Beyoncé has given the people an anthem of cultural pride just when the world needs it most.

Following the unlawful death of George Floyd, the Black Lives Matter (BLM) movement has been sparked across the world. With all 50 states and 18 additional countries protesting for racial equality, Beyoncé has been a leading supporter of the movement. She has used her social media presence as a means of activism, encouraging people to sign petitions to get justice for others who have died at the hands of police brutality. In an open video message, she pleaded with her followers to be a part of this movement, and to help the families of the victims.

When Beyoncé surprised fans with a new song in the final hours of the 19th of June, she was bookmarking Juneteenth into history.

Juneteenth is the celebration of slaves being emancipated on the same date, in 1865. The song- named “Black Parade”- is a call to action for African Americans, as she lyrically encourages them to be proud of their roots, of where they come from. This is especially potent when she sings “I can’t forget that my history is her-story”. The song is rich in cultural references, coming from all over the continent of Africa. From the “Ankh” symbol that comes from Egypt to the West African goddess of love and femininity, “Oshun”. This broadens the horizons of who can relate to the lyrics, and who can emotionally connect with the song.

Check out Beyoncé’s New single above

When you listen to it, it’s almost overwhelmingly full of pride and emotion. It feels like a community breaking through and refusing to keep quiet about their culture anymore, and it’s absolutely beautiful. The essence of it reminds me of writers such as Toni Morrison and Grace Nichols, who both wrote about being proud of their roots, and embracing their history. When posting about the single on Instagram, Beyoncé wrote “Please continue to remember our beauty, strength, and power.” Black Parade” celebrates you, your voice, and your joy”.

Alongside the song came the BeyGOOD Black Business Impact Fund. This new campaign is made to support and promote black-owned businesses and elevate them during these hard times. The fund will be administered by the National Urban League. Alongside this announcement on her website came a directory of black businesses, ranging from Art and Design to Restaurants and Bars.

While the BLM movement continues to take over the world in a wave of justice, it’s important to help independent owners.

The song is so rich that I could spend hours analysing every word or image included in it. It is the perfect song to release and is exactly what people needed right now. Empowerment, freedom, and pride.

Words by Abigail Forrest

Graphics by Katie Janes

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The post Beyoncé Releases Surprise Single “Black Parade” to mark Juneteenth celebrations appeared first on Voir Fashion.

After over four years, the highly anticipated and long-awaited sixth album by recording artists and living legend, Lady Gaga, is here. ‘Chromatica’ was promised to return Gaga and her sound back to her roots, on the dance floor, which it managed to do phenomenally. The album is packed from start to finish pure with flawless, intensely danceable songs. With not a single one standing out as a filler, each has its unique elements of perfection and all boast rich and exhilarating production, all built on the solid foundation of Gaga’s career, effortlessly danceable pop music.

On ‘Alice’, Gaga channels a dramatic euphoria with heavenly opening vocals before descending into a thrilling house-infused breakdown. The bridge sees Gaga vocals become to get intoxicatingly distorted before the beat drops once again. What may seem like a dated concept, Gaga has reimagined songs like ‘Alice’ by infusing her signature harsh voice and unapologetically pop hooks, making the songs sound more like musical explosions than dated beat drops. The core of every track in this album is the gripping pop sound Gaga has mastered, enhanced by the electrifying house/club influence and the abundance of rich production, allowing Gaga to deliver such eccentric and timeless bops.

The album continues to take the listener through the dystopian world of ‘Chromatica’, with the two singles ‘Stupid Love’ and ‘Rain on Me’ following suit and further engulfing the listener into the inescapably captivating dance-pop ecstasy. The album closes its first of three acts with ‘Free Woman’ and ‘Fun Tonight’, both boasting galvanising and extensive production. ‘Free Woman’ embodies Gaga’s empowered confidence, echoed in her previous albums ‘ARTPOP’ and ‘Born This Way’. The lyric, “This is my dance floor, I fought for.” is particularly representative of the mood of both this song and more broadly the entire album. ‘Fun Tonight’ is possibly one of the only times on ‘Chromatica’ Gaga presents a less joyful narrative to the listener. The lyrics, “you love the paparazzi, love the fame,” can possibly be seen as a reference to her previous work. She sings despairingly about being unhappy in a relationship with the added context of her stardom, all over a more mellow, tropical house beat.

