So what’s next for the 22-year-old “Magnolia” artist? Well, from the looks of it, he’s in the studio working on his long-awaited debut album.
Newly surfaced video shows Carti behind a mixing board, presumably listening to new material. The footage is captioned “Album Mode.” Check it out below.
There aren’t any details available yet about the project, and no one involved has so far confirmed anything. As of now, fans can only cross their fingers and be patient.
Carti is also expected to drop a collaborative project with fellow SoundCloud rapper Uzi Vert. Several months after the tape was teased, one of its reported tracks surfaced online. The cut, which appears to be titled “Squad,” suggests the joint project is right around the corner.
On Wednesday afternoon it was reported by ESPN that both Baltimore Ravens head coach John Harbaugh and team GM Ozzie Newsome supported the signing of Colin Kaepernick to sit behind Joe Flacco on the depth chart. Despite the apparent support, this is a signing that has not happened. And, according to the same ESPN article, it's because the team's owner, Steve Bisciotti, has rejected the idea.
The report further states that a similar scenario has played out with an unnamed club whose owner also shat upon the proposal of bringing Kaepernick into the fold. That organization is, fortunately, anonymous, meaning they don't have to put out a statement on the matter like the Ravens did later in the day on Wednesday.
“We are going through a process, and we have not made a decision,” the statement said. “Steve Bisciotti has not told us we cannot sign Colin Kaepernick, nor has he blocked the move. Whoever is making those claims is wrong.”
The 29-year-old free agent QB's name came up last week after reports came down that Flacco would miss at least one game with a back injury. This has led to the team turning to Ryan Mallet, who reportedly and characteristically tossed five picks in one practice (kind of funny that they included that in the report).
This past Sunday, Bisciotti claimed that the team was still deciding whether or not to ink Kaepernick to a deal. “We do want to win games, and I'm not sure [Kaepernick] is going to help us do that,” he said Sunday. “We're monitoring Joe. We've talked to Joe about it. We're monitoring Mallett and keeping our door open. We've talked about RG3 [Robert Griffin III] and bringing him in for a workout.”
Since then the news has already changed, as they're reportedly no longer considering Griffin—though you probably could've guessed that once you saw Bisciotti said, “We do want to win games.”
For six years now Lana Del Rey has attracted and foiled critics with pop music that does not sound like any of her peers. The mild, smoky voice, the judicious use of rap production, the juxtaposition of classic American images and sounds with hyper-contemporary, crass language, from these elements Lana makes music that feels at once familiar and strange.
Lust for Life is her most ambitious album yet, and as Lana explains in her third Complex cover appearance, it emerged from a period of self-examination that, when it ended, left her “looking at everything else” the world has to offer. Hopeful and questioning, the album engages with the tumultuous and oftentimes terrifying politics of 2017 on songs like “God Bless America—And All the Beautiful Women in It” and “When the World Was at War We Kept Dancing.” Elsewhere, this more expansive worldview means features from artists like Stevie Nicks, Playboi Carti, Sean Ono Lennon, and ASAP Rocky. “I was ready to have some of my friends jump on the record,” she says,”[and] they were all naturally a little bit lighter than me.”
Lightness is, in some ways, the operating principle for Lana Del Rey right now. At 32, her career is no longer “guesswork,” the way it was when she first began. The questions of authenticity and agency that greeted her upon arrival are irrelevant. There's only Lana Del Rey.
This interview has been edited for clarity and length.
You were living in New York when you put out Born to Die and I know that you went from being like normal New Yorker who rides the subway to Lana del Rey who's on Page Six and is the subject of long thinkpieces in the Times.
That was fucked up. It just changed it. I remember I was working somewhere else and I was on my way back from there and I was getting on the 6 train, and TMZ was behind me the whole time.
On the train?
Yeah, I had run into this camera-man. It was the first time I had seen a paparazzi, but he wasn’t taking pictures, he was just filming. I don’t even know if I had ever seen that before ‘cause it’s someone with a VHS following you around.
