It’s been nearly five years since the announcement of TM88 and PartyNextDoor‘s rumored collaborative release, Party At 8. The project has mostly been shrouded in mystery, though a few leaks have kept the idea of it actually coming to fruition alive since.
Uproxx recently caught up with TM88 for an Instagram Live Session, where the award-winning producer provided some intel on Party At 8 and its status. The 808 Mafia member said it all began when the two linked up at a Los Angeles recording studio and ended up making a few songs that evening.
One of the songs, presumably titled “For The Night,” was leaked and TM88 played Uproxx an exclusive snippet of the reworked version by request.
“I really just had to go in and change up the vibe and all that sh*t. But I can let you hear like a little bit of it,” he said from his Atlanta studio before hitting play on a song that is more vibrant and robust than the original.
“I’m working on it still,” he said after playing nearly 30 seconds of the track. “I want him to hear the finished product.”
However, the leaked track isn’t the only Party and TM songs in existence, apparently.
“Man, I think we got like nine or ten songs,” he revealed when asked how many tracks they’ve created.
According to TM, Party At 8 is still being worked on and there’s no scheduled release date. For the time being, fans have one of TikTok’s favorite tracks, “Blue Jean Bandit” featuring Young Thug, Moneybagg Yo, and Future and can expect more hits from the production genius all 2020.
PartyNextDoor released his third studio album Partymobile back in March, landing at No. 8 on the Billboard 200 chart, and has been unleashing a string of visuals from the project such as the animated “Savage Anthem” and “Loyal” featuring Drake.
Hopefully, the appropriate time and space will align for TM88’s and PartyNextDoor’s Party At 8 to finally materialize.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
IDK previously indicated he would “never put out a project like IDK&FRIENDS again,” as he tweeted back in 2019, but thank goodness he didn’t keep good on that promise. He recently dropped IDK & Friends 2, which also serves as the soundtrack for Kevin Durant’s documentary Basketball County: In The Water. Now he has teamed up with one of his aforementioned friends, PnB Rock, on a video for their collaboration, “End Of Discussion.”
The lyric video is a simple visual (as lyric videos tend to be): IDK and PnB Rock sit in front of the camera, wearing disappointed looks on their faces and smoking as two girls twerk behind them.
Aside from PnB Rock, IDK & Friends 2 also features appearances from ASAP Ferg, Wale, Juicy J, Denzel Curry, Maxo Kream, Xanman, Rico Nasty, Big Flock, Yung Manny, Big Jam, Weensey (BYB), Alex Vaughn, and Ronny J. Producers on the project also included Jersonmade, Michael Uzi, Ronny J, Juicy J, FNZ, Acyde, Teo Halm, Jeff Klienman, Nils, Wonda, Blue Rondo, DJ Money, Vontae Thomas, and others.
Set to follow IDK & Friends 2 is the rapper’s next album, U See 4 Yourself.
Watch the “End Of Discussion” video above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Casey Short and Julie Ertz shared a joint message on Twitter on Tuesday afternoon as a follow-up to the emotional on-field moment they shared during the opening night of NWSL Challenge Cup action over the weekend, when Short began to cry while kneeling during the national anthem and Ertz embraced her.
The moment generated a broader dialogue over continuing to play the anthem before sports games. In response, Short and Ertz, who are also teammates for the U.S. Women’s National Team, gave fans insight into their internal conversations as teammates and pledged to keep seeking out meaningful action rather than the gossip such public moments can often be reduced to once the internet gets hold of them.
“This moment of helplessness was overwhelming for many reasons including, frustrating in not having a clear answer for change, the hurt in each other’s voices, and our black teammates and friends who have emotionally poured out every ounce of their heart to us,” the teammates wrote.
While the rest of the letter does not go onto list any specific actions being taken or seek to correct the record in any way, it is important. The teammates reaffirm their religious faith and how it has helped them connect, and seem to try to turn the topic away from what happened on Saturday not on the pitch and toward real action.
After a five-year hiatus following their latest record Caracal, Disclosure’s return to music was less than conventional. The UK duo shared one new song each day for a week, which comprised their EP Ecstacy. Shortly after their EP’s release, the duo heralded their next album with their title track “Energy.” Now, Disclosure return with another preview of the record in the form of the energetic number “My High” with Aminé and Slowthai.
Disclosure’s “My High” video takes after the single’s vibrant spirit. Directed by Simon Cahn, the visual centers around the ill-fated protagonist who was just admitted to the hospital. His time in the hospital was short-lived, as he’s wheeled out into the parking lot and taken over by Aminé, Slowthai, and a group of rowdy teenagers.