Gaga’s transcendence as an artist is probably best exemplified in her collaborations on the record. The first of which is ‘Rain on Me’, a collaboration with budding pop princess, Ariana Grande, which you can read all about here (HYPERLINK). This is followed then by Gaga singing alongside K-Pop girl group sensation BLACKPINK; The verses and chorus on ‘Sour Candy’ blend seamlessly together over the warping sultry house beat, making the song infectiously catchy and utterly timeless. The final collaboration on the record is an unlikely one and possibly the most surprising song on the album. ‘Sine from Above’ captures Elton John and Gaga both singing about their troubled party-heavy lives over an explosive Eurodance beat; what some may have expected to be an empty ballad actually turned into one of the most dance-heavy songs on the album. Possibly the most notable thing about these three collaborations is Gaga’s ability to bring together each of these unique artists on one record, allowing the artists to maintain their distinctive sound whilst also pulling them outside of their comfort zones to create extraordinary, Avant Gmusic that transcends generations; it speaks to Gaga’s strength as a pop artist and also as a self-proclaimed “nonconformist’.

As Act One of the album closes, it transitions into one of three classical instrumentals titled ‘Chromatica I, II and III’ respectively. The transition between ‘Chromatica II’ and ‘911’ is nothing short of an explosive, sonic orgasm; with the classical interlude descending into the infectious, warping bass of the track harmoniously. If the listener is nostalgic for ‘The Fame’ era Gaga then look no further than this song, boasting the robotic vocals of familiar hit ‘Poker Face’ and the remorseless party-girl spirit of ‘Beautiful Dirty Rich’, ‘911’ garners this nostalgia to produce a mid-tempo, electronic, sassy bop.

Following ‘911’ is possibly the best track on the album, ‘Plastic Doll’. A galvanising, emotional and unapologetically bubble-gum pop song, providing commentary on female beauty standards in the music industry. The chorus is as anthemic as it is liberated, complimented by an infectiously danceable beat. ‘Plastic Doll’ exudes the unabashed confidence of an accomplished Gaga and continues to showcase her allegiance to pop music by producing potentially one of the best pop songs in recent history.

Act Two of the album closes with two more incredible songs. The closest one can get to Gaga’s fifth album, ‘Joanne’, ‘Enigma’ exquisitely showcases Gaga’s beautiful voice over a downtempo, euphoric beat and warping, stimulating bass-heavy chorus. ‘Replay’ opts for a rousing, disco-heavy instrumental and distorted vocals, possessing all the sensuality of Dua Lipa’s ‘Hallucinate’ or even Kylie Minogue’s, ‘Spinning Around’, while still authentically Gaga by exhibiting with her signature powerhouse vocals. These tracks act as a refreshing come-down to the exuberant ‘Sour Candy’ previously, adding to the albums vast diversity whilst still maintaining its cohesion and dance-pop undertones.

Possibly one of the best things about ‘Chromatica’ is how different each of the songs are, it makes it difficult for me to compare any of the songs to each other because in reality, no two songs on this record sound the same. Another example of this, ‘1000 Doves’, displays Gaga experimenting with EDM by adapting a Kygo-inspired broken word chorus. Gaga’s beautiful vocals on the track, complimented by the tropical EDM beat, make the track a blissful euphoria.

The album closes with possibly one of the most rumoured tracks since ‘Chromatica’s announcement, ‘Babylon’. Another entirely shocking track, ‘Babylon’ borrows strong gospel and jazz influence as Gaga sings about ‘Battling for your life in Babylon’. The track is an observation of the gossip many pop stars, including Gaga, herself have to endure. Gaga presents it as a metaphor of a battle, where she appears victorious. ‘Babylon’ is the perfect closer to such an emancipated record; presenting an accomplished Gaga winning the metaphorical battle and triumphantly returning the listener to the normal world after an ecstatic 43-minute journey to the euphoric ‘Chromatica’.

Coming at a time when pop is almost obsolete on the charts, instead of shying away, Gaga instead decided to entirely embrace dance-pop in all its forms, producing possibly one of her best bodies of work in her entire career. ‘Chromatica’ is a musical ticket to Gaga’s dystopian camp euphoria, a personal album that explores love, courage and healing; all whilst bringing the listener back to where they fell in love with Gaga, the dance floor she fought for.

Check out the official music video for one of Lady’s Gaga’s new songs, ‘Stupid Love’, from her Chromatica Album here:

Words by Joe Gardner

Graphics by Katie Janes

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The post Step Into the Blissful Ecstasy of ‘Chromatica’ With Lady Gaga appeared first on Voir Fashion.

When two pop mega-divas unite to produce a song, the results are almost always phenomenal. Think of Britney and Madonna’s ‘Me Against the Music’ or Lady Gaga and Beyoncé’s ‘Telephone’. ‘Rain on Me’, the latest single release from Lady Gaga’s highly anticipated sixth album, ‘Chromatica’ and a collaboration with the ever-successful Princess of Pop Ariana Grande, is no exception to this. ‘Rain On Me’ is the second window the general public have had into the disco-pop euphoria of ‘Chromatica’ and one that has only generated more excited surrounding the album.

