”

Seeing the Beauty in Anything & Letting Perfectionism Go 

In a note Beyoncé left for fans on her website the day before the album dropped, she spoke about her intentions of creating Renaissance as “a safe place, a place without judgment — a place to be free of perfectionism and overthinking.” And the same can be said for the place it was made in, according to Nova Wav.

“She accepts our creativity,” Andrews elaborates. “The things that we can say to Beyoncé, it just feels like a no-judgment zone. I think we think the same way in a lot of ways. And when she gives us an idea, it’s a judgment-free zone. She can just see the beauty in anything. That’s the thing that we love about B: Most A&Rs and most artists, you have to give them a super pristine, polished project, but with B, you can give her something that’s super rough that most people would turn away from and she turns it into brilliance.”

Magic No. 8

“We were surprised,” Coney explains about getting credits on eight out of the album’s 16 tracks. “First of all, Beyoncé’s camp is super tight, and so a lot of times, most people don’t know when they’re making the album. Fortunately, we built a relationship with them that we’ve kind of known — but it was a super surprise… And just to see how many we had at the end, and that they stuck all the way through — again, we had been working on it for two years or so — to see that those particular songs that we created with her made it through, it was such a blessing.”

Pizza, Prayer & Perseverance

“We got to meet up with B a couple times throughout the process. We’d go to her house a couple times. One time we went over, we ate pizza and we just talked,” says Andrews. “A lot of the time, it’s just talking through things, her sharing her vision with us of what she wanted and how she wanted the album to feel.”

The Renaissance tracks Nova Wav worked on involved a range of upstart to A-list producers and songwriters, from Bey’s frequent collaborator The-Dream and fellow production duo The Neptunes to R&B multiphyenates Leven Kali and Dixson. But aside from occasional meetings with Bey, Coney and Andrews say they prefer to work on their own — cooking in the studio by themselves before sharing what they have with their collaborators and coming together to tweak the music. “And that’s kind of how she works, too, which works for us,” Coney adds. “We’ll get together, we’ll talk about where we wanna go, and then we go in our separate rooms. We’ll come up with some things, and then we’ll pass it back and forth.”

The two first worked on “Virgo’s Groove,” which provides a sensual, groovy journey back to the ’90s for its six-minute runtime. “She played us a couple of records. And she was like, ‘Yo, I really want to work on these particular songs.’ And ‘Virgo’s Groove’ was definitely one,” Coney recalls. “I remember we stayed there overnight. We didn’t even go home. We took turns working. And we stayed at the studio overnight and just worked until she got there in the morning. And I remember her coming in, they played her the records, and she was like, ‘Yo, this is so dope. I really just love when I have a lot of help that I can trust.’

“And it’s so crazy because before we went upstairs to meet with her, we actually prayed,” Coney continues. “We’re super big spiritual people. And I think that’s where we also aligned with her, because she’s a very spiritual person as well. So we prayed before we went up there, like, ‘God, we hope this girl likes these songs.’ And for her to reflect that we were the perfect people to help her work on the album, it was dope.”

Sonic Soulmates

“She shifted from a mainstream space to a verv explorative one. It feels like she’s just exploring so many different things and she’s not afraid to take chances. And I think that’s why you become great, it’s when you step outside of the box and say, ‘I’m gonna just do what feels right to me. I’m gonna push the needle,’ Andrews says. “Sonically, the adventure she takes us on is so different than anything she’s ever done. Now when she releases a project, you actually don’t know what it’s gonna sound like. You know it’s not going to sound like anything that’s out.”

Adds Coney: “I do feel like sonically, she’s our soulmate because sometimes we have these crazy ideas and people don’t want to take them. And we’re so comfortable sending them to her, because she just understands out-of-the-box, she understands greatness and great creativity.”

Never Underestimating the Power of Women

“Just to having three produced records by us on this album, I don’t think that’s ever been done by a woman on a Beyoncé album. That’s an incredible moment,” notes Andrews. “We’ve been working really, really hard to have visibility and have people understand our vision.”

