5 Things Taylor Swift’s Clock Could Be Counting Down to

Taylor Swift is going to announce something this coming Friday, April 26. We know this because her website recently began counting down to that date and her social media channels are teasing what that date might bring. The problem is, it’s all so ambiguous, there’s really no consensus on what it all means or what will actually happen.

In the spirit of conjecture, we’ve compiled our five best guesses as to what will happen on Friday. Some of them are silly, some are not. Will any of them be correct? I guess we’ll find out on Friday.

1. Taylor Releases a New Line of Sunglasses for Chickens

This is one of the silly ones. Or is it? Just this weekend, her social media accounts shared an image of various chicken artwork, all of which include pictures of chickens in sunglasses with the caption 4.26.

So if you want to get super literal about things, it’s kind of obvious what the countdown is leading us toward. And it kinda makes sense, right? I mean, chickens are out in the sun a lot and would probably welcome a little protection from the rays. Except they don’t have ears, so that makes it kind of hard. Okay, maybe this isn’t it.

2. Taylor Ends Her Running Feud with Katy Perry

Wait, is this feud still a thing? Honestly, I’m not going to look it up to find out, but a common conversation around this mysterious countdown is that it’s a hard pivot from the dark vibes that led up to Taylor’s last album, Reputation. The colors are bright and things seem pretty chill. So maybe it’s all good now. But that would be a weird thing to announce on a Friday. So that’s probably not it. But let’s hope the hatchet gets buried anyway.

3. Taylor Launches Her Own Streaming Service

With six full-length albums under her belt and multiple music videos and live tour recordings, Taylor has built quite the multimedia collection. With so many streaming services popping up, why not follow suit and launch her own service? This time, her music is pulled from Spotify, Apple Music, YouTube and other services for good – and for the low price of $4.26 per month, you can gain access to every Taylor song and video your heart desires.

But that’s kinda what Tidal is for Jay-Z these days and I honestly can’t remember the last time someone told me they used Tidal, so this is probably a bad idea and not it.

4. Taylor Announces Her Retirement

For someone still under the age of 30, Taylor Swift has had a pretty unbelievable career. She’s won almost every award you can win for making music, has toured the world multiple times over, and is generally regarded as one of the most successful pop artists of her generation. What’s left to prove?

Except that’s not really how being an artist works – you don’t really just quit creating. And plus, that would be a huge bummer, cuz I would love to keep listening to new music created by Taylor Swift, so that’s probably not what this is, but it leads us to our most likely outcome.

5. Taylor Shares a New Single and Gives a Release Date for Her New Album

Sometimes the most obvious answer is the right one. I highly doubt we’re getting a full new album on Friday, because that’s generally not how these things work, but I feel fairly confident that there will be new music and it will probably be in the form of one song.

We’ll also probably get a late summer release date for her new album, which will be fun to look forward to. Also, we’ll get to hear whatever this next stage of artistic evolution sounds like, which I’m pretty interested to find out. So let’s just go with that. Hooray for new music from Taylor Swift (hopefully)!

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Review: Marina – LOVE

Last year, I talked a little bit in an article about chasing away winter about my intense love for Marina and the Diamonds. Last year, we had no clue that something was going on with Marina Diamandis, as she had been silent since 2015’s Froot. In the fall though, she released a song with Clean Bandit called “Baby” (which is an absolute bop) and we all noticed something. We had Marina back, but where were her Diamonds? Well, she took the opportunity of three years away to rebrand herself, and now she’s only Marina. What hasn’t changed, though, is the heart and soul she puts into the music she creates.

You can buy or stream LOVE on Apple Music.

Her latest offering, LOVE is part one of a two part album, LOVE + FEAR. She gave no intention that she was going to release them separately, but she tweeted on April 4th that, “[She] created ‘LOVE + FEAR’ as 2 separate records to be listened to individually. I’m releasing ‘LOVE’ today so you can listen to in full before we move onto ‘FEAR’.” So we got four singles (the first four tracks in the listing) and then four totally new tracks in this first wave of new Marina music, and then we’ll get another eight on April 26th.

