Latest news with #Polydor
Irish Independent
05-07-2025
- Entertainment
- Irish Independent
Arguments, tempestuous relationships and world domination: The American flops who breathed fire into Fleetwood Mac
Fifty years ago, Mick Fleetwood rescued Lindsey Buckingham and Stevie Nicks' music career and brought them into his floundering band. Success quickly followed but the cracks in the new line-up were evident from the very beginning Buckingham Nicks is one of the more curious albums in rock history. It's the sole release from a pair of celebrated musicians — Americans Lindsey Buckingham and Stevie Nicks — and yet this 1973 debut has never been released on CD or on any streaming service. If you want to hear it today, you'll have to track down an original vinyl copy — usually to be had for well over €100 — or procure a dodgy bootleg version. The album largely disappeared without trace on release, with Buckingham and Nicks furious that record company Polydor barely promoted it.
Perth Now
03-07-2025
- Entertainment
- Perth Now
'I find toxic people to just be so addictive...' Raye speaks about her weakness at Open'er Festival in Poland
Raye finds "toxic" people "addictive". The 27-year-old singer noted there are many types of addiction in the world, which she believes is part of the "human experience", and she is particularly drawn to individuals she knows are not good for her but she just can't seem to resist. Speaking on the Orange Main Stage stage at Open'er Festival in Poland on Wednesday night (02.07.25) as she introduced her song Mary Jane, she said: "I believe addictions are part of the human experience. "You can be addicted to a lot of things in life. You, you could be addicted to exercise - which is not me, but I'm very happy for those of you who decided to be addicted to exercise. "You could be addicted to chocolate, cheese. "Or you could be addicted to a human being. I find the toxic people to just be so addictive. You know, when you just can't tell that person 'No'. "And then you have illegal addictions, no judgement, this is a safe space and for me, too. "But I think, it's deemed unattractive as a woman to talk about this kind of addiction." Raye famously had a turbulent start to her career, leaving her record label Polydor after the company allegedly refused to release her debut album for several years, but she relishes being an "independent artist" now, making the music she always wanted to. Raye - who made history at the 2024 BRIT Awards, winning in six accolades, including British Artist of the Year - told the crowd: "I'm an independent artist. "Now, I was telling my driver actually on the way up. I was giving it my whole backstory, come on, and I was telling him I was an independent artist, and he asked if I like being independent and I was like, yes I do. "I had a bit of a tough time early on in my career as a record label for seven years. And during that time, I was releasing a lot of music but it was fast, fast pop, like music created to sell. And that's not the reason I wanted to be a singer. It's not the reason I wanted to be a musician in a songwriter, I think art is about honesty." Other artists who performed on the first day of Open'er Festival included Jorja Smith, Schoolboy Q and the night's headliners, Massive Attack. Performers in the coming days include Nine Inch Nails, Muse, Wolf Alice and Linkin Park.
Daily Mail
19-06-2025
- Entertainment
- Daily Mail
Sister act Haim keep the spirit of Brian Wilson alive with an album of sunny California pop, writes Adrian Thrills
HAIM: I Quit (Polydor) Verdict: Sun-kissed harmonies Verdict: Electrifying and theatrical The death last week of Brian Wilson was a timely reminder of the enduring brilliance of classic Californian pop. From Wilson's Beach Boys to The Byrds and the Eagles, the harmony-soaked sounds of America's West Coast remain the perfect soundtrack for summer. The latest exponents of brightly-hued Californian pop are the three Haim sisters, whose songwriting is an inspired mixture of tradition and modernity. Haim's fourth album, I Quit, is ostensibly a break-up record, but even when Danielle, Este and Alana sing about heartache, they find it hard to stop the sun from breaking through. 'I hear a voice in my head, and it keeps asking: why am I in this relationship?,' sings Danielle on Relationships, a track that blends close-knit harmonies with funky drums. Danielle, who is Haim's frontwoman, split up with Ariel Rechtshaid, the band's former producer, in 2022, and she opens up further on Down To Be Wrong: 'I crushed my whole heart, trying to fit my soul into your arms.' But the album, with its melodic vocals, shimmering guitars and shuffling grooves, is as much a celebration of single life and the empowering sense of freedom that comes with it, as it is a lament for lost love. The risqué All Over Me portrays Danielle as a woman taking control. 'Take off your clothes, unlock your door, 'cause when I come over, you're gonna get some,' she sings. The trio, all in their 30s, also seek refuge from the complications of adult life by harking back to simpler, if still bittersweet, times. Take Me Back is an acoustic account of nightmarish teenage dates triggered by a drive past their childhood home in the San Fernando Valley. Million Years is similarly nostalgic. 