A powerful disco-pop music explosion, ‘Rain On Me’ possesses as much deep emotional meaning as it does gripping danceability. The thundering chorus is an electrifying blend of warping bass and exhilarating synths, Ariana’s signature airy vocals and Gaga’s commanding voice is captivatingly joyous and motivational in the most organic way possible. Part of the beauty of ‘Rain on Me’, aside from its anthemic chorus and intoxicating beat is the rawness of the singers’ emotions. The harsh reality of life for both of them is starkly present in the song, yet it only empowers the listener to overcome their trauma and dance in the rain alongside the two of them.

The lyrics tell an empowering story of overcoming life’s torments and struggles, ones that both Gaga and Ariana have had to encounter the past few years with Gaga’s mental health struggles as well as her painful hip incident in 2013 and Ariana’s devastating slew years with the Manchester terror attack and the death of ex-boyfriend, Mac Miller. Listening to ‘Rain on Me’ however, you would never be aware of the heartbreak the two have endured over the last few years, “I’d rather be dry, but at least I’m alive” they sing. The lyricism of the song is triumphant as opposed to despairing, the two emerge in the chorus as accomplished women having defeated their demons, dancing proudly together in the pouring rain.

The accompanying music video is just as exceedingly yet grippingly dramatic as the song itself. With Gaga opening the video having been stabbed in the leg, seemingly representing the pain that life has inflicted on her, while lying collapsed in the pouring rain. the imagery in the video is shockingly powerful and manages to emphasise both the uniqueness of the artists and their collaboration together on the song, with Gaga and Ariana switching iconic hairstyles in the final dance scene. The choreography is playful and sharp and the production quality is impeccable. The video is pure Gaga in all its best forms.

Embodying the unabashed confidence of ‘Born This Way’ and the effortless and empowered danceability of ‘Break Free’, ‘Rain On Me’ is more than just an average pop song, but a true collaboration of the artistry of two of the biggest pop titans of the 21st century; one that exudes confidence, strength and most of all happiness.

Words by Joe Gardner

Graphics by Katie Janes

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The post Lady Gaga and Ariana Grande Trend Dripping in Latex With Their New Single Rain on Me appeared first on Voir Fashion.

As we finish our 8th week of quarantine, it is inevitable that some of us at home have taken it upon ourselves to attempt to make good use of our self-isolation by investing time and effort into personal passion projects. For some it may be baking or sewing and for electropop princess Charli XCX this involved releasing an entire album.

‘How I’m Feeling Now’ is a gripping insight into Charli’s thoughts, a playful perspective of her life in quarantine. Sonically espousing the new wave of PC music, the album is packed from start to finish with hyper-electronic, sometimes confusing beats and robotic vocals, which is admittedly shocking and off-putting to a virgin listener. However, Charli’s loyal following of internet-twinks seem to be intoxicated by the seeming messiness of the songs, songs like ‘Click’ from her 2019 album ‘Charli’ have become fan favourites and almost folklore in the young gay clubbing scene, with the song itself being sampled on this album, on possibly the most PC track on the album, ‘c2.0’. Charli’s approach to her music, highlighted in this album, shows her championing PC music and embracing it in its entirety. This unapologetically electronic attitude has opened the door for many other artists to embrace this sound including Kim Petras, Slayyyter and Dorian Electra; thus, creating a distinctive, niche sound adopted almost entirely by young LGBTQ+ listeners.

The lead single, “Forever” is a sonic explosion of electronic excellence and possibly best showcases the essence of Charli’s distinguished music style. The surprisingly catchy hook and soft verses are engulfed in an overwhelming, harsh whirlwind of unfamiliar noises. The track, like many other on the album, feels as though its mocking pop music by taking a generically good pop song and metamorphosising it into an undistinguishable yet surprisingly captivating reincarnation. This can also be seen in the dreamier, ‘Detonate’ and euphoric, ‘Visions’.

My two personal favourites from the album, ‘Claws’ and ‘Pink Diamond’, possibly both perfectly exemplify the puzzling excellence of Charli’s music. ‘Pink Diamond’ is filled to the brim with uber-confidence and sass with Charli speak-singing “I just wanna go real hard. I just wanna go real hard” on repeat to a stirring background of computerized noises. although at some points the disorderly beat can leave the listener lost, the songs’ chao somehow makes it all the more stimulating to the listener. ‘Claws’, arguably the best song on the album, is purely and wholeheartedly a playful, refreshing interpretation of PC music. the chorus and verses seamlessly flow together in a melodic, excessively computerized blend of catchy, mesmerising pop music goodness. Definitely a potential hit and is currently as we speak, the song garnering the most streams out of all three singles.