Each track on the album seems to come from a very personal place for Marina. She’s coming off of a pretty long hiatus, and adding that to the fact that her reasoning for taking a break was the fact that she felt like she was losing herself amidst the touring and constant production, it’s safe to say that she would want to be intentional with the first project she releases. She’s been intentional with every release, but for some reason this album feels bigger than anything she’s embarked on before.

When she released “Baby” with Clean Bandit, I assumed it was just a one-off. Only when I saw the tracklisting did I realise she would use it for the album. I feel like she recorded this as a way to let off some steam. The album is pretty heavy from a lyrical perspective, and “Baby” is a good way to remind us that Marina’s here because she loves making music and wants it to be an enjoyable experience for everyone involved – especially herself.

Though I didn’t know it then, Marina would become a staple in my queue because of the activism she aims to spark. She’s not crazy and totally in your face, but I’ve always seen her music as more than just bubblegum pop. I could name a track from each of her albums that inspires thought from the listener. For LOVE, I would say that there are several. “Enjoy Your Life” is about being mindful and positive even when things seem mundane, “True” is about self esteem, and “To Be Human” is (in my opinion) a companion track to “Savages” from Froot.

If this is LOVE, I can only wonder what we can expect from FEAR. Even when Marina sings about the harder part of life, she wraps it in a musical soundscape that draws us together, making us enjoy using these finer processes of thought. We all see how messed up the world can be, and I believe Marina’s message upon her return is banding together and figuring out how to change. It can start with only one person, and that’s something to be celebrated.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Blaqk Audio – Only Things We Love

The sheer amount of content Davy Havok and Jade Puget release is utterly staggering. The fact that each release is near perfect is frightening. Blaqk Audio, the AFI duo’s electronic project, is relentlessly hypnotic. Dance beats, new wave melodies and Havok’s signature melancholy blend to create a sound that feels as familiar as it is unique. Only Things We Love isn’t the group’s best release, but it’s so close it may as well be.

You can buy or stream Only Things We Love on Apple Music.

It’s hard to peg the meaning behind Blaqk Audio’s albums (or AFI’s, for that matter) due to Havok’s ambiguous writing style. The concepts behind Blaqk Audio releases tend to be far more romantic than any of Havok’s other projects. As such, Only Things We Love is about conquering the anger of youth that prevents us from loving someone else… or it’s about the confessions of a serial killer?

Havok’s vocals are again a demonstration of why he may be the best singer currently active. Decidedly different from the screams and crooning of AFI, Havok’s voice is poignantly drenched in new wave sensationalism. Utterly relaxed, he shifts comfortably between soft verses to energetic, rampant choruses. Powerful inflections in tone give his performance a superb edge that puts Only Things We Love as yet another highlight of Havok’s sensational voice (“Dark Times At the Berlin Wall”).

Puget’s arrangements are among Blaqk Audio’s best. The industrial electronic beats are deep, commanding and pulsing. The best part about Puget’s dance music is that it finds a perfect blend with modern electronica, detailed new wave melody and the corny catchiness of Dance Dance Revolution’s heyday (“Matrimony and Dust”). The downside is that Puget has used many similar synth tones for the last few records. Despite improvements from album to album, there is an argument that the underlying music for each Blaqk Audio release doesn’t do nearly enough to distinguish itself from any past album.

Despite Havok’s best descriptions of gore, such as on opening track “Infinite Skin” (“Blood on the corner / Love on a dead end street / You heard them warn her, when you first heard of me”), Only Things We Love is an album about lost love and learning to forgive. Lead single “The Viles” describes the pain of the aftermath of a break up against Puget’s pulsing synth. Havok pointedly shouts, “Day may break me. Daylight like she, like she burns / Through five nights when all is not right / And again, we meet here”.

Not all is as dark, as songs like “Summer’s Out of Sight” describe the memory of a relationship at the height of passion. Puget’s melodic bass lines and twinkling keyboards shine beneath Havok’s hopeful verses (“I had to crawl the halls to ask when we might meet before you left / You said, ‘Maybe tomorrow or never again’ / But you said, ‘Right now I’m yours’) and the devastated chorus (“Hearing you leave out my name makes me want you / You personalize pain”).