Coney recalls telling fellow songwriter/producer Sean Garrett about what working with Bey has taught her about herself, and the perception of female producers during Warner Chappell Music’s annual songwriting camp in Las Vegas this past May. “They don’t think that we can really do it, and to see her do so many things and for me to not even be like, ‘Oh, she’s really producing’ — it’s seeing that reflection of ‘Wow, that’s what people also think about us in that space.’

“Just to have that moment to see her be greater than what I even thought she was — even though I knew she was great — taught us a lesson about how people view us,” she continues. “It gave me personally just a lot of peace about how people even treated us in the production space, because she gets the same thing.”

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Billie Eilish & Finneas Celebrate 1 Year of ‘Happier Than Ever’ With Amoeba Hollywood Concert

In honor of the one-year anniversary of the release of Happier Than Ever, Billie Eilish, accompanied by her brother and producer/co-writer Finneas, hosted an intimate concert for fans and friends at Amoeba Music in Hollywood on Friday (July 29). Released July 30, 2021, Happier Than Ever marked the 20-year-old’s second studio album and hit No. 1 on the Billboard 200, just as her debut When We All Fall Asleep Where Do We Go? did back in 2019.

Fans waited in line outside the independent record store for hours for the chance to see the free acoustic show, many of whom arrived in Billie Eilish tour merchandise and gave Eilish a warm welcome as she came onstage. She and Finneas went straight into “Billie Bossa Nova,” one of the album’s fan favorites. Though the stripped-back, guitar-only performance was intended to honor the one-year of Happier Than Ever, it also was a nod to Eilish’s suprise two-song EP Guitar Songs, which she dropped on July 21.

After “Billie Bossa Nova,” Eilish played her debut performance of “TV,” a sobering and timely ballad from the new EP that discusses topical matters like the overturning of Roe v. Wade and “movie stars on trial,” likely an allusion to the highly publicized defamation trial of Johnny Depp and Amber Herd. Though the song was less than a month old, fans were already joining in for the bridge, singing the refrain “maybe I’m the problem” along with Eilish.

The young star admitted to fans she planned to end the set with a third song, “Happier Than Ever,” but instead, she polled the crowd, asking what bonus song everyone wanted to hear. After shouts from all directions, Eilish and Finneas played “Getting Older,” the first track from the record.

“Not only is this the anniversary of the album,” Eilish announced to cheering fans after the song. “It’s also [Finneas’] birthday tomorrow. He’s going to be 25!” The crowd erupted. Then the set ended, like many of her concerts do, with the album’s title cut, which peaked at No. 11 on the Billboard Hot 100 last year. A perfect finale, fans screamed the popular lyrics like “you made me hate this city” along with Eilish, leaving the room with a feeling of catharsis afterward.

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A Timeline of Taylor Swift & Selena Gomez’s Friendship

For every birthday celebrated, heart broken, album released and milestone achieved, Taylor Swift and Selena Gomez have been there for each other through it all.

Very few are more famous than these two pop stars, and even fewer celebrities have maintained such a long-lasting, ride-or-die friendship through the years. When one drops music, the other is always the first to share their praise — even though we all know they were definitely one of the first to hear any new song or album of their bestie’s months before its release. At awards shows, you can often spot the pair seated next to each other whispering into one another’s ears. And by now, fans know to expect that Gomez will make an appearance at one of Swift’s shows whenever the “All Too Well” singer goes on tour.

That level of loyalty, love and unconditional support was, according to both ladies, destined from the very beginning. “We clicked instantly and, man, that was my girl,” the “Rare” singer once told the Wall Street Journal of her first meeting with Swift. “We both went through sh– at the same time. She taught me a lot about how I should be treated at a young age.”

“There has always been this quality of sisterhood, and I don’t say that in a basic way,” agreed Swift. “I knew from when I met her, I would always have her back. In my life, I have the ability to forgive people who have hurt me. But I don’t know if I can forgive someone who hurts her.”