Was he trying to talk to you?
Yeah, and I was answering and I sounded crazy. I went down and got my ticket, swiped it, waited for the train. I looked behind me, the guy had got a ticket too, and he was waiting too. I was like, Wait, is this real life? Honestly from then on one of those guys I had seen that day was just always there. I thought to myself, I think I gotta move somewhere.
Your first three covers are all fairly serious, sort of oscillating between kind of almost sad and maybe a little bit aloof on the Honeymoon one. This is the first one where you’re smiling.
Well, the Honeymoon cover I thought was more just casual. I felt like I was in a more casual space. But this was definitely in an even more lighter space altogether. My sister, Chuck, shot it, but we shot it in the parking lot behind the scenes of my “Love” video. We didn’t know if we were going to get the cover but we definitely knew I was gonna smile. We took a couple frames, and we developed it that week, and I felt like that was the one.
For being a fairly dark time to live in the world, it’s kind of interesting that this is actually your most optimistic work, at least in its titling and its imagery. What’s the genesis of that?
Well there was a little bit of a shift in me naturally. I felt like I had kind of said a lot and done a lot through the records. I was ready to have some of my friends jump on the record [and] they were all naturally a little bit lighter than me, so that was kind of happening in my world. I felt like two years of recording really dark tunes would not be fun.
You do touch on problems of the world and politics in this work in a way that your previousalbums did not. Was that a conscious decision?
On the last records I needed to look inward to figure out why things had gone so far down one path, and then I kind of came to the end of my self-examination and I naturally was looking at everything else. But, of course, all my experiences and romantic relationships and stuff are still peppered in to some of the songs on this record. Also, with Obama as the president, me and everybody I know, I think we felt very safe and protected, felt like we were being viewed the way we wanted to be viewed, in terms of the world. So there wasn’t as much to say except, like, look how far we’ve come and it’s getting better, getting even better. I feel like there was quite a shift.
With this record you have infused more politics than ever before. I think it’s not necessarily a political record, but it is a record of the day. I don’t know this for a fact, but I would imagine that you have a decent number of sort of middle American fans for whom Trump’s inauguration and administration is not problematic. How do you negotiate expressing your own honest feelings about these things, and do you think about whether or not it’s going to piss them off, or is this something that has inspired ire from people who at one point were in you core?
You don’t negotiate when it comes to your work or your art. You stand totally firm and take the consequences. In terms of losing fans I don’t care. Period. [Laughs.]
The last two albums, Honeymoon and Ultraviolence, it seemed like you concentrated on making stuff for yourself, and perhaps for your core audience. With this record, it at appears that there is a more expansive ambition.
I would consider it as a not turning away from the possible bigger-ness of it, compared to the other two. Before, I felt maybe I wanted to be more protective of my own space and stuff with the last two records.
Was that a reaction to the success of records like the remix to “Summertime Sadness”?
I think it was a reaction to more people knowing who I was right away. So I was like, Let me just check myself and get myself into a place where I’m sure I like what I’m doing, and I know I like the production. With the “Summertime Sadness” remix, I had told you before, I didn’t hear that song until it was on the radio and I came back from a show in Russia, and I heard it on the radio. I mean, obviously in general I like to have my hands all over the production.
Was that a weird feeling to like—
It was a weird…
Is it weird also that it’s probably—
That it’s a huge song?
I mean, radio numbers at least.
No, you’re probably right.
Probably not your most important song, but…
I think “Video Games” is right up there. I was more sensitive about it then because when you’re new you’ve got so much to prove. You don’t have that many chances. That’s real. I’d consider it at the time just being careful. You know, in terms of collabs or sponsorships or whatever.
Is it freeing now to feel that you can do whatever feels good in the moment?
Yeah. It is actually.
Do you feel like that played into the larger ambition of Lust for Life?