Possibly the most impressive thing about ‘How I’m Feeling Right Now’ is how it manages to bridge the gap between experimental and generic pop music in such a unique way it is almost unexplainable. It is a talent that Charli has managed to harness to create a solid body of work, one that helps her to continue to establish herself as a musical pioneer and a queer icon simultaneously.

Words by Joe Gardner

Graphics by Georgia Walters

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The post How We’re Feeling About Charlie XCX’s New Album Release appeared first on Voir Fashion.

“Take Yourself Home” is the first time we have heard music from Troye since the release of his sophomore album, Bloom, of which the supporting tour helped to propel fellow star Kim Petras into the success she now has. Bloom saw a more developed and mature Troye explore the passion and emotion surrounding love and relationships, most likely referencing the almost four-year-long relationship between Troye and boyfriend Jacob Bixenman.

The song has been teased on social media for several weeks, with Troye posting the single cover art 3 days ago. The cover art undeniably looks eerily similar to the film poster for 2017’s “Ladybird”. Twitter obviously picked up on this and began to compare the two pictures, to which Troye replied with a picture of the movie poster and the caption “Me” – we stan a self-aware king.

‘Take Yourself Home’ opens on a soft, emotional note, with Troye singing “I’m tired of the city, scream if you’re with me” (a lyric he had previously teased on Twitter just over a week ago). These lyrics showcase a more vulnerable and melancholy side to an artist often signing about the ‘good side’ of love, if you pardon the reference. The lyric, “if anyone can hear me, switch the lights” especially stood out as a particularly potent insight into the mind of one of pop’s freshest faces, as he comes to terms with the damaging emotions that surround the celebrity he has earned; feeling as though you are invisible despite and sometimes as a result of being observed by millions.

Lyric Video of Troye Sivan’s New Song ‘Take Yourself Home’

The song’s chorus, consisting of a swelling, smooth beat and Troye’s gentle yet deliberate singing is both erotic and moving. The angsty lyrics with the soft mellow beat is representative of Troye’s interpretation of pop music and manage to perfectly reflect the feelings of a generation. The words invite the listener into the faded existence described in the song, and the subtle jazz influence helps to curate a near-perfect auditory experience; entirely relaxing and refreshingly intoxicating.

At the near-end of the song, Troye’s vocals begin to get lost in the humming baseline seemingly bringing a close to this mellow ballad describing the angsty experiences of a young pop star, before the listener is suddenly immersed into a hyper-electronic sonic explosion. The beat becomes metallic and feels as though its warping and bouncing off all corners of the track, much like the sounds often used in Charli XCX’s PC music. It utterly stuns the listener, yet absorbs them into the somehow infectious dance break.

In conclusion, “Take Yourself Home” is truly a window into Troye Sivan’s outlook on the pop landscape. The dejection and detached lyrics, the peaceful beat and explosive ending all tell an infectiously vibey story of pop music in 2020. This release signals Troye venturing into a new sound, one that is both gripping and alluring.

We can’t wait to hear what you have in store for us, Troye. Until then, we can just ‘Dance To This’.

Words by Joe Gardner

Graphics by Katie Janes

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The post Troye Sivan Challenges His Artistry With “Take Yourself Home” appeared first on Voir Fashion.

“Take Yourself Home” is the first time we have heard music from Troye since the release of his sophomore album, Bloom, of which the supporting tour helped to propel fellow star Kim Petras into the success she now has. Bloom saw a more developed and mature Troye explore the passion and emotion surrounding love and relationships, most likely referencing the almost four-year-long relationship between Troye and boyfriend Jacob Bixenman.

The song has been teased on social media for several weeks, with Troye posting the single cover art 3 days ago. The cover art undeniably looks eerily similar to the film poster for 2017’s “Ladybird”. Twitter obviously picked up on this and began to compare the two pictures, to which Troye replied with a picture of the movie poster and the caption “Me” – we stan a self-aware king.

‘Take Yourself Home’ opens on a soft, emotional note, with Troye singing “I’m tired of the city, scream if you’re with me” (a lyric he had previously teased on Twitter just over a week ago). These lyrics showcase a more vulnerable and melancholy side to an artist often signing about the ‘good side’ of love, if you pardon the reference. The lyric, “if anyone can hear me, switch the lights” especially stood out as a particularly potent insight into the mind of one of pop’s freshest faces, as he comes to terms with the damaging emotions that surround the celebrity he has earned; feeling as though you are invisible despite and sometimes as a result of being observed by millions.