Keep reading to look back on a decade and a half of Taylor Swift and Selena Gomez’s best BFF moments below:

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First Spin: The Week’s Best New Dance Tracks From Tove Lo, Zhu, John Summit, RUFUS DU SOL, Swedish House Mafia With Fred Again.. & More

This week in dance music: Afrojack signed to Universal Music Group as part of a new dance music venture, Maxim of The Prodigy spoke with us about his NFT drop and his late bandmate Keith Flint, Disco Donnie Presents bought Dallas’ Lights All Night festival, Perry Farrell launched a new dance music label, we shared sets from Qrion and more from NorCal’s Northern Nights 2022, Calvin Harris dropped the tracklist and latest single from his forthcoming album, and, of course, Beyoncé dropped Renaissance.

As one of the biggest release days of the summer so far, there’s also so much more. So let’s dig in.

Tove Lo, “2 Die 4”

First, a warning that the above video is not entirely suitable for work. (Check the track over on Spotify here if that’s better suited to your current situation.) Now, let’s talk about “2 Die 4” — which is exactly that. Its lush swirl of production builds into a tough, sexy chorus that brings a modern electro-pop shimmer to a lift of Hot Butter’s 1972 classic “Popcorn” and altogether flexes as a triumph of the genre.

“No more teasing!! It’s out!,” the Swedish star wrote upon the song and video’s release. “I wanted to make something nostalgic, sexy and iconic. Thank you Oscar Gorres for bringing this idea to life. The character for this scene is Wonder Woman with big d–k energy and I just love it. Go listen on repeat.” Seriously, try not to. — KATIE BAIN

Zhu, “The Fall”

Did you catch Zhu’s headline set at Lollapalooza? Modern dance music’s reigning moody man took the stage yesterday with more than just his usual goosebump-inducing performance. Not only did he turn the festival into a fashion runway, showcasing looks from his new label Nightday, he also announced a surprise release, Musical Chairs Mixtape Vol. 1, which comes today via Astralwerks. It’s a dark, brooding collection of tunes, seven in total, featuring collaborations with Elderbook, Mr. Carmack, Channel Tres and tons more. We’re highlighting the intro track for its alluring beat and signature Zhu guitar, but there’s a visualizer for the whole darn thing which you should definitely peep. – KAT BEIN

Cerrone & Purple Disco Machine, “Summer Lovin’”

A disco pioneer meets one of the genre’s modern-day flagbearers on new single “Summer Lovin,’” an intergenerational collaboration between Cerrone and Purple Disco Machine. Built upon a sample from French artist Don Ray’s 1978 song “Got to Have Loving” — produced by Cerrone — “Summer Lovin’” sounds like what a DJ would play in a swanky nightclub in outer space, with its galactic arpeggios, cascading strings, lush drums and synths ready to soar with you into the stars. This team-up is the first taste of Cerrone’s forthcoming album Cerrone by Cerrone (out on October 14 via Because Music), which celebrates the dance legend’s 50th anniversary in music with 16 tracks revisiting his greatest works, with help from guest collaborators.

“I have had the privilege of being sampled a lot of times throughout the years, and this track means my music now crosses 5 generations, thanks to the many talented artists and producers that have been a part of my work,” Cerrone says. “I was immediately seduced by Purple Disco Machine’s work as soon as I first heard it. With this collaboration he succeeded once again in helping spread the spirit of disco.”

