Uncorked in time to celebrate the arrival of summer, Beyoncé’s long-awaited return solidifies something that’s already in the air: the resurgence of music. a house who triumphed in the 1980s and 1990s, were born in the gay clubs of Chicago and then exported to Europe with great success. The singer’s will, in her own words, would be to bring an iota of lightness to this gloomy time. “With all the isolation and injustice of the past year, I think we’re ready to escape, travel, love and laugh again,” he said Harper’s Bazaar in 2021. “I have a feeling that a renaissance is on the horizon and I want to help fuel this outbreak in any way I can.”
The pass to this place is called break my soulthe first foray into their properly titled seventh studio album Renaissance, arriving on July 29th. The song can be understood as a make new a classic a house nineties, show me love, from which it borrows the same rhythmic base (and credits its two composers, Allen George and Fred McFarlane, as co-authors). And even as an unofficial sequel: When Robin S., interpreter of the original, was desperately looking for a lover who was her equal (“I’m sick of give my love / and getting nowhere”), Beyoncé picks up the story where she is he left her. “I just fell in love,” he sings in the first verse. “We go around in circles / looking for love / up and down, lost and found / looking for love,” he adds, using the same slurred consonants that Robin S. wore in the original.
It’s impossible for Beyoncé, who in recent years has displayed a haunting political entitlement that can be resolved in culture mainstream, ignoring the cultural weight of this style of music danced by black gays in clubs on Chicago’s South Side. Everyone was welcome at these parties, unlike what happened on disco days in Manhattan’s select nightclubs. Actually the a house It was born from the latter’s ashes in places open from Saturday night to Sunday afternoon. For example The Warehouse, which is said to have given the genre its name and is its godfather a houseFrankie Knuckles, served as resident DJ from 1982 until his closure in 1987. Looking at Detroit’s techno-synth, the a house featured a warmer and more sensual profile, with its gliding bass lines and its rehearse of soul or funk themes, on which the voices of black divas like Crystal Waters (gypsy woman), Barbara Tucker (Nice people), CeCe Peniston (Finally) or Ultra Naté (Freewhich the singer just updated with Icona Pop) to which Beyoncé’s song also seems related.
For some time the a house has infiltrated current culture to star in something of a rehabilitation. Drake’s jerky new album, honestly don’t care, celebrate the same heritage. It’s produced by names associated with the genre, from South Africa’s Black Coffee to America’s Gordo, who made his mark in Baltimore’s club culture, something of a miniature Chicago in the ’90s. The dance music legacy in this downtown East Coast is also claimed by singers like Lizzo, Megan Thee Stallion and Cardi B. WAPthe successful duo, who performed the last two in 2020, winked who is in this housea 1992 classic from the City Clubs by John Waters and The cable.
Before Beyoncé, Jason Derulo, Clean Bandit or Charli XCX all paid homage to the same house anthem. What does it mean that music’s biggest star, after so many years at the top, chooses to move to a relative rearguard?
but the classic a house most undeniably of topicality remains show me love, which has been the subject of countless awards in recent years. Before Beyoncé, they tried their base — which followed the obligatory pattern of the four on the flooras the 4/4 time was called that set the dance floor on fire every night – names like Jason Derulo (Don’t wanna go home2011), Kind Ink with Chris Brown (Show me2013) and Charlie XCX (knew me before, which just a few months ago became one of the themes of the season). In 2014, Clean Bandit and Sam Feldt each recorded versions of the classic, while Kiesza made it big in the UK hidewhich vacillated between reverence for the original and blatant plagiarism.
Perhaps that’s why Beyoncé’s comeback is very remarkable, but not extraordinary. What do you say about the biggest pop star in the world, the one who has shown the greatest ambition and flair, who decides to come back after so long with an idea that so many others already had? What does it mean that Beyoncé has stopped innovating and is now going with the flow? After so many years at the top, why do you decide to now move to a relative rearguard?
This new subject may be more pleasing to the ear than some of his recent experiments, but points to a somewhat worrying turnaround. After revolutionizing pop in the 1980s, Madonna embarked on the second chapter of her career by recording existing musical phenomena stylish a figover the Dance British, the urban rhythms or the automatic voting. This endless series of reinventions was greatly welcomed, but over time it led to a downward curve in his career. Waiting for Beyoncé’s new album, which might hold surprises that invalidate hasty analysis, is an exercise as explosive and well-executed as break my soulEmblem of a a house already without any certificate undergroundcould be the first clue Madonnaization.
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