Rocky’s on the record, and when he’s in town and I’m here, I’m just down at the studio anyway. Or the same with Abel, you know? I’ll just go down and listen to what he’s working on. I realized, Why do I not have my friends on my record? It was pretty natural but I guess with Abel, everything he does now is so big, so at another time maybe that would’ve felt like a little bit scarier or something, but now it just feels right.
What do you mean?
Well, he’s super out there and he’s got a lot of radio stuff so I don’t know if I would’ve known what to do with a big radio song. I’m not saying I have one on this record…
But if you are to have one, you feel confident that it would be exciting?
That I would be happy, yeah.
David Byrne from the Talking Heads wrote an amazing book about the history of music, and he goes into the significance of radio in how songs are formatted, and the idea that it’s like three minutes with three hooks and a bridge—there’s nothing in nature that says that that’s how music should be composed. It’s strictly about how radio programmers want to get three songs per commercial break, so that has sort of trained the artists to work within those confines.
For sure. And they’re not terrible confines to work within. It’s kind of fun to make a short song with a cute chorus. But I think if you’re writing it yourself it’s important to have half the record at least where you’ve got a little bit of your life in there, or a little bit of an opinion. I think if you’re really good you can do both. I was thinking of Bob Dylan.
What is the measure of success for you?
The one thing that stayed the same is, for me the measure of success with the record is just that it gets finished. [Laughs.] For real.
Did Sean Lennon make the record?
He made it.
I saw that you took these pictures with a horse, but it was not a horse that was coming out of a pond on his estate, so I didn’t know if that was like a subliminal shot.
It’s not, no. Horses have just been a random theme somehow. He ended up producing the track we made, “Tomorrow Never Came,” and that’s the only track on the record that I wrote over the last two years that I didn’t feel like it was mine. I felt like I had written it for someone else, which I… I’ve never really felt like that. Then I was looking at the lyrics and I had a lyric about John Lennon and Yoko, so I called Sean and asked him if he would do a duet with me. He said that he was his dad’s biggest fan, so it would be really natural.
The other thing I’ve noticed is that almost all the people that you work with are men. Is that something you ever think about, or that bothers you?
Well, it’s weird because the people in my close production life are men. I guess I’m thinking of like Rick [Nowels] and my two engineers, Dean Reed and Kieran Menzies, who have changed my whole musical life and my sound and my records. But in my personal life, there’s just so many women. Well there’s not many female producers, for sure. There’s some great female songwriters though. That’ll probably change.
When you think about yourself as a songwriter, how do you think you’ve changed from Born to Die days to what you’re writing now?
Maybe just the ability to integrate my own experiences with what I’m observing. To be able to reflect back, like a good mix of inner world, outer world.
Toxic relationships were very much the fuel of a lot of the writing on those first albums, as you have moved to a sort of happier, more solid place, perhaps making better life decisions—
How do you think about your romantic life, and how do you think about it within the context of your songwriting?
I feel like in this record there’s—with the songs that are “love songs,” or about relationships, I feel like I come off almost more annoyed about the way things are going rather than like, “Oh, poor me.” There’s like a moving that I get from my own stuff, because sometimes my own stuff is a little bit revealing to me, you know, about myself.
With a lot of artists who write very personal stuff, when they get to this point in their career it sometimes gets more difficult to unearth and reveal those things because of success and fame and the work.
That’s so true.
Do you feel like it’s a greater challenge now?
Yeah, but I’ve never been somebody who turned away from really hard work. I’m always looking to put the footwork in. Like with the mixing, if it takes eight months I will mix for eight months. If the master doesn’t come back right I’ll find someone else to do it. With the personal stuff I mean, if I feel like I’m just not getting it right I’ll just keep on trying different things until I feel like I’m hitting my stride in that department. I don’t know, finding your own path is not for the faint of heart. It’s the harder path. It’s easier to just keep doing the same shit over and over again and then be surprised when it’s still the same results. Somehow that’s easier than just doing something different.