Adds PDM, “Cerrone is one of my all time musical heroes, so when I wrote to his label to ask to clear a sample from one of his classic productions and they replied, ‘Why don’t we do it as a collaboration?’ it was a no-brainer to say yes! I’ve now been able to spend some time with Marc (Cerrone) and he totally disproves the famous quote about ‘never meet your heroes,’ as he’s a wonderful person as well as a music legend.” — KRYSTAL RODRIGUEZ

John Summit & Guz Feat. Steve Appleton, “What a Life”

Few artists are having bigger years than John Summit, and that is essentially also the message of the producer’s latest, “What a Life.” A collaboration with Guz and vocalist Steve Appleton, the song  — over breezy beats flecked with achingly chill guitar — ponders “what a life, what a time to be free, what a life, what a time to be you…and me.” The song’s video digs deep on this final point with a series of clips of Summit performing and partying at various festivals, clubs and backstage situations throughout the world, demonstrating a young man playing (and drinking) his way through what looks to be an extremely exciting life moment. — K. Bain

Franc Moody, “Raining in LA”

Feeling lost? Find yourself in the absolute funk of this disco-fresh sing-along from London based duo Franc Moody. Not only does this single offer a delicious serving of roller-skate-worthy delight, it also comes paired with a hilarious and nostalgic music video that’s worth replaying as much as the melody itself. “Raining in LA” is the latest tease from the band’s forthcoming album Into the Ether, due out for full release Sept. 2. – K. Bein

RÜFÜS DU SOL, “On My Knees (Adriatique Remix)

The L.A.-based Aussie trio drop their first project since picking up the best dance/electronic recording Grammy this past March, with the Adriatique remix of their 2021 track “On My Knees.” Under the very capable hands of the Swiss duo (who are current CircoLoco residents over in Ibiza), the original expands by a full three minutes, getting a long, sexy simmer of a build before swelling and breaking like a wave, with vocalist Tyrone Lvinquist’s vocals intermittently dispersed throughout the production. It is, as the kids say, a vibe.

This edit is also the first from RÜFÜS’ forthcoming Surrender Remixes, a total rework of their fourth studio album, which will feature edits from Dom Dolla, Vintage Culture, Inellea, Solomun and more. The remix album is set for release this August 12, via the group’s own Rose Ave imprint and Reprise/Warner Records, and the group is on tour in Europe through the end of August. — K. Bain

Obskür, “Twister”

The last time we heard from Obskür, the young Irish duo had released their newest single “In the Dark,” featuring fellow up-and-comer Bklava — a moody collab which felt suited to February’s chilly haze. Since then, it’s evident that the boys are warmed up and ready to party with their latest tune for FFRR, “Twister.” A blast of summery tech house built for open-air festivals and Ibiza superclubs, “Twister” pairs a catchy, beaming marimba melody with cutting hi-hats and a hefty bassline all culminating in a whirlwind peaktime build worthy of its name.

“We definitely had making a fun summer track in mind,” Obskür writes. “Something that would be a good listen on a day-to-day basis, whilst also being a strong hitter in a packed out festival tent… This one is definitely made for the good weather, hence the name ‘Twister.’” — K.R.

Bob Sinclair x A-Trak, “Deep Inside Of Me”

Release the beast and head into your weekend with this funkadelic house groove from two absolute legends. Parisian master Bob Sinclair synced with Canada’s forever champion A-Trak, and the result is a club-ready heater that sounds like sweat dripping from exposed limbs on the dance floor. – K. Bein

Anna Lunoe, Saturday Love EP

After announcing her new EP last month with her single “Like Me”, Anna Lunoe has finally released  Saturday Love on Nina Las Vegas’ NLV Records. The five-track collection is a brilliant showcase of the Aussie artist’s many takes on house, from the sugar-rushed giddiness of “Alright” to the deeper, warpier strains of “Peach House” featuring Totally Enormous Extinct Dinosaurs.

Arriving this week with the latter song is the EP’s title track. Over Lunoe’s production — a brisk rhythm built on bouncy pads, jacking percussion and swelling synth-string ambiance — Chicago rapper Lulu Be. delivers smooth bars with a coolness that masks her feelings of fondness: “Come through boo you got the addy/ We can get rowdy,” she suggests, before later concluding, “You just my Saturday love and I lowkey don’t wanna stop it… If I closed my eyes and I made a wish, I’d hope that everything could turn out just like this.” “Saturday Love” is hip-house big enough for festival stages, yet intimate enough to make your crush blush.