For an album relishing the sound of 80’s new wave electronica, nothing personifies it more than closing tack “Matrimony & Dust”. An elegant homage of 80’s cliches, the song finds the characters meeting again to finally move on to healthier relationships. The sincere tenderness of Havok’s voice as he croons, “And would you believe, somehow, that I am married now?” is astonishing, considering he’s a singer who became famous for throat-shredding screams and skate punk shouting.

Only Things We Love is a bitter album, but not without purpose. In what might be the biggest surprise from Havok, there’s hope in the darkness. The album is humane, carries a sincere resolution and stays true to the era that inspired it. It straddles a fine line between being Blaqk Audio’s most brutal and sweetest album. Fans of the band will find exactly what they expect, and newcomers will find what might be the single most accessible album Havok and Puget have ever written.

4.5/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and is typing blindly right now while the cat sits in front of his monitor. Her judgemental gaze is not unlike that of a giant squid.

Carly Rae Jepsen to Release “Dedicated” on May 17

Nearly four years after the release of her last full length album, Emotion, Carly Rae Jepsen has announced her new album, Dedicated. The 15-track release will drop on May 17 and be followed by a U.S. tour this summer. You can view the tour dates below and pre-order the album here.

Emotion was heralded as one of the best pop albums of 2015 and has since gained traction in the discussion for best pop album of the decade. A year later, Jespen followed up that release with Emotion: Side B, a collection of b-sides that didn’t make the cut, but were still some of the most enjoyable pop tracks of 2016.

So far, Jepsen has released two songs from Dedicated: “No Drug Like Me” and “Now That I’ve Found You”. What are you excited to hear from Carly Rae on her new album? Share in the replies!

Posted by Kiel Hauck

Review: Billie Eilish – When We All Fall Asleep, Where Do We Go?

It wasn’t that long ago that I was commenting to someone on the possibility that Billie Eilish may truly mark the long-expected demise of “the album.” The Los Angeles-born teen became a viral pop sensation via individual tracks and experiences released to YouTube and has continued climbing in profile song-by-song, seemingly without record industry assistance.

You can buy or stream When We All Fall Asleep, Where Do We Go? on Apple Music.

Yet here we are in early 2019 with her debut album, When We All Fall Asleep, Where Do We Go? released via Interscope Records. So maybe Eilish won’t hammer the final nail into antiquated music-consumption practices (yet), but she certainly stands to be the next in line to turn pop music on its head.

Right from the start, it’s clear that Eilish is pulling at the dark, dread-filled sounds she began exploring on some of her best 2018 tracks. Indeed, “Bad Guy” and “Xanny” follow in the footsteps of hits like “You Should See Me in a Crown” and “When the Party’s Over”, which fit right in on the front half of When We All Fall Asleep.

“All the Good Girls Go to Hell” feels like the culmination of Eilish’s brooding explorations and has already been added to my next Halloween party playlist. She truly excels when leaning into her youthful agnostic indifference and tying it to fuzzy, bass-heavy production. You can practically see her smirk as she delivers the lines, “Pearly Gates look more like a picket fence / Once you get inside ‘em / Got friends but can’t invite them”.

Yet for all of the ways Eilish displays her angst and wit in the way only a teenager can, she truly shows her depth as an artist when the music dies down a little. What’s amazing is that the themes she explores so deliciously to buzz and bass sound much more thoughtful and poignant when delivered quietly.

The back half of When We All Fall Asleep feels like someone is slowly turning down the volume before closing with “Goodbye”. Here, we see past the veneer as Eilish sings lines like, “The world’s a little blurry / Or maybe it’s my eyes” on “Ilomilo” or when she digs at depression and suicidal thoughts on “Listen Before I Go”, singing, “Tell me love is endless / Don’t be so pretentious / Leave me like you do”.

Last year, “When the Party’s Over” showed us a potential roadmap to these kinds of moments, and the album reaches its high water mark with “I Love You”, a quiet, acoustic duet with her brother Finneas. The tale of a complicated relationship, it’s a reminder of how real feelings can feel, no matter your age or experience. Eilish is creating art for a younger generation of music followers, but the core concepts here are timeless.