A lot of what got written about you in the beginning, and in a somewhat real way, you had developed a character. I imagine a large part you, and then perhaps something that’s imagined. As you’ve gotten further and further into your career do you feel like the lines between those things have changed or blurred?
I mean, that’s what most of the thinkpieces are about. You know, there’s a lot of stuff I could’ve not said in the songs and I said it anyway. It didn’t always serve me to talk about some of the men I was with and what that was like, and then not comment on it further. So that’s some of my experiences and where I lived and what it was like. It would’ve been easier to just not say that and then deflect all of the questions about it afterwards.
So do you think that was sort of overstated?
I didn’t edit myself when I could have, because a lot of it’s just the way it was. I mean, because I’ve changed a lot and a lot of those songs, it’s not that I don’t relate but… A lot of it too is I was just kinda nervous. I came off sort of nervously, and there was just a lot of dualities, a lot of juxtapositions going on that maybe just felt like something was a little off. Maybe the thing that was off was that I needed a little more time or something, and also my path was just so windy just to get to having a first record. I feel like I had to figure it out all by myself. Every move was just guesswork.
It’s kind of funny because you were in your mid-twenties when you sort of came out and I do think if you look at artists that dropped their first albums between like 25 and 27, whether it’s an Eminem or Jay Z, it’s like, if you looked at their work at 22—
Yeah, exactly. It’s different.
It would’ve been very raw and unfocused. There was no Slim Shady for Eminem at 22, but at 26 he had the full 360 package.
Jay Z talks about that too, like how he really, really lived by the time he was 26. There was a real perspective he was coming from. So, yeah, it’s a real age where…
You can put together a project that's more fully formed.
Right. And my perspective was fully formed, it just wasn’t a great outlook. It’s not so much a persona question with me, it’s just more like what was going on with that girl, you know? Like, where was she coming from?
There’s been an inordinate amount of conversation around the idea of cultural appropriation, and Katy Perry kind of stepped right in it with her performance on SNL. You have moved fairly organically from the singer/songwriter world into hip-hop, and back out and back in without much commotion. Why do you think that is?
I never feel like I’m not where I’m supposed to be, you know? No matter who I’m with, I’m always still doing my own thing. I can’t remember the last time I was in a club or somewhere and felt like, Man, I’m not supposed to be here. I’ve been kind of doing it for so long I feel like everybody I’m friends with, everyone I know just knows I’m all about the music.
Do you have any consideration for the critics and all of the sort of dissection for your art at this point?
Yeah, sometimes. I have a song called “Get Free” which closes my record, and it started by, it told my whole story, I guess, and my thoughts on where I want to go next; and then I realized, I actually don’t want to tell my whole story, I don’t want to talk about it.
How do you negotiate what you keep for yourself and what you are ready to share?
Sometimes I just can’t resist to just tell it like it really is for myself and the way that I feel.
Photography: Timothy Saccenti/Styling: Brett Alan Nelson/Hair: Anna Cofone /Makeup: Pamela Cochrane
A post shared by Lana Del Rey (@lanadelrey) on Jun 2, 2017 at 4:50pm PDT
On Friday night, Lana Del Rey shared an Instagram video containing a snippet of what appeared to be a new song. The caption didn't give a title, but it strongly implied that the track would be on her upcoming album Lust for Life. More interesting that that, though, was who she tagged in the status: ASAP Rocky, Playboi Carti, and producer Boi-1da. And sure enough, it does sound like that could be Rocky and/or Carti on the excerpt.
We've been treated to a number of quality albums so far in 2017, and that will only increase with the summertime, a season typically reserved for major releases.
Some artists are returning after a lengthy musical hiatus (Haim), some are moving into position to own the year with anthems (DJ Khaled), while others are looking to show what they're truly capable of through a debut album (Camila Cabello, SZA).