Speaking about the track in a statement, Disclosure gushed about their collaborators: “We always wanted to work with rappers, we just didn’t know any and we had no means of contacting them… there aren’t a lot of rappers in Reigate. Writing ‘My High’ with Aminé was a lot a fun, he’s hilarious and may as well be a comedian. He writes so quickly and it’s amazing to watch. He brought so much energy to this already very energetic tune that when we got home to London in January, there was only one guy capable of matching it… slowthai.”
Watch Disclosure’s “My High” video above.
Energy is out 9/28 via Capitol Records. Pre-order it here.
In a lengthy Instagram post on Monday night, Colorado Rockies infielder Ian Desmond told a story about returning to the Little League fields he played on as a child in Sarasota, Fla., and how the return to his past ultimately inspired him to sit out of the upcoming 2020 MLB season.
Though much of Desmond’s post centered on the part that baseball, his coaches, and his teammates played in his career and life, not all of the memories are happy. Desmond reminisces in the post about his white teammates chanting “white power” after their pregame huddle, and of being abandoned by his stepfather after a game. Yet the trip through Sarasota also made Desmond realize how hard it is for some to have those experiences, especially today as the wealth gap grows. Desmond also wrote that leagues like MLB don’t do enough to support young athletes.
“I got to experience (sports) because (the fields were) a place where baseball could be played by any kid who wanted,” Desmond writes. “It was there, it was affordable, and it was staffed by people who cared.”
Desmond then turns his attention to MLB, calling out the “labor war,” “racist, sexist, homophobic jokes,” and “cheating,” in addition to a huge diversity problem, with no Black owners, one Black GM, two Black managers, and Black players making up less than eight percent of the league.
“If baseball is America’s pastime, maybe it’s never been a more fighting one than now,” Desmond writes, comparing the systemic racism of broader American society to the mechanisms within MLB. As a biracial man, Desmond says he has hardly ever been comfortable as an MLB player, and wants to open doors for more underserved young athletes. Desmond will spend time when he would have been playing instead reinvigorating Sarasota Youth Baseball.
This is a problem. It’s a real problem. It’s not the biggest problem we have right now, I’ll gladly concede that much, but still, the point stands: Once you hear the song “Ja Ja Ding Dong” from Eurovision Song Contest, the new Ferrell-McAdams movie that is burning up Netflix, you will have an impossible time getting it out of your head. It burrows in there with its little teeth and claws and hooks itself to particularly sturdy parts of your brain. It’s not so much an earworm as it is an eartick, holding on for dear life as you try to pluck it out of there. Luckily, I am here to help. I, too, suffered this fate, living with “Ja Ja Ding Dong” lodged into my brain for days on end. And I have a simple, easy tip for getting it back out as soon as you’re ready.
I’ll get to that in a minute, though. The first thing you need to know is that they did this on purpose. Everyone involved openly admits it. The writers of the song, Gustaf Holter and Christian Persson, said as much, telling Vulture they “wanted it to be super-cheesy, but also incredibly catchy at the same time,” and adding “’stupid-catchy,’ we call it.” Well, my friends and tormentors, you did it. Congratulations.
I think there are two parts to its catchiness. The first is the call-and-response of it all. It sounds like a real song you’d hear in a real pub in real Iceland, with its “Ja Ja” prompt followed by its “DING DONG” chant. This is the chunk of it that really gets in there. I bet, if you live in a bustling city or along the main drag in a smaller town, you could stick your head out the window right now and shout “Ja Ja!” and at least one person would shout “DING DONG” back at you. If it doesn’t work today, give it a week. If it doesn’t work in a week, try yelling “WILL YOU PEOPLE PLEASE WATCH THE EUROVISION MOVIE ON NETFLIX! COME ON!” It’s a good movie. It’s fun. They will thank you. Eventually.
The second part of its catchiness is the naughty lyrics. Hoo boy, are they naughty. Not since “Let’s Duet” from Walk Hard has a fun and peppy little fake movie song made the 11-year-old child in me chuckle this much. I mean…
Jaja ding dong (Ding dong)
My love for you is growing wide and long
Jaja ding dong (Ding dong)
I swell and burst when I see what we’ve become
Jaja ding dong (Ding dong)
Come, come my baby, we can get love on
Jaja ding dong (Ding dong)
When I see you I feel a ding-ding dong
The song itself sounds so sweet and innocent that you can almost be lulled into a trance where you forget how dirty the lyrics are. It could be an issue if you have children who are, say, 8 and 11 years old and hear it one single time. This brings us to a quote from the director of the film, David Dobkin, also from the Vulture piece: “I played it one time in my house — one time! — and my 11-year-old and 8-year-old were singing it for weeks.”