“this is work i’m proud of for lots of reasons. made surrounded w ppl who bring out the best in me ~ i’m 15 years in the game this year & respectfully, this is my best effort so far,” writes Lunoe on Instagram. “i hope it reminds u how alive & rowdy u can be, and that ur best is still to come too.” — K.R.

Fred Again x Swedish House Mafia feat. Future, “Turn On The Lights Again”

After teasing the track last week, Fred Again.. today delivers his Swedish House Mafia collab, a sinewy, hypnotic heater born of a spontaneous session between the U.K. producer and the Swedes in Stockholm. Future plays heavily in the track, with Fred ripping the rapper enthusiastically directing listeners to “turn on the lights” (from Future’s track of the same name) and laying that sentiment over a simultaneously haunting/driving production honed between the two camps after passing the track back and forth over the internet. Fred Again.. launches a 16-date U.S. tour this September, while Swedish House Mafia’s much-anticipated Paradise Again run starts tonight in Miami. — K. Bain

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Ariana and the Rose on Making a ‘We’re Back’ Dance Floor Album for Her Full-Length Debut

When Ariana and the Rose hits TikTok, the New York City singer-songwriter perches behind a piano, tickles the keys and shares her thoughts on everything from relationships gone sour to “f—k boys” she should have seen coming a mile away. And while quarantine gave Ariana DiLorenzo some time to sift through her emotions and share her candid conclusions with a devoted niche audience (garnering over 12 million views on TikTok so far), her first full-length album, Lonely Hearts Club, is less about the digital and more about the physical. Sure, introspection is present and accounted for, but the album eschews second guessing in favor of bold statements, from the inclusivity anthem “Every Body” to the unrepentant “If New York Is Dead, Then Bury Me With Her” to the confident dance floor come-on “Cosmic Lover.”

“I wanted to make a ‘we’re back’ album,” Ariana tells Billboard. “Being on the dance floor is very healing.” Working with her musical director Andy Highmore for the first time as a producer in the studio, Lonely Hearts Club is a club-ready bouquet of sinuous synths, thumping beats and hypnotic house. “The house music resurgence is here,” she says. “As the world gets dark, house music has a tendency to come back.”

With Lonely Hearts Club out now, Ariana and the Rose speaks to Billboard about everything from the state of NYC nightlife to DM-ing with fans to why The Rocky Horror Picture Show was on her mood board for this album.

You’ve been releasing music as Ariana and the Rose for several years now, including a few EPs. What made you decide it was the right time for a full-length album?

I had zero plans to make an album pre-COVID. I was about to go on tour, I had put out Constellations — Phase 1 in 2019 and had Constellations — Phase 2 ready to go. Then COVID happened and everybody stopped. By the time I got my bearings, maybe summer of 2020, I realized I had just been at my piano writing songs, stuck inside dealing with my own sh-t. For me, I had gone through a breakup right before COVID and I was sitting with myself. I realized, “I think I have a bigger thing to say.” And the world was different – those songs were from a different place and didn’t represent where I, or anybody, was.

So what inspired these songs?

The song “Every Body” I was thinking, “well, what does anybody need to hear from a white cis girl from New York right now?” I thought that if I have a privilege of a platform, what can I do with that? And that’s what “Every Body” was born out of. There’s a song on the album called “If New York Is Dead, Then Bury Me With Her.” And that was a response to everyone saying constantly for months that “New York is dead,” and after a while I was like, “enough!” I was writing and writing and writing on the piano, and then I took it to a producer, Andy Highmore, and the two of us made an album. Just the two of us — one other song on the record has another writer on it.

What’s your working relationship with Andy Highmore like in the studio?

He’s my musical director; I’ve been working with him since 2017 but never in the studio together. This album was made in my dream way, the way my favorite records are made: One artist goes into a studio with one producer and you make an album. From an identity standpoint, this is the clearest I’ve ever been about who I am as a person and an artist. It was a true collaboration between the two of us. He’s British and very steeped in house music and the British dance aesthetic and I felt very strongly at the time that’s where things were going – enter the conversation Beyoncé’s “Break My Soul.” I think the house music resurgence is here. As the world gets dark, house music has a tendency to come back. He’s worked with The Knocks and AlunaGeorge but hadn’t produced a pop album before. It was like, “here we go.”