To give you an idea of what's in store, we've put together a list of projects you can expect to get in the coming months. From Calvin Harris to Jay Z, these are the most anticipated albums of summer '17.
Release Date: June 9
Those waiting for SZA's debut album won't have to wait much longer as the TDE artist is set to release Ctrl on June 9. The project has had its share of delays in the past, but with the firm release date it's clear SZA and her team/label are both aligned and confident in what she's about to deliver to the masses.
Previously released singles “Drew Barrymore” and “Love Galore” featuring Travis Scott will both be included on the 14-song project, and we wouldn't be surprised if some of SZA's fellow TDE members pop up as well. —Edwin Ortiz
2 Chainz, ‘Pretty Girls Like Trap Music’
Release Date: June 16
2 Chainz is coming off an impressive 2016 run that included four projects and a grip of guest features to keep his name in the conversation. He's taking that momentum into Pretty Girls Like Trap Music, which is due out June 16, and the tracklist is stacked with features ranging from Drake to Travis Scott to Monica.
More guests made the cut including Trey Songz, Jhené Aiko, and Ty Dolla $ign on “It's a Vibe,” as well as Gucci Mane and Quavo, who join 2 Chainz on “Good Drank.” Even though a number of big names are attached, we expect 2 Chainz to shine through like he did all last year. —Edwin Ortiz
Vince Staples, ‘Big Fish Theory’
Release Date: June 23
Long Beach rapper and Complex cover star Vince Staples recently revealed to Beats 1’s Zane Lowe that his follow-up to Summertime ‘06 is on the way. Previous release “BagBak,” as well as his newest single “Big Fish” will be on the album, and it also sounds like he locked in an eclectic guest list. After Staples' Beats 1 appearance, Lowe took to Twitter to ominously list artists among the likes of Kendrick Lamar, Bon Iver, Flume, and ASAP Rocky for possible features on Big Fish Theory.
It’s unclear whether these features will come to be, but it’s not outside the realm of possibility.
Staples’ strength lies in his gifted storytelling through hard-hitting raps, and no matter what direction he chooses to take on this new project, it’s likely he has the insight to produce an album that’s as lyrically stimulating as it is fresh and compelling. —Nora-Grayce Orosz
Calvin Harris, ‘Funk Wav Bounces Vol. 1’
Release Date: June 30
Calvin Harris has already demonstrated his prowess for producing star-studded bangers, which has led to some dubbing him the “DJ Khaled of EDM-pop.” That title is pretty on point, as his album teaser trailer boasts a long list of collaborators including: Travis Scott, Kehlani, Big Sean, Partynextdoor, Nicki Minaj, Lil Yachty, John Legend, Katy Perry, and Schoolboy Q. Finessing all these artists’ unique styles into one album could’ve been too daunting a task for a less skilled producer, but Harris seems to know exactly what he’s doing.
His Frank Ocean and Migos super jam, “Slide,” is already poised to be song of the summer, and it isn’t a stretch to say that Funk Wav Bounces Vol. 1 could just be the album of the summer. His initial singles, (“Slide,” “Rollin,” “Heatstroke”) have given us a taste of what Harris is capable of creating when he fuses his own breezy electronic pop with funkier hip-hop beats and bass lines. Maybe it took splitting with Taylor Swift to realize his true powers, or maybe he’s just been waiting for the perfect moment to drop his most fire project to date, but whatever the reason, summer 2k17 is going to have him to thank when it’s released. —Nora-Grayce Orosz
Haim, ‘Something to Tell You’
Release Date: July 7
To say that the follow-up to Haim’s 2013 debut Days Are Gone is highly anticipated would be an understatement. Since the sister trio dropped their Grammy-nominated project there’s been close to radio silence regarding any new music. Thankfully, the silence has finally been broken as Something to Tell You has an official release date of July 7.