'Sometimes I sit around and think about the times we used to run around the city with nothing much to do,' sings Danielle. Family ties offer another source of strength. Bassist and eldest sister Este handles lead vocals on Cry, and Danielle seeks solace from one of her siblings on The Farm, a folky track in the tradition of the Laurel Canyon singer-songwriter scene of the 1970s. 'My sister said it's alright,' she sings. 'You can stay with me if you need a place to calm down, 'til you get back on your feet.' Despite Haim's American heritage, I Quit is bookended by two musical references from this side of the Atlantic. Opening track Gone samples the euphoric chorus of George Michael's Freedom! '90, and Now It's Time closes the record with an interpolation of U2's hypnotic Numb. That should work well live, especially as U2 haven't performed the original since 1993. 'We were on a huge nostalgic streak while making this album, partly because we were all single at the same time for the first time since high school,' said Danielle. As one West Coast pop legend leaves the stage, these three California girls are taking up the baton. Seven years ago, I stumbled on a show by emerging artist Yungblud in the small London venue Thousand Island. Just months out of his teens, and singing about gentrification and juvenile disenchantment, he was rough around the edges. But, with a sound that energetically mixed rock and rap, he was clearly one to watch. Fast-forward to today and the 27-year-old is one of the UK's most celebrated young musicians. His last two albums both topped the charts, and his back catalogue has been streamed six billion times. In 2022, he was the subject of a Louis Theroux TV special. Tomorrow, he curates his own music festival, Bludfest, in Milton Keynes. All of which heightens the expectations surrounding his fourth album, Idols. Produced with his long-term collaborator, Matt Schwartz, and made in Leeds, not far from Yungblud's hometown of Doncaster, it doesn't lack ambition. The first part of an intended double album, and described as 'a love letter to rock', it's bombastic and theatrical. The singer, real name Dominic Harrison, says the record revolves around the dangers of hero-worship. 'We turn to others for an identity before looking to ourselves,' he says. He makes his point on The Greatest Parade ('all I do is believe you, I need your praise'). His lyrics elsewhere are garbled, but he delivers them with real commitment. For all Yungblud's charisma — he's spoken eloquently about the need for positive male role models — his music is surprisingly conventional. Hello Heaven, Hello, all nine minutes of it, features Pete Townshend-like power chords and a chorus worthy of peak Bon Jovi. Zombie, a ballad inspired by the death of his grandmother, recalls the anguished indie-rock of Snow Patrol's Run. There are nods, too, to Parklife-era Blur (Lovesick Lullaby), Hunky Dory-era David Bowie (Change) and the special effects pedals used by U2 guitarist The Edge (Ghosts). More originality wouldn't go amiss. But, as he showed when he was still in the small clubs, he's an electrifying performer.
The Irish Sun
12-06-2025
- Entertainment
- The Irish Sun
Multi-platinum selling DJ redefines the boundaries of pop music as he launches one of his most personal releases yet
FROM remixing the world's biggest pop stars to taking to the main stages at top festivals, R3HAB has spent the last decade redefining the boundaries of dance music. With reworks for the likes of Rihanna, Drake, Taylor Swift, and Calvin Harris under his belt, the multi-platinum selling Dutch Moroccan DJ and producer has become synonymous with transforming chart toppers into dancefloor weapons, always with his signature balance of emotion and euphoria. Advertisement 2 R3HAB has redefined the boundaries of dance music Credit: CYB3RPVNK R3HAB turns the page this summer with one of his most personal releases yet, All My Life. Out now on Polydor/Universal, the tune trades the peak time punch for something more introspective and cinematic. Written during a songwriting camp in Thailand, the track is a deep house journey laced with soft piano, shimmering synths and a soaring vocal. 'All My Life means a lot to me,' R3HAB tells us. 'The lyric 'Parachute when I free fall' came from a moment of complete surrender… that feeling when you let go, drift into the unknown and somehow feel safe in it.' Advertisement It's a reminder of the power of dance music to lift us out of ourselves and that's exactly what R3HAB's exclusive playlist for The Night Bazaar delivers. Handpicked by the man himself, these ten tracks map out the energy and emotion that have fuelled his global journey and inspired his music, from the iconic remixes that made his name to his forward-thinking sound of today. With tracks from The Prodigy, Bodyrox, Avicii, Underworld and more, whether you're on the dancefloor or chasing your own version of escape, R3HAB's selection is the perfect soundtrack to let go, live fully and, as he puts it, 'forget about everything else for a while.' 