It’s definitely harder-hitting dance music at points than what you’ve done in the past.

Once I decided it was going to be an album, I felt strongly that I wanted to make something for when the world was open again. I didn’t want to make a quarantine album, I wanted to make a “we’re back” album. This summer really does feel like the first summer things are back. It’s not like COVID is over, but people are out in a way now that being on the dance floor is very healing. I feel that now more than ever.

Traditionally, the phrase “lonely hearts club” was used in a pitying way, but I like that you’re using it as this empowering ‘club’ to invite people to.

With “Lonely Hearts Club,” I had the image of Rocky Horror Picture Show in my mind. They’re in this mansion and they’re a group of misfits: “Are you a mess? Has society cast you away? Come into our home.” That was a big inspiration for the album. And I love the idea of a “Lonely Hearts Club” being a club you can subscribe to and also a physical place. It’s community.

Your social media presence really expanded in the pandemic, with a lot of people connecting to these videos of you sitting at a keyboard and talking about breakups and romantic disappointments. Do you find that people have started DM-ing you and sharing their stories?

I get it all the time now which is really cool. I had a girl DM me saying, “I woke up to being dumped.” Some people will DM me with a story and some will DM me the beginning of a conversation — they’re looking to talk. I’ve had a few instances where I’ve met people in person, which is funny and new for me. I was on line in a coffee shop near my apartment and this girl from Scandinavia who was visiting Brooklyn turned around and was like, “Oh my God, hi!” And I thought, “Do I know this person?” So I was like “hi” and she reflexively hugged me and said, “I follow you online and I love your videos.” I’ve had that happen a few times where people hug me; I think because my videos are intimate and people feel like they know me. Which I love. It’s in my DMs, it’s in person. It’s been a very interesting development in my life which is kind of what the point of social media is, at its best. At least when it’s beautiful and not all the other things. There’s something easier about telling your deeper feelings to a stranger. There’s a freedom there. Sometimes you’re emotionally slutty with someone you don’t know that well. I’m proud to make a little corner of the Internet where people feel they can be uplifted.

Earlier you mentioned all the people saying NYC was dead. As an entertainer and event planner (with the Light + Space series, which had a pre-pandemic residency at House of Yes in Brooklyn), do you think it’s back? Are they eating their words?

I think anybody who wants to think the city is dead or who is over New York is over New York. Maybe they were looking for an excuse. I’m not out here trying to convince anybody to love New York. If you don’t love her, she doesn’t need you, she’s got plenty of people. Do I think it’s back? Maybe it’s just different. I grew up here. For me, the city feels a little more like when I was in high school in the sense that yes, it’s a little less safe, but there are things going on all over the place. Is it back fully? It’s different. If you want to look at it from a statistics standpoint, how people like to measure things – you can look at rent prices and crime rates – but New York has always had that fluctuating. But I measure New York by its spirit and soul and the vibrancy of what’s happening here. And I do think that’s happening again and in a way that we hadn’t seen in a while pre-COVID.

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SPD Crackdown on Expired Tags

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This will be part of the department’s increased presence at four of the cities major intersections. They will also be looking for vehicles with no tags.

Comments on the departments social media sites said they should focus on more serious crimes, but the department pointed out that expired or missing tags usually lead to arrests for serious crimes.

This article is provided by Ozarks News – 93.3 KWTO
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KWTO News

Duggar Attorneys Receive Appeal Extension

Josh Duggar’s attorneys have received a 30 day extension to file a legal brief in the appeal of his child pornography conviction.

Duggar was sentenced to 151 months in federal prison and 20 years of supervised release. Duggar is appealing his conviction.

He is currently in a federal prison near Dallas, Texas.

This article is provided by Ozarks News – 93.3 KWTO