The sisters have revealed that the new project will mark a return to their true rock roots, and, watching them perform, it’s clear that rock runs in their blood. The strength of the Haim sisters' live presence is truly captivating to witness, and likely why they chose to release their lead single “Right Now” first as a live take recorded and directed by Paul Thomas Anderson. The video was a comforting little peek back into the sisters’ musical lives reassuring fans that they have initiated the staging of their comeback. Haim are still keeping things mostly a mystery regarding Something to Tell You, and at this point, it’s best to keep things a mystery to make the release that much more exciting. —Nora-Grayce Orosz
Lana Del Rey, ‘Lust for Life’
Release Date: July 21
From what we know of Lust for Life so far, Lana Del Rey has fixed her gaze on a slightly atypical subject matter for her newest record. The melancholic pop star has transformed her signature “Hollywood sadcore” style into a more nuanced reflection of the emotional complexities many, including the singer herself, are experiencing today. Del Rey admitted that her first four albums were for her, but Lust for Life is a gift to her fans.
With the latest release of “Coachella – Woodstock in My Mind,” it’s clear Del Rey has begun to wade into the shallow pool of “socially aware” pop music. The musings she’s presented on initial Lust for Life singles are introspective as always, but with a more optimistic tone. If this new direction wasn’t enough to get you excited for the album, the collaborations with the Weeknd, musical royalty offspring Sean Ono Lennon, and the white witch herself, Stevie Knicks, might help. Del Rey is tapping into new territory on Lust for Life and might just be her most intriguing work yet. —Nora-Grayce Orosz
DJ Khaled, ‘Grateful’
Release Date: N/A
Producer and life coach extraordinaire DJ Khaled has his tenth studio album Grateful on the way for summer 2017. With masterful executive production from his son Asahd, an endless collaboration roster of music’s elite and that ever-humble attitude, there’s really no way this album can fail.
If the success of his “I’m the One” collaboration with Chance the Rapper, Quavo, Justin Bieber, and Lil Wayne is any indication, Grateful is destined to make some serious waves this summer. “I’m the One” marks Khaled’s first No. 1 hit on the Billboard Hot 100 chart and is a testament to his ability to produce songs with widespread appeal. You can’t help but be happy for him and luckily, there’ll be many more chances for hits when his album drops. —Nora-Grayce Orosz
Lil Uzi Vert, ‘Luv Is Rage 2’
Release Date: N/A
Fans have become restless over waiting for Lil Uzi Vert’s Luv Is Rage 2, partially because he teases it in every Instagram post, but also because the Philly rapper has created a buzz unlike any other act in 2017.
That’s only increased with the success of “XO Tour Llif3,” which has cracked the top 10 on the Billboard Hot 100 chart. He also earned a No. 1 earlier this year thanks to his contribution to Migos’ “Bad and Boujee.” With that kind of momentum, Uzi Vert is in prime position to strike while the iron’s hot. —Edwin Ortiz
Travis Scott and Quavo
Release Date: N/A
At the top of 2017, three major collaborative rap projects seemed like more than a pipe dream: Kanye and Drake, Young Thug and Future, and Chance the Rapper x Childish Gambino. Not only does a Travis Scott and Quavo album deserve to be mentioned in that same space because of their undeniable chemistry, but we know for certain it’s happening.
Camila Cabello, ‘The Hurting. The Healing. The Loving.’
Release Date: N/A
Making the transition to a solo career after gaining fame and success with a group can be tricky, but Camila Cabello has handled it well. The 20-year-old star first hit fans with “Crying in the Club,” an upbeat performance ripe for the airwaves, and followed that up almost immediately with “I Have Questions.”
Her debut album The Hurting. The Healing. The Loving. is still without a release date, though she has marked September as the month fans can expect to hear what she’s been working on this past year. —Edwin Ortiz
Release Date: N/A
We’ve received a handful of signals that Jay Z’s next album is dropping soon. Among them: Swizz Beatz hinting Hov is in “album mode,” Jay lining up multiple festival appearances in early fall, and the fact that it’s been nearly four years since he dropped his last album, his longest break between projects.