Lyric Video of Troye Sivan’s New Song ‘Take Yourself Home’

The song’s chorus, consisting of a swelling, smooth beat and Troye’s gentle yet deliberate singing is both erotic and moving. The angsty lyrics with the soft mellow beat is representative of Troye’s interpretation of pop music and manage to perfectly reflect the feelings of a generation. The words invite the listener into the faded existence described in the song, and the subtle jazz influence helps to curate a near-perfect auditory experience; entirely relaxing and refreshingly intoxicating.

At the near-end of the song, Troye’s vocals begin to get lost in the humming baseline seemingly bringing a close to this mellow ballad describing the angsty experiences of a young pop star, before the listener is suddenly immersed into a hyper-electronic sonic explosion. The beat becomes metallic and feels as though its warping and bouncing off all corners of the track, much like the sounds often used in Charli XCX’s PC music. It utterly stuns the listener, yet absorbs them into the somehow infectious dance break.

In conclusion, “Take Yourself Home” is truly a window into Troye Sivan’s outlook on the pop landscape. The dejection and detached lyrics, the peaceful beat and explosive ending all tell an infectiously vibey story of pop music in 2020. This release signals Troye venturing into a new sound, one that is both gripping and alluring.

We can’t wait to hear what you have in store for us, Troye. Until then, we can just ‘Dance To This’.

Words by Joe Gardner

Graphics by Katie Janes

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The post Troye Sivan Challenges His Artistry With “Take Yourself Home” appeared first on Voir Fashion.

Former Youtuber, up-and-coming pop star and gay heartthrob Troye Sivan never fails to enchant the world with his music and has managed to do so again with his new single, “Take Yourself Home.”

“Take Yourself Home” is the first time we have heard music from Troye since the release of his sophomore album, Bloom, of which the supporting tour helped to propel fellow star Kim Petras into the success she now has. Bloom saw a more developed and mature Troye explore the passion and emotion surrounding love and relationships, most likely referencing the almost four-year-long relationship between Troye and boyfriend Jacob Bixenman.

The song has been teased on social media for several weeks, with Troye posting the single cover art 3 days ago. The cover art undeniably looks eerily similar to the film poster for 2017’s “Ladybird”. Twitter obviously picked up on this and began to compare the two pictures, to which Troye replied with a picture of the movie poster and the caption “Me” – we stan a self-aware king.

‘Take Yourself Home’ opens on a soft, emotional note, with Troye singing “I’m tired of the city, scream if you’re with me” (a lyric he had previously teased on Twitter just over a week ago). These lyrics showcase a more vulnerable and melancholy side to an artist often signing about the ‘good side’ of love, if you pardon the reference. The lyric, “if anyone can hear me, switch the lights” especially stood out as a particularly potent insight into the mind of one of pop’s freshest faces, as he comes to terms with the damaging emotions that surround the celebrity he has earned; feeling as though you are invisible despite and sometimes as a result of being observed by millions.

Lyric Video of Troye Sivan’s New Song ‘Take Yourself Home’

The song’s chorus, consisting of a swelling, smooth beat and Troye’s gentle yet deliberate singing is both erotic and moving. The angsty lyrics with the soft mellow beat is representative of Troye’s interpretation of pop music and manage to perfectly reflect the feelings of a generation. The words invite the listener into the faded existence described in the song, and the subtle jazz influence helps to curate a near-perfect auditory experience; entirely relaxing and refreshingly intoxicating.

At the near-end of the song, Troye’s vocals begin to get lost in the humming baseline seemingly bringing a close to this mellow ballad describing the angsty experiences of a young pop star, before the listener is suddenly immersed into a hyper-electronic sonic explosion. The beat becomes metallic and feels as though its warping and bouncing off all corners of the track, much like the sounds often used in Charli XCX’s PC music. It utterly stuns the listener, yet absorbs them into the somehow infectious dance break.

In conclusion, “Take Yourself Home” is truly a window into Troye Sivan’s outlook on the pop landscape. The dejection and detached lyrics, the peaceful beat and explosive ending all tell an infectiously vibey story of pop music in 2020. This release signals Troye venturing into a new sound, one that is both gripping and alluring.

We can’t wait to hear what you have in store for us, Troye. Until then, we can just ‘Dance To This’.

Words by Joe Gardner

Graphics by Katie Janes

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The post Troye Sivan Challenges His Artistry With “Take Yourself Home” appeared first on Voir Fashion.