It is very funny to picture two young children being as obsessed with the song as this bearded maniac, a tortured soul and my favorite character in this movie, possibly any movie.
Netflix
I can relate to this man. Anyone who has seen the movie can. There are other goods songs in there, too. “Double Trouble” is legitimately fun and bouncy, and could have been the for real song of the summer in that small late-90s slice of time when Ace of Base owned the charts. “Volcano Man” is preposterous on every level and still might end up on multiple playlists I listen to in my car. This is one of the reasons Eurovision Song Contest works as a movie, and it’s the same reason that Walk Hard and Popstar worked as music biopic satires: The humor lands better when the songs are good. These songs are good. All of them. But I only want to hear “Ja Ja Ding Dong.”
This brings us, finally, to the simple trick I’ve discovered to get the song out of your head. You’re going to kick yourself when you realize how easy it is. All you need to do it sit in a quiet spot in your home, close your eyes, and th-
AHAHAHA
AHAHAHAHAHAHAHA
YOU FOOL
THERE IS NO GETTING “JA JA DING DONG” OUT OF YOUR HEAD
Sadie Dupuis may be best known for leading Speedy Ortiz, but don’t forget that she’s done some great solo work as Sad13 as well. She dropped her solo debut, Slugger, in 2016, and four years later, she is back with its follow-up. Dupuis announced her next Sad13 album, Hand Painting, with its lead single, “Ghost (Of A Good Time).”
Dupuis calls the song a “party song about not going out,” with press materials adding that the track is “an oddball dance anthem for the introverts and anti-nostalgists among us, inspired by a recent Bushwick basement show with a 1 a.m. start-time she would have tolerated a decade ago.”
Dupuis said of the album, “I worked on Haunted Painting throughout 2019, writing, arranging and recording from home, then finishing the songs in studios around the country in between Speedy’s fly-in dates. It’s maximalist, and more true to me and my tastes than any record I’ve done.”
Watch the “Ghost Of A Good Time” video above, and check out the Hand Painting art and tracklist below.
Wax Nine
1. “Into The Catacombs”
2. “WTD?”
3. “Hysterical”
4. “Ghost (Of A Good Time)”
5. “Oops…!”
6. “Good Grief”
7. “Ruby Wand”
8. “With Baby”
9. “The Crow”
10. “Take Care”
11. “Market Hotel”
Haunted Painting is out 9/25 via Wax Nine. Pre-order it here.
If Christopher Nolan banning chairs from his sets sounded too good to be true (of course Christopher Nolan wouldn’t allow his cast and crew to sit down), that’s because it is.
In a recent conversation between Anne Hathaway and Hugh Jackman, The Dark Knight Rises actress told her Les Misérables co-star, “Chris also doesn’t allow chairs…. He doesn’t allow chairs, and his reasoning is, if you have chairs, people will sit, and if they’re sitting, they’re not working.” That’s the kind of method madness that titillates first-year film school bros, but a Nolan spokesperson told IndieWire that it’s simply not true.
“The only things banned from [Nolan’s] sets are cell phones (not always successfully) and smoking (very successfully),” spokesperson Kelly Bush Novak said. “The chairs Anne was referring to are the directors chairs clustered around the video monitor, allocated on the basis of hierarchy not physical need. Chris chooses not to use his but has never banned chairs from the set. Cast and crew can sit wherever and whenever they need and frequently do.” Look, here’s a chair on a Nolan set. Two of them, actually.
warner bros.
As for the cell phone ban, that’s to protect against leaked photos and videos. No wonder Tom Holland hasn’t been in a Christopher Nolan movie yet, and never will.
Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.
After delaying their new album at the onset of the coronavirus pandemic, Haim’s Women In Music Pt. III is finally here to serve as the perfect soundtrack for those quick walks outside in the warmth before retreating back to your home. Throughout, Haim zeroes in on a shimmering vibe, focusing on instrumentation and songwriting that results in their lengthiest and most consistent album to date.
Gordi — Our Two Skins
Gordi’s latest album “balances fierce intimacy with expansive ambition,” writes Philip Cosores for Uproxx. The sparse arrangements leave room for Sophie Payten’s lyrics to really sink in, allowing the listener to revel in the intricacies and impressive command of her songwriting as she describes a woman figuring out her own place in the world.
Hum — Inlet
The best part about Hum’s first album in 22 years is that it doesn’t sound like they haven’t made an album in 22 years. It’s perhaps their most exciting album to date, giving the classic Hum sound a modern revamp for thicker mixes and heavier guitars, with no song clocking in at any less than four minutes.
