We absolutely love a positive message, especially when conveyed through music, and it appears that ‘Spread Love’ by Goldroom does just that.Goldroom has decided to release the live favourite as a single (featuring vocals by Rooty) and although it edges towards pop more than his former releases, it still offers that signature feel-good dance sound that Goldroom is renowned for.Goldroom said of the release: “My goal for this song was to try and capture the kind of simple earnestness that a lot of early French House had, which was a major inspiration for me.
Alan Walker has captured the electronic world’s attention over his short time in it with his alluring brand of bass-driven music. His singles, “Alone,” “Faded,” and “Sing Me To Sleep” have gained substantial traction and support from multitudes of producers, thus allowing him to climb the ranks to A-list status by 2017.For his newest release, the producer has paired with vocal powerhouse Gavin James to create a touching composition “Tired.” James offers reassuring verses with his usual emotive approach, while Walker provides moving underlay with pitched-up synth bursts and a simple, yet impactful top line that flows well over the track’s bass-line.“Tired” has already amassed over four million views on YouTube, speaking to the reach and appeal of both artists involved.
“Sexy Bitch” (also known as “Sexy Chick” in clean versions) is a song by French DJ David Guetta recorded for his fourth studio album One Love (2009). The song features vocals from Senegalese-American recording artist Akon. It was released as the second single from One Love internationally. The song was serviced to mainstream and rhythmic crossover radios on 1 September 2009 in the United States, through Astralwerks, together with Capitol Records.
Following his titanic struggle against General Zod, Metropolis has been razed to the ground and Superman is the most controversial figure in the world. While for many he is still an emblem of hope, a growing number of people consider him a threat to humanity, seeking justice for the chaos he has brought to Earth. As far as Bruce Wayne is concerned, Superman is clearly a danger to society. He fears for the future of the world with such a reckless power left ungoverned, and so he dons his mask and cape to right Superman’s wrongs.
“Killing Strangers” is a song by American rock band Marilyn Manson from their ninth studio album, The Pale Emperor (2015). It was written and produced by the eponymous lead singer and Tyler Bates, and was first released when it appeared in Keanu Reeves’ 2014 film John Wick.
When you see David Blaine stick an ice pick through his own hand without leaving a mark, the sight can unlock a door in your brain: Is this real? It looks real. If this is real, what is reality? It’s a freeing feeling, as if the world has been made anew right in front of your eyes; by witnessing something senseless, other things begin to make sense. Admittedly, talking about this newfound awareness can make you sound like a rube or an acid casualty, but its power should not be totally denied. Frankie Cosmos’ Greta Kline knows what it’s like to have your mind rearranged by a magic trick. She wrote a song about it.
The overwhelming taboo surrounding romantic independence drives The Lobster, the latest low-key, high concept black comedy from Yorgos Lanthimos. In this us-but-slightly-different universe, if you haven’t found your “suitable partner” by a certain age, you’re turned into an animal. The pursuit of love isn’t just aspirational; it’s mandated. It’s also laff-out-loud funny as translated in film’s absolute apathy, which might be oppressively bleak were it not so consistent with its low emotional intelligence. Collin Farrell’s puppy-eyed David has 45 days at a soon-to-be couples’ resort to find his match before he is turned into the titular lobster. The conceit is a winning one, but it’s mostly a dim flashbulb illuminating The Lobster’s wry commentary on the lengths we are willing to go to find that special someone (please slide into these DMs). In an uncluttered look at the conventionally fraught language of love, The Lobster dehumanizes the very myth that separates man from crustacean.