If you were having any problems dancing on your own, no worries Dua Lipa’s new album is here and we can’t help but bop to this hypnotic beat. The new album ‘Future Nostalgia’ has secured Dua Lipa’s title as Britain’s most successful female pop star. Get ready for this female alpha to sing and dance with you through this quarantine. One of the few albums of new music out there. ‘Future Nostalgia’ has managed to generate a lot of hype especially after being leaked earlier this month and forced into an early release. Dua Lipa has proven with ‘Future Nostalgia’ that she is deserving of the excitement surrounding her artistry by producing a truly invigorating, and gripping record from start to finish and we couldn’t be more grateful. Without saying much more, let’s take a dive into our top tracks from this album. Track 2 – Don’t Start Now 9/10 The lead single, and possibly the biggest hit, from ‘Future Nostalgia’, is definitely worthy of its success. The song opens with a softer vocal enticing the listener in, before hurling them into the seductive bass of the track, once again. The stirring orchestra in the pre-chorus, rousing simplicity of the chorus and use of a broken word bridge and outro make the song exhilarating and alluring, giving the listener little choice but to at least somewhat dance along. Track 3 – Cool 8/10Opting for a more electronic opening, ‘Cool’ offers a soft, sultry summery sound. The bass in the chorus is more abrupt than in previous tracks yet still invites the listener to dance. Dua’s softer voice and playful lyrics compliment the track perfectly. “I guess I’m ready for the summer” sings Dua, and yes after listening to this song so are we. Track 4 – Physical 10/10 Physical is by far one of the best songs on this record. The heavy, futuristic yet 80s infused beat immediately electrifies the listener and the synth-heavy chorus is both thrilling and refreshing. Dua’s vocals are extremely strong on this track, possibly the best on the album, with the slightest nod to Xtina’s iconic growls and yelps. Dua is dancing the night away with the listener on the most unapologetically pop song on the album, and singing flawlessly whilst doing so.

Track 7 – Hallucinate 9/10‘Hallucinate’ offers a faster, dancier and much more disco relief to the previous slower tracks. Much like the title of the track, Dua manages to guide the listener through a gripping hallucination. During the pre-chorus, Dua’s soft vocals gradually begin to fade, beguiling the listener into the track before throwing you into an invigorating sonic whirlwind, consisting of the familiar intoxicating bassline, electric guitar and Dua’s euphoric vocals help to make the track as enthralling as it is enchanting.

Track 9 – Break My Heart 10/10 Just when you begin to think it can’t get any better, you are graced with ‘Break My Heart’. The song manages to encompass the alluring disco of ‘Don’t Start Now’ and adds to it with both a more enthralling bassline and more playful vocals creating a cohesive sound throughout the track. A truly 21st century reinvigorated disco sound, one that is both timeless and current. Effortlessly captivating and definitely a highlight of the album. Track 11 – Boys Will Be Boys 8/10 This song, an interesting closer to such a carefree and dance-heavy record, sees Dua explore the hardships of femininity in the 21st century. Challenging society’s norms and expectations and calling on us all to do better to combat inequality. The lyrics are moving and, at some times, uncomfortably true for many listeners. This song acts as a reminder to the listener that after the part, this is the reality that many women face. It’s a dark yet perceptive direction for Dua, but one that should be applauded for its bravery.

The Verdict The album has showcased an accomplished, sassy pop artist hungry to show the world that she is more from her first album One that I can only see success for in the future. ‘Future Nostalgia’ sound is certainly more mature and developed from her previous album and offers an insight into her growth as an artist, whilst also offering a new refreshing and thrilling sound that has managed to influence music trends since the release of ‘Don’t Start Now’. Keep us dancing Dua.

Words by Joe Gardner

Graphics by Katie Janes

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The post Everything You Need to Know About Dua Lipa’s Latest Drop ‘Future Nostalgia’ appeared first on Voir Fashion.

Recently, D.C. rapper Goldlink angered the rap community after posting a letter on his Instagram about the deceased Mac Miller, implying that Miller stole the theme for his album The Divine Feminine in 2016. While the ‘Crew’ rapper displayed extraordinary disrespect by publicizing his resentment for a man who passed away just last year; I feel like this was a great time to brush aside the foolishness and highlight the positivity, celebrating what The Divine Feminine represents in Hip-Hop, which is a definitive phase of expression within the artform’s relatively short life.

Over the years, the combination of the genre’s growth — along with the internet’s addiction to transparency, has caused the new generation growing through social media to welcome more unique concepts; often describing themselves as ‘woke’ in the process. Subjects such as gender fluidity, feminism, and masculinity, are normally involved. I’ve noticed specific instances of ignorance that surround the topic of masculinity — like the restriction from wearing ‘feminine clothing’; while now a person’s sense of comfortability is perceived as a positive characteristic, coming from the 90s at the time that I did, it couldn’t have been more different.