2 He has now released one of his most personal tracks yet Credit: CYB3RPVNK Advertisement Most read in Showbiz Exclusive This one hit deep. I remember seeing the music video as a little kid - black and white, raw, chaotic, magical. The breakdancing, the attitude, the sheer energy of the track. It didn't sound like anything else. It was fast, aggressive and rebellious but so danceable. It gave me chills back then - and honestly, it still does. "You're no good for me"... the way that vocal cuts through? Timeless. "Take your brain to another dimension..." This wasn't just a song - it was a full-blown trip. The vocals, the dubby textures, the dynamic shifts, it was unlike anything I'd ever heard. It felt like getting abducted into another world where every sound hit a different nerve. There's something truly spiritual about how it all comes together. As a kid, it was one of the first records that made me realise music could be cinematic, psychedelic, and explosive all at once. Advertisement I first heard this in a nightclub and thought, what the hell is that sound? It was sleek, sexy, futuristic - like techno and electro had a child and raised it in a neon-lit bunker. The production was so ahead of its time. Those stabbing synths, the groove, the attitude - you could feel it in your spine. It was one of those records that made me stop dancing just to listen closer and figure out how the hell someone even made that. Pure genius. The sidechain compression, the gritty robotic vocals, the hypnotic repetition - it was the blueprint for an entire era of electro-house. It's one of those rare tracks that sounds just as fresh today as it did back then. Play it in any club and watch the floor erupt. I always expected how clean and punchy the mix was. Even now, it's hard to match the raw power this track delivers. Advertisement What a story this record tells. The tension, the poetic vocals, the way it just slowly builds like you're climbing some emotional mountain. It's more than a track - it's a cinematic journey. When that iconic drop finally hits, you feel like your soul lifts out of your body. "I can't get no sleep..." became a global mantra. This is dance music with narrative, drama, and real feeling. The Dirty Dutch sound. I remember this one hitting the clubs for the first time - it was like a punch in the face in the best way possible. Those screeching leads, the pounding rhythm, the sheer boldness of the sound. Chuckie was at the forefront of something new. The original and the remixes both hit - I even had the honor of remixing it myself, which was a huge proud moment. That groove was just undeniable. Advertisement You can't talk about dance music history without this one. "Drive boy, dog boy, dirty numb angel boy..." - that vocal delivery still echoes in my mind. It's haunting, euphoric, manic. The way it builds and evolves is masterful. Watching Trainspotting and hearing this track felt like discovering a portal into another emotional universe. A record that proves dance music can be just as emotive as it is physical. A modern masterpiece. The melody, the vocal sample, the euphoric progression - it defined Progressive House for a generation. It was so catchy yet full of emotion. Avicii managed to take something vintage and flip it into a stadium anthem. You could feel the optimism and hope in it. "Oh, sometimes I get a good feeling..." That's not just a lyric. It's a state of mind this record puts you in. Advertisement This one just slaps. Absolute banger. One of my favorite peak-time records ever. Showtek brought that gritty, festival-ready energy that got people jumping out of their skin. The transitions, the drops, the build-ups - everything was explosive. These guys have always been legendary producers, and "Booyah" cemented that. A track made for massive crowds and big sound systems. Read more on the Irish Sun Now, this one? Revolutionary. The rhythmic innovation, the use of vocal chops as instruments, the percussive madness - it felt like the future. Afrojack's punch and Major Lazer's swagger - together, they created something completely genre-defying. The beats were tribal, electronic, and raw all at once. It broke the rules and set trends. Every producer after tried to recreate that magic. Advertisement
USA Today
07-06-2025
- Sport
- USA Today
Penn State adds Friday night commitment from 3-star cornerback
Penn State adds Friday night commitment from 3-star cornerback Penn State kicked off the weekend with another class of 2026 commitment. On Friday evening, the Nittany Lions landed a pledge from 3-star cornerback Amauri Polydor, who becomes the 19th member of the class. Polydor is listed at 6-foot-1 and 170 pounds and recorded 40 tackles and seven pass breakups last season as a junior. Polydor attends Saint Frances Academy in Baltimore, where he ranks as the No. 22 recruit in the state of Maryland per the 247Sports composite. He's also listed as the No. 88 cornerback and No. 1,049 overall recruit in the cycle. He received interest from several power conference programs, scheduling visits to Penn State and Maryland. Polydor is in Happy Valley this weekend, and it's unclear whether he still intends to visit the Terrapins next weekend. With his commitment, Penn State's 2026 class remained at the No. 5 spot nationally and No. 3 in the Big Ten behind No. 1 USC and No. 4 Ohio State.