Arca — KiCK i
Arca has been consistently releasing new music throughout the 2010s, and the producer isn’t slowing down in the 2020s. As for what you can expect to hear on Kick I, Carolyn Droke writes for Uproxx that “it’s hard to place a finger on the distinct category Arca’s music falls into, as she expertly layers jagged, metallic samples with contemporary pop sensibilities.”
Bad Moves — Untenable
On their sophomore full-length, these Washington DC rockers tried to push to the outer edge of their influences, into territory that felt a little more unfamiliar. Untenable features flourishes of folk and garage rock, while still staying true to the band’s mission of delivering undeniable hooks and melodies.
Bright Eyes — “Mariana Trench”
At long last, Bright Eyes’ first album in nearly a decade has a title and release date. “Mariana Trench” is the latest sampling from Down In The Weeds Where The World Once Was, previewing what the band called in a statement “an enormous record caught in the profound in-between of grief and clarity — one arm wrestling its demons, the other gripping the hand of love, in spite of it.”
Tigers Jaw — “Warn Me”
Tigers Jaw’s first song in three years marks the first time that Ben Walsh and Breanna Collins have recorded with their touring members, and the new input pushes the band in a welcome, fresh direction. “Warn Me” isn’t slated to appear on the band’s upcoming Hopeless Records debut, but is a promising taste of what’s to come. I’ve been hesitant in the past to write from a more positive point of view,” said Walsh in a statement, “but my entire personal life went through an upheaval a few years back and it inspired me to see things through a new lens.”
Narrow Head — “Night Tryst”
Narrow Head channel The Smashing Pumpkins on their first single for Run For Cover Records, featuring chugging instrumentals and Corgan-esque guitar leads. Lyrically, vocalist Jacob Duarte says he “wanted to create a fairly dark world with my words. I put my life and experiences into that world and those are the words that came out.”
If you’re a reader of this column, you probably know I’m a sucker for emo-inspired indie rock. Michigan’s Forest Green fall into this category, with melodic earworm choruses sandwiched between heavy guitars and raspy vocals. “Ivory” is the latest preview of the band’s upcoming album In Waves, which is due out this week.
Rituals Of Mine — “Come Around Me”
Mixing the sonic palettes of R&B, electronic, and pop, into a unique and innovative hybrid, Rituals Of Mine previews her new album Hype Nostalgia with “Come Around Me,” where Terra Lopez takes on the music industry to call out the times she has been taken advantage of as a gay woman of color. With Lopez’s ethereal vocal over an electronic beat, “Come Around Me” is an extremely promising look at what’s to come with Hype Nostalgia.
Fenne Lilly — “Alapathy”
Fenne Lilly’s music takes a more upbeat approach on Breach, her debut album for venerable indie label Dead Oceans. “Alapathy” is a taste of this new approach, with insistent percussion that keeps up an anxious intensity throughout the track. It’s the first step toward the inner peace that Lilly searches for throughout Breach.
Katie Dey — “Dancing”
With programmed drums and glitchy synths, “Dancing” introduces Katie Dey’s latest album mydata. On the new album, the Australian musician maintains the integrity of electronic dissociation that made her previous efforts so engaging, while also utilizing strings and orchestral arrangements to expand the breadth of her songwriting.
Chloe Moriondo — “Manta Rays”
Just a few months after releasing the Split Orb EP, 17-year-old singer songwriter Chloe Moriondo is back with “Manta Rays.” With shimmering guitars and reverb-soaked vocals, the track “is supposed to feel like the moment when you sit fully alone in your room after seeing that one person you’ve been trying to dream of just to be closer to them, and reflect on how dumb you are and how much of your time goes to thinking of them,” wrote Moriondo in a statement.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Toronto singer, songwriter, and poet Mustafa released the stunning debut single “Stay Alive” in March as a reflection on gun violence. The song was produced by James Blake, who also worked with the singer on a handful of other songs. The duo collaborated on the touching track “Come Back” and they’ve now returned to debut the song with a moving live performance.
Directed by Nabil, the affecting performance poises James Blake on the piano as he offers supporting vocals to Mustafa, who showcases his textured voice. The song is a reflection on loved ones Mustafa has lost throughout his childhood. “If she runs her fingers through my past / She may lose the softness in her hands / Maybe I can still make it come back,” Mustafa sings.
Speaking on the meaning behind song, Mustafa expressed his gratitude towards Blake in a statement: “Perpetually grateful for James who helped free me of my own emotional burdens when I was young, to now helping me free these stories of those who’ve passed too young. today marks 2 years without Smoke Dawg. I pray the people you lost come back to you in the form that heals you best, if not a memory, a dream, if not a dream, in their siblings eyes, if not that, than in the way you carry yourself.”
Watch Mustafa and Blake perform “Come Back” above.
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