Coachella’s lineup announcement generated a good amount of buzz, as 2016 marks the first year an electronic act was booked as a main-stage headliner. While this is certainly a big step for the electronic community, a look at Coachella’s 17-year history reveals an interesting fact about their headliner selections.
It seems that only one solo female act, Iceland’s Björk, has ever made it to the headlining slot at Coachella, claiming a place on main stage in both 2002 and 2007.
Björk at Coachella 2007
However, female artists do make their way onto the bill, as they make up 16% of the average Coachella lineup. 2016 is even bigger, as 27% of the names booked are female-fronted acts. But is this enough?
Billboard recently published a piece that made some valid points as to why female artists aren’t making it to the top slots of Coachella. The top-tier acts like Beyonce, Katy Perry, and Taylor Swift are able to tour alone and draw massive, festival-sized crowds and earn more money than performing at an actual festival. Adele’s even playing SIX nights at the Staples Center this year, and all are expected to sell out. However, the article also argues that some of the slightly smaller names like Lorde, Ellie Goulding, and Lana Del Rey should be heavily considered for headlining spots. They are very feasible options, as it’s not hard to imagine a name like Lorde drawing a similar sized crowd as Calvin Harris at festivals like Coachella, not to mention the possibilities for people she could bring on stage with her… like Disclosure, perhaps.
While Coachella is making some moves by booking more female artists, it would be nice to see a few make it to the coveted headlining slot in the upcoming years.
The 56th Annual GRAMMY Awards took place last night with Daft Punk beating our Macklemore, Kendrick Lamar and Taylor Swift for the “Album Of The Year” award with their legendary ‘Random Access Memories’ album. Not only did Daft Punk take home one award, but the French duo took home in total 5 awards. While Daft Punk made a presence, so did Zedd for Best Dance Recording as well as Cedric Gervais for his remix of “Summertime Sadness” for the Best remixed recordings, non-classical.
Here’s the full list of winners below:
Best Pop duo/Group performance: “Get Lucky” by Daft Punk (ft. Pharrell Williams & Nile Rodgers) Best dance recording: ”Clarity” by Zedd (ft. Foxes) Best dance/Electronica album: ”Random Access Memories” by Daft Punk Best Engineered album, non-classical: ”Random Access Memories” by Daft Punk Best remixed recordings, non-classical: ”Summertime Sadness” – by Lana Del Rey (Cedric Gervais Remix) Record of the year: ”Get Lucky” by Daft Punk Album of the year: ”Random Access Memories” by Daft Punk
Lana Del Rey is having a busy awards season The pop songstress is up for several Grammy awards this year and she recently performed at another awards show the Breakthrough Prize which honors scientists who have made major developments in our understanding of the world The ceremony airs on Monday…
The Coachella Valley Music and Arts Festival will take place over two weekends, April 11-13th and April 18-20th. Coachella has just announced the official 2014 lineup and is nothing short of phenomenal. The lineup will include headliners such as Outkast, Muse and Arcade Fire. Other artists include Disclosure, Pharrell, Lana Del Rey, Nas, Skrillex, MGMT, Chromeo, Lorde, Chance the Rapper, Mogwai, Holy Ghost!, Classixx, Shlomo, Empire of the Sun, Ellie Goulding, Zedd, The Glitch Mob, Aloe Blacc, Hot Since 82, Damian Lazarus, Duke Dumont, Fatboy Slim, Netsky, RL Grime, Headhunterz, GTA, TJR, Nicole Moudaber, MAKJ, UZ, Calvin Harris, Alesso, Duck Sauce, Flosstradamus, Adventure Club, Big Gigantic, Laurent Garnier, Krewella, Rudimental, AlunaGeorge, Showtek, Poolside, Daughter and many many more.