None of this is easy to do, and it speaks to the deep talent of a 17-year-old who got started writing songs in her bedroom, just like almost every great artist. Yes, there’s filler and missteps and the general type of experimentation that makes debut albums more mystery than definition. Nevertheless, Billie Eilish has cemented herself as a bonafide pop star, even she’d have you believe she has no interest in filling that role. That’s typically how the best kinds of stories begin.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Queue It Up: March 4, 2019

Yes, March 1st was a big release day this year. We have new full-lengths from Hozier, Solange and Weezer for our listening pleasure. However, a few of our other favorite artists have released new singles worth jamming, too.

“Sucker” by The Jonas Brothers

THEY’RE BACK. I can’t believe this is happening, but in 2019 The Jonas Brothers returned to social media to tease new music. The first new music in six years from Kevin, Joe and Nick was released at midnight, and you can bet your firstborn that I stayed up for it. Oops, your firstborn is gone now. It’s a great track and the video is even better. Filmed in the castle that also housed Oscar winner, “The Favourite”, the video showcases the guys’ respective significant others – Danielle, Sophie and Priyanka. It’s everything I ever dreamed of and they’d better go on tour or I might cry.

“Superstar” by Marina

“Handmade Heaven”, the first single from Marina’s new album, Love + Fear, has been out for almost a month now. Both singles, as well as “Baby” from late autumn 2018, are from the “Love” part of the album, and I’m curious as to whether she’ll release a single from the “Fear” portion. This single is totally different from “Handmade Heaven” and is more reminiscent of the Marina we’ve been in love with since 2010. “Superstar” is a great track and I’ve been playing it all weekend.

“Now That I Found You” / “No Drug Like Me” by Carly Rae Jepsen

The addition of Carly Rae Jepsen here is admittedly for Kiel [Thank you! – Kiel]. I’m not personally a huge fan of Jepsen’s work, but I’ll say that the two songs she released this week are great. It’s very Carly Rae; she seems to have found a niche that she’s sticking with. We’ve got three singles, but no release date for her fourth album. Both tracks are pretty thematically similar, but I do prefer the second of the two, “No Drug Like Me”. She used some heavier 80s synth than she usually does, and the distinction is nice.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Copeland – Blushing

Click here to check out our new podcast breaking down Copeland’s discography

Anyone familiar with Copeland knows that the band loves to push boundaries. In terms of their lyricism and their production, they always aim above and beyond with each new project. Whether it’s for their own creative necessity or as a way to keep the fans coming after all these years, we can always count on them to impress us with each release. Their latest, Blushing, is no exception — but it is exceptional.

You can buy or stream Blushing on Apple Music.

Blushing begins with “Pope”, the first single the band released back in November. It’s a perfect opener and really sets the tone for how this album plays out. The spoken word in the middle is an important part of the album’s overall theme and eventually comes back around in the second-to-last track, “It Felt So Real”. As much as I don’t want to call this a concept album, it kind of is.

I loved Ixora. I know there were a lot of people who didn’t, but I liked the idea of an evolved Copeland. They were interested in branching out on that album in a way they weren’t before, and it was exciting. A lot of people are commenting on the videos Copeland posted for Blushing that it’s a whole album of songs that sound like “Lavender” from Ixora, and while I can definitely see where that comparison comes from, I don’t think it’s fair to write off the album based on that.

In Ixora, we had the girl standing “in the whitest dress,” clearly signifying either a marriage or a new relationship that hasn’t been touched by negativity yet. In Blushing, though, a lot of the honeymoon period we saw in Ixora is missing. There’s still plenty of love to go around, as seen in “Lay Here” and “On Your Worst Day”, but somewhere along the way, things have gone a little bit stale.

Gone are the days of Copeland singing about running through wildflowers. Vocalist Aaron Marsh’s character on Blushing is a tired man. He’s remembering the better times through dreams, which is where the spoken word comes in. She’s calling him out of that dream state and back to reality. In “Strange Flower”, he wonders if he’s enough for her. It’s all too relatable for a long-term relationship, and I think lyrically this might be some of the band’s tightest and most poignant work.