Although I credit the ability to be free down to social media’s acceptance, I tip my hat off to the impact Hip-Hop has on cultures throughout the world and the complete clarity the genre has provided since its creation (let us not forget, Hip-Hop was created as a way of expression for the black communities struggle in the Bronx). So with that being said; I want to celebrate the influence of Hip-Hop and how the evolution of femininity has impacted the new generation, by picking out the most impactful examples of pink in rap.

It’s 2002, the height of the Dipset era and the Roc-A-Fella dynasty — the city of New York is hosting the biggest fashion event of the year, the Mercedes-Benz Fashion Week. The foresight of Label boss Dame Dash and the ingenuity of Cam’ron was always a combination that produced magic; So there was no surprise that with the help of Dash, the Dipset commander pulled up in one of the most legendary fits to ever grace Hip-Hop: the illustrious pink mink jacket, along with the hat and burner phone. As both Dash and Cam were born and raised in the fashion-focused neighbourhood of Harlem; the influence was clear to see at the moment. While most people from their area were used to the abrasiveness of the duo, within the wider scope of Hip-Hop — it was a statement, to say the least. Ever since then, the idea of what femininity represented, spread throughout Hip-Hop.

A few years later, Cam’ron’s label mate; Kanye West, popularised a new kind of pink style to the mainstream. A much more conventional proclamation, Kanye would normally rock a pink polo with a classy backpack to match. Not only was this merge important to the extension of the movement led by Cam, but more importantly — this verified Kanye as the influence for the geeks, as opposed to Cam’s influence on the streets. Because of this diversification, this continued to bring even more conversation surrounding Hip-Hop and it’s identity.

Moving towards the late 2000s, Kanye continued to lift pink rap to new heights. This was the era in Hip-Hop where the nerdy rap was dominating the gangsta rap; Kanye West had just convincingly beaten 50 Cent to the number one spot with his album Graduation – the album that is infamous for it’s powerful, intense colouration. The transition was in motion.

And because of Hip-Hop tycoon, Pharrell’s love for intense colour styles and powerful visuals with brands like Bape, to name a few – it helped these combos crossover into the streetwear world. And by the end of the decade, it would be hard to find a guy without a pink polo in his wardrobe. As the new decade began, the surprising amalgamation of up and coming, contemporary streetwear brand Supreme, and the profound new suburban rap crew, Odd Future, hit the wide-eyed internet world by storm. As Tyler, the Creator and his squad took over 2010; this was the beginning of pre-teens involvement within mainstream rap. While the group’s own fashion line Golf Wang epitomized the crew’s sarcastic wit; the ignorant motifs complemented the dynamic undertones displayed on the ensembles perfectly — from lime to magenta, and indeed pink. Odd Future embodied the new era, fusing Hip-Hop, fashion, and their own originality; allowing people from anywhere to connect with their vision.

Tyler even said in his 2016 note to Pharrell, proclaiming the influence he took from the Virginia native: “I never had brothers, uncles or my father around so thank you [Pharrel] for being the male figure I gravitated towards. Allowing me to embrace being different and trusting my ideas.” While men in previous decades would rather be caught dead in some coral clothing, guys like Tyler embrace their uniqueness. Even though Hip-Hop was built on these very same morals; it’s refreshing to see how the integrity has always been there, at the same time — continuing to grow into the culture-crossing genre it is today; whilst simultaneously co-existing within the unforgiving world of modern technology and ‘cancel culture’.

Words by Charlie Miller

Graphics by Katie Janes

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As we look back on the array of young artists that emerged this year, from Lil Nas X becoming a viral phenomenon with hit single ‘Old Town Road’ to Ari Lennox receiving universal acclaim for her breakout debut album ‘Shea Butter Baby’, it can be agreed that the industry’s talent pool certainly didn’t disappoint. And with 2020 on the horizon this list, that is by no means exhaustive, provides an insight into the rising stars who are set to explode into the next decade.

Joy Crookes

The mature and timeless sound of Joy Crookes cements her place as an artist to watch in 2020. Her eloquent, well-refined vocals infused with soulful emotion and nostalgic fervour offer the perfect antidote to the number-driven vacuity of commercial, mainstream music. Having released her ‘Reminiscence’ and ‘Perception’ Eps in 2019 and with a number of live shows in the pipeline Crookes is on track to becoming one of the industry’s next biggest stars.

