Kenna‘s latest single “Out Of Control” produced by Chad Hugo is officially released in the UK today!!!
So everyone in the UK go out and buy it, buy it twice if you have to. Show Kenna some love and give him the support he deserves. Over here in the UK he would be able to make it in the top 10 with only a few thousand sales… so let’s make it happen. people in the US and europe show some love too and order the single online.
Both include the B-side “Down” produced by The Neptunes. and the Vinyl includes Remixes by Spank Rock & Chad Hugo
Kenna – Out Of Control (State of Emotion)
More on: Kenna
Label: Star Trak
Release Date: 28/04/08
With a beat that sounds like a direct port from an N.E.R.D album and a lorry load of crisp effects, it’s safe to say The Neptunes‘ production of ‘Out Of Control’ has left its mark on the single. Kenna should be thanking his lucky stars though, because it sounds absolutely brilliant.
Flowing through the angst-packed lyrics with finesse and a snarl or two, sadly held back by the pop sensibilities of the song, the Ethiopian-born American still adds plenty of soul to the heady mix of throbbing beats and post-rock guitars. What quickly becomes noticeable (or rather, not noticeable) is the silky smooth manner in which fragments of electronica, synth pop and a peppering of rock blend together impeccably throughout the song.
Kenna and The Neptunes have created Southern Comfort, rather than the Deep South ASDA own brand that represents the outcome for many an artist wanting to ‘diversify’ their sound. The different genres represented here are blended expertly into a seamless cocktail that avoids the curious aftertaste often left by the poorly-mixed supermarket equivalent.
It may be a bold statement to make at this early point, but if Kenna continues rocking polished gems like this, Pharrell Williams may have found someone worthy of carrying on his moniker for the next generation.
Her Madgesty is closer to the Madonna we met in the ‘80s than she has been in years, because Hard Candy drops the art-house intentions of her recent work and gets her back to the roots. Pharrell in particular seems to understand her intimately, and it’s on his tracks that Madonna really feels like The Material Girl again. The (relatively) mid-tempo “Heartbeat” and “She’s Not Me” accentuate Madonna’s strengths without overextending her range or smothering her with pretentious tracks that steal the show from her vocals.
Despite clocking in at over six minutes, “Incredible” manages to stay interesting by switching tones and remaining fluid, and though “Spanish Lesson” leans more towards Pharrell than Madonna, the core of the song still properly retains her attitude. Surprising as it may sound, Tim and Justin hold up their end of the bargain in a general sense but… something is missing. Timberlake is undeniably gifted but still seems unable to write a song for another artist that doesn’t sound like he originally wrote it for himself.
While this may be good enough for a Rihanna, “Devil Wouldn’t Recognize You” loses the Madonna element and therefore seems a little less special than it should. “4 Minutes” has a similar problem. Timbaland doesn’t stretch far enough beyond his usual tactics, making it feel less like a real collaboration and more like some song that Tim and Justin brought to the studio and told her to sing. It can be said, however, that it’s one of her best overall works (especially of the last decade or so) and for a woman with a career older than a lot of her fans, that’s a high compliment. Simply put, Madonna has done it again.
There is a new Fam-Lay track from his upcoming Mixtape “Fam-Lay Presents… The Dirtyway” on his Myspace Site, check it out. Apparently the “War Music” track was before on Shae’s Myspace Site (without the rap part though) and it seems like Shae’s music on his Myspace influenced Fam-Lay for his new Mixtape
“Fam-Lay Presents… The Dirtyway“.
For the past several years, our Billboard charts and radio airwaves have been riddled with a set of distinctive sounds: those of producers, rather than singers. The number of singers who have become household names has waned, while the number of producers with that honor seems to have exponentially grown. But why? When did it become commonplace for the men behind the music to overshadow the artists that sing in front of it?
As a brief forage into musical history will show, the idea of the omnipresent producer, or what is oft-referred to as the “super producer,” is not a novel concept. The turn of the century introduced the music world to a producing pair of high school buddies from Virginia Beach, Va. named The Neptunes. Their incredible catalogue of production credits includes work with Madonna, The Hives, Jay-Z and Mariah Carey. Their futuristic, dynamic sound earned them many accolades, wealth and opportunities.
But something drastic occurred between the reign of The Neptunes and the rise of super producers in the last several years. In the past, these men were musicians first and producers second, trained both formally and environmentally in harmony, composition and cadence. Because of their musical prowess, these men were highly acclaimed and significantly paid to employ their creativity in constructing music tailored to each artist. Now, artists and record companies seem to entirely tailor to the producer.
Pharrell is constantly finding new ways to raise his game. One of those ways is Seeing Sounds, the new N¤E¤R¤D album that drops in June. It’s been nearly four years since the Rock/Hip-Hop/Funk trio consisting of The Neptunes (Pharell & Chad Hugo) and Shay Haley last released an album. Seeing Sounds promises to deliver a new, experimental sound that has influences ranging from everything from the Discovery Channel to European electronic music. Currently touring with Kanye West, Lupe Fiasco and Rihanna on the eagerly anticipated Glow In The Dark Tour. AllHipHop sat down with Pharrell the day after the tour’s first show in Seattle to see what else he is up to.
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