Copeland has a way of perfectly matching their music to the story they’re conveying. They said that with this album, they wanted to overdo everything they’ve done before. On their site, Marsh says, “…we wanted to emphasize each element of sound harder, like an exaggerated version of Copeland’s sound.”

With Blushing, that approach has succeeded, particularly with the use of string and jazz instruments. Neither of those are new for Copeland, but somehow they’ve made it feel fresh and never-before-heard. They were diligent with where they put compositional elements, they didn’t waste a note. Every sound serves its intended purpose well, and every moment of silence is placed exactly where it needs to be.

5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Bring Me the Horizon – Amo

I recently decided to play Bring Me the Horizon’s latest single, “Medicine”, back-to-back with “Pray for Plagues”, their 2006 deathcore breakthrough. The shock value of hearing those two tracks in succession highlights the unfathomable songwriting growth the band has experienced over the past 12 years while serving as a reminder of frontman Oli Sykes complicated past – something he still seems to be trying to outrun.

You can buy or stream Amo on Apple Music.

By now, you’re surely aware that Bring Me the Horizon’s new album Amo is unlike anything you’ve ever heard from the band, something that feels wholly unsurprising in light of 2015’s alt-rock excursion, That’s the Spirit. That the band have completed a full metalcore metamorphosis into something nearly uncategorizable is phenomenally impressive. That they’ve done so from within a cocoon of their own making – no producers, no co-writers – is jaw-dropping.

The breadcrumbs leading to Amo can be traced back to the addition of keyboardist and engineer Jordan Fish on 2013’s Sempiternal. While the band showed their first signs of life on There is a Hell in 2010, it’s now unmistakable that the songwriting vision of Fish made an unequivocal impact on the band’s trajectory – he and Sykes now serve as one of the most fascinating duos in alternative music. Just call them the new Stump and Wentz.

It feels like years have passed since “Mantra” was released last August as Amo’s first single – a red herring if there ever was one. We can now realize that grungy track as just one ingredient in a concoction that finds Bring Me the Horizon exploring electronica and pop rock in equal measure. That “Mantra” is immediately followed on the album tracklist by “Nihilist Blues” featuring Grimes (without a doubt the most ambitious and peculiar song the band has ever written) feels perfectly appropriate.

For most listeners, new and unexpected sonic explorations like “Nihilist Blues”, “In the Dark” or “Why You Gotta Kick Me When I’m Down?” will take multiple spins to fully digest. Oddly enough, the schizophrenic nature of Amo and its constant genre leaps serve as the perfect entry for a fully streaming generation, yet still functions best as a sum of parts, especially when including the blippy, 1975-ish interludes.

Album opener “I Apologize if You Feel Something” sets the stage for the story Amo wishes to tell, often dealing with the confusing and sometimes messy nature of relationships. It’s here that Sykes first delivers lines that seem in response to the dissolving of his marriage with Hannah Snowdon, the hazy-yet-troubling details of which still hover over Sykes and the rest of the band. It’s clear that he’s still searching for the culprit, often finding his own reflection, as on “Wonderful Life”: “’Lone, getting high on a Saturday night / I’m on the edge of a knife / Nobody cares if I’m dead or alive / Oh, what a wonderful life”.

We’ll all find our own ways to process what we know of Sykes and whether his self-deprecation is worth of empathy. Is it a complicated kind of progress when he finds a sensitive side on tracks like “Mother Tongue”, which implores his wife Alissa Salls to speak in her native Portuguese when expressing her love? At a bare minimum, it feels like the right kind of growth. Whether in words or sound, Amo is rife with the kind of palpable inner wrestling that is unavoidably compelling.

When Amo loses its footing, it can be tied solely to the band’s decision to self-produce. Tracks like “Sugar Honey Ice & Tea” highlight moments when a producer could have taken a chorus or melody to another level. Instead, Sykes sometimes finds himself stumbling over awkward phrasings or nearly nonsensical lyrics. Even in those moments, the band’s sudden pop sensibilities are hard to deny – by my third listen, I was singing along to nearly every song.