Easy Life

Their minimalistic, indie-alt vibe fused with a mellow R&B finish has seen Easy life rise from the unknown to selling out their first UK tour all in the space of two years. Having signed with Island Records in 2018 the group of five has since released two mixtapes “Creature Habits’ and ‘Spaceships’, plus a handful of popular singles. Their ability to merge serious issues, such as the environmental concerns on track ‘Earth’ and struggles with mental health on single ‘Frank’, with an endearing, nonchalant rock attitude has made them a highly sought-after, marketable band. And having returned home from their stint in the U.S this summer it won’t be long before frontman Murray Matravers’ ‘world domination’ plots become a reality.

YBN Cordae

After receiving a Grammy nomination for the release of his debut album, ‘The Lost boy’ YBN Cordae has proved himself as one of the most talented younger artists of 2019 but has yet to receive the recognition that he deserves. By reviving classic lyricism in rap and spreading the messages of self-growth, positivity and family-ties it is only a matter of time before he becomes one of the hottest acts in the hip-hop community.

Koffee

Leading the way in Jamaica’s new reggae music scene is singer-songwriter Mikayla Simpson, professionally known as Koffee. Her first and only Ep ‘Rapture’ stays true to reggae’s roots of thick, heavy bass and upbeat rhythms, which combined with her fresh, fiery and impassioned lyrics creates a distinct sound that rejuvenates a traditional genre for the modern ear. With a new album on the horizon and a potential feature on Rhianna’s upcoming project, 2020 looks to be incredibly promising for the rising reggae star.

Beabadoobee

The grunge-inspired Filipino-British, singer Beatrice Kristi, known under the pseudonym Beabadoobee, is making significant waves in the alt-rock indie scene. Her sound started with a characteristic lo-fi, DIY aesthetic with her first single ‘Coffee’, an intimate, melodious track, shooting her into the limelight and seeing her sign with Dirty Records. Subsequently, she has released four EPs, Patched Up, Loveworm, Loveworm (Bedroom Sessions) and Space Cadet, with the latter displaying her impressive versatility as she embraces a grungy, distorted vibe comparative to the love-struck, relaxed tone of her earlier work. If Bea continues to be as open and artistically expressive about her frustration, alienation, and outsider status then there is nothing to stop her from becoming the voice of a generation.

Ivory Wave

The elegant fusion of pre-noughties indie-rock with a modern acid-house machismo sees Brummie boy-band Ivory Wave as having the potential to becoming the next big thing. After the launch of their Ep ‘Dream Nights’, a collection of expressive, neoteric tracks with anthemic qualities, the ambitious group soon joined renowned dream-pop band JAWS in support of their UK tour. If they continue their grassroots approach to success, that has seen singles such as, ‘Uptown’ receive Track of the Week on Radio X, then the potential Ivory Wave have is limitless.

Aitch

British rapper Aitch’s Mancunian charm and boyish charisma have seen him take 2019 by the storm. With his first ever release ‘Straight Rhymez 1’ racking up 16 million hits on YouTube and attracting the attention of major grime artists Stormzy, it was not long before Aitch was opening shows for the likes of Wiley and Cadet on their respective UK tours. In a candid interview with The Guardian Aitch admitted that “It’s the funny accent that draws bare attention,” but that is not to forget his natural freestyle ability and witty, memorable lyrics. Having already reached number 2 in the UK Singles Chart with ‘Taste (Make it Shake)’ it is no doubt that Aitch will be one to watch in the forthcoming year.

Celeste

After winning BBC Music Introducing Artist of the Year for 2019 to not mention Celeste Waite would be criminal. Having signed with major record label Polydor Records in 2018, Celeste has since released her second EP ‘Lately’, that sees her serene soulful vocals perfectly compliment the tranquil, jazz-inspired beats found through-out the five-track experience. Headlining her first show at the O2 Shepherds Empire, London in April 2020 Celeste’s performance will be one not to miss.

Arlo Parks

Amid the logjam of aspiring emo, bedroom-pop sounding artists shines Arlo Parks. Her poetic, self-reflective lyrics blend flawlessly with the comforting subtlety of her backing instrumentals. And given the success of her two Eps, ‘Super Sad Generation’ and ‘Sophie’, as well as her collection of consistently admired singles the future is set to be very bright for the 19-year-old from London.

Tyla Yaweh

Yaweh has never been short of performing alongside some of the industry’s most foremost acts, from opening Xxxtentacion’s Revenge tour in 2017 to supporting Post Malone across Europe earlier this year. His latest full-length album ‘Heart Full of Rage’, is an experimental, introspective array of tracks, in which he contrasts his concise flow with airy vocals and energetic trap beats with mellow electric guitar riffs. Having just come off the back of an impressive Rolling loud set Tyla Yaweh’s name is sure to be on everyone’s lips throughout 2020.

Words by Charlie Malcom-Mckay

Graphics by Araceli Alonso

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