All of this brings me back to “Medicine”, a track that caused an uproar amongst old guard fans and once again solidified Bring Me the Horizon as one of Britain’s most essential rock bands. As the sonic inverse of first single “Mantra”, “Medicine” finds the band very coyly trolling us all. As the ying and yang of an album that now has to be considered when discussing the band’s best releases, Bring Me the Horizon have proven that great songs can come in a variety of packages and great bands can still find new ways to get even better.

The fact that Bring Me the Horizon’s metalcore days are far behind them will continue to be a bitter pill for some people to swallow. For the rest of us, a dose of levity and melody are a small step toward salving old wounds.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Review: Clear Eyes Fanzine – Season One, Episodes 1-6

I’ve never seen “Friday Night Lights”, movie or television series, but I constantly hear about how great of a series it is. The evidence is clearly mounting after the creation of Clear Eyes Fanzine, a side project from Dan Campbell of The Wonder Years and Ace Enders of The Early November. Season One, Episodes 1-6 is exactly what it sounds like. Both Ace and Dan provide three songs inspired by each episode. It’s a great concept that has created some of the most intense, provoking and emotionally wrenching songs either songwriter has ever written.

You can buy Season One, Episodes 1-6 on Bandcamp.

The main takeaway from SO, E1-6 is how much these songs sound like Campbell and Enders. The first three tracks, written by Campbell are basically tracks from Aaron West & The Roaring Twenties. The second half of the record is Enders prominently displaying his penchant for atmospheric minimalism that his I Can Make a Mess project has perfected. There aren’t any surprises, just damn good songs.

Campbell’s side of the record focuses on physical ailments and trauma. Whether that be physical exhaustion and determination from “On Tim Riggins as He Prepares for His Sophomore Year” (“I puked through my mask / And the smell never fucking leaves”), or brain trauma of CTE from “Coming Up for Air” (“I don’t talk about the headaches / I don’t talk about the nights when I forget where we are”), Campbell’s descriptions of the damage from playing football are brutal and unforgiving. It’s also some of his best work to date.

Enders, taking the back half, focuses much more on the emotional toll of the characters. His songs are ethereal and soft, feeding the energy of emotional drama. “Good Get Coach” begins with whispers and Enders harmonizing with himself before exploding with a chorus of, “Another rivalry begins, watching you watching him / I wish that I could let myself just let it all out”. Meanwhile, “The Fields” explores a back and forth conversation between characters. Enders sings, “I hate that they get applauded / It’s just a stupid game / In 15 years, that varsity jacket just won’t wear the same”, before the chorus kicks in with a differing viewpoint: “In the field, we fight for our tiny lives / It tore my father down, cuz nobody gets out”.

Clear Eyes Fanzine is fun, emotionally draining and comes from two songwriters who love “Friday Night Lights”. While each artist’s songs are incredible, the wasted opportunity for the two to share a song together is astounding. However, there’s always hope for the next few episodes. As a whole piece, the EP is an emotionally gripping exercise in writing.

4/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and HAS TOO MUCH TELEVISION!!! There is so much to watch, and not enough time to learn how to make wicker baskets.

 

Most Anticipated of 2019: #4 Dua Lipa Dances into 2019

For Dua Lipa, the period between her debut and forthcoming sophomore album has been anything but quiet. In June of 2017, her self-titled release dropped to relatively modest fanfare, but 2018 saw the English pop star’s profile reach a fever pitch. Following the success of early singles like “New Rules” and “IDGAF”, Lipa struck gold last summer, featuring on Calvin Harris’ number-one single “One Kiss” before later partnering with Silk City for “Electricity” – one of the best dance tracks of the year.

In gearing up for what comes next, Lipa let slip that her anticipated follow-up would be heavily influenced by Prince and Outkast, an intriguing concept, to be sure. Both acts made names for themselves by pushing the limits of their respective genres and exploring new territory with each release. It stands to reason that 2019 may present us with a sonic side of Dua Lipa that we have yet to hear.

At the age of 23, she has already proven herself to be a hit factory with one of the most fun and inviting personalities in pop music. It shouldn’t be long before Dua Lipa’s name rings out among the elite popular artists of our time.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.