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Create A Label: Season 12

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Lindsay Lohan's Career Hits A New Low

Lohan returned in 2019 after three years of absence with her number one album Truce which certainly put her back into the pop scene with three million copies sold and two top tens worldwide hits and her becoming the 10th most followed artist on Connect. The 33 years old superstar was interviewed on Oprah's One On One hit-show for an hour long interview about the past year including the tragedy of her losing her baby daughter in August.





The star also discussed the abuse she experienced from her ex-boyfriend, which left her off hospitalized. What caused the uproar online was what Lohan had to say about Lana Del Rey. The both had a publicized tackle after Lindsay criticized Freedom Festival last July.  whom both are known in having a rough relationship since Lindsay's public criticsm over Freedom Festival, where she said:  "The problem relies on targeting Freedom as an answer to a question that doesn't belong to any foreign artist to give.", she continued, "[the festival] won't fix any of the country's social dilemmas. None of the changes that she's promising is going to have a long-lasting impact in Brazil." 



Lana Del Rey addressed Lohan's accusations and made it clear that the festival was never intended for "healing" a particular nation in the first place.  "Saying that “it won’t fix the country” is counterproductive to the very nature of activism. Change doesn’t happen overnight. Nobody expects that from Freedom, and it isn’t our intention", she continued,  "However, I won’t be vilified for trying my best to make people’s lives happier in whatever small way that I can".

Fast forward to the Oprah interview and Lohan is yet again asked about the topic. Lindsay revealed that she approached Del Rey and she allegedly rejected her request to perform at the new Freedom festival dates which have yet to be revealed. She said :"Her team told me that they would’t let me perform even after we solved our problems behind close doors. The things I said about Freedom were because I didn’t fully grasp what the festival really stand for. But now I do."

The star continued by saying that she doesn't "know what is stopping her". 

A few hours later, the "Forget Me" singer addressed Lohan's accusations yet again, saying: "I've been made aware of some baseless accusations that have been levelled against me and Freedom Festival", she continued, "I have only had official discussions with one other artist about performing at the festival - that artist is not Lindsay Lohan".

Surprisingly, superstar Lorde joined in the discussion and accused Lindsay for being "maniupulative". "You didn't actually apologize until you were rejected...multiple times [...] You did it to manipulative the public narrative against Lana and to present yourself as a vistim". Lorde is known for being out-spoken online but she has never been so determined to expose another public figure in that way since 2016 male pop star, Harry Styles.





In that very moment, Lindsay was exposed as a liar. The news hit worldwide and Lindsay recieved over 2m tweets online with #LindsayLohanIsALiar trending worldwide. Lohan responded back with what then appeared to be a sincere apology. "Sometimes, you have to own up to something you did that hurt or inconvenienced another person [...] I owe you all an apology, not ust to Lana but to her fans, and to the public. It was never my intention to cause anyone distress." 





A few days later, the star all of a sudden accused Oprah for purposely leaving out parts in which she apologized to Lana in the interview. What made her find that out and say it so late? We don't know. What we do know is that Oprah unfollowed Lohan on Connect shortly after her post and very much like Lana, confirmed that Lohan's accusation is "far from being true". "I do not tolerate the hate online against her but I will also not stand by her vilifying my team and I".





Just a few hours later after Lindsay's accusation over Oprah, the singer posted on her Connect account a photo of her and Lana with a statement saying that there was a miscommunication with Lanas management that caused the rift. After we thought that this months-long feud is finally going to end, just a few hours passed and a new tweet from Lana rises with shocking and quite disturbing news. The picture Lohan posted on Connect is photoshopped and the two have never even discussed in the first place. 



"This is a situation that is becoming increasingly embarrassing for me", she said, "Lindsay Lohan has posted a doctored photo of us online today claiming that we met. Neither my management or I expected any of this [...] I am upset and, frankly, unsettled that I continue to be at the centre of her lies regarding these fabricated conversation". 


The shocking news caused the biggest backlash recorded for Lohan's career. The star has lost over 210k followers with the backlash still on-going, majorly tracked in the US, UK and Europe. Her business has been harmed tremendously and according to our sources, the star has canceled the schedule for the next upcoming month as well as the release of her new music. 




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Lindsay Lohan Is A Repulsive Liar

and not a good one





Pathological liars tell compulsive lies without a clear motive. This type of lying is different than nonpathological lying, where the lie is often benefical in some way. Lohan proved this week to be a pathological liar but not just any kind. She proved to be a repulsive one.

The star was exposed three times in the past week for her vicious and manipulative lies. First starting off with her false accusation against Lana for allegedly rejecting her from performing at Freedom Festival. Weren't you against it a few months ago, Lindsay? Where's your head?

 Lorde was proficient enough in providing more evidence on Lohan's pathetic behavior when she tweeted: "You lied when you said you were on good terms. You also lied when you said you apologized. You asked for a headliners lot because it would bring "massive attention". Then once you were rejected, you asked for a performance slot as a "cute ending" to all of this". But Lorde was here for a surprise because your friend did not even talk to this nonsensical woman in the first place. 

While Lindsay was raving about having a #1 on iTunes US, Lana was determined to expose her riggid ass and put her on the spot. Lana quickly proved that the whole thing was fabricated when she addressed that she didn't even contact Mrs. Lohan in the first place and stated that the new dates for Freedom Festival are still very much in the early pre-production stage.





But oh my. I wish that was all of it. Shorlty after, the singer accused Oprah for cutting the parts where she apologized to Lana in the interview. Please, did you think we would buy your shit? Well obviously Oprah didn't. 



It was all a lie, again. No evidence from Lohan. Just vicious, mean, manipulative and repulsive lies. 

The tip of the iceberg was when Lindsay posted a, wait for it, photoshopped picture of Lana and her saying they have ended their feud and are now living happily ever after. Trust me, I did not buy that shit from the beginning and I didn't need to wait long to have it be confirmed as...a LIE.... by Lana herself...yet again. Just embarassing. I can't imagine how Lindsay felt or her seven or eight children (did anyone ever check if she really adopted those poor children? They were not there during Oprah... fishy) in that moment. 

To be frank, I never liked this woman. But I certainly dislike her now and hope we never have to cross her disgusting lies again. Her non-attendance in the music industry was far more appreciated than whatever she thinks she is doing now. Also, seek treatment as soon as possible.

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Edu 2,974

That’s what I get for trusting the wrong people moo1

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Ronlop 7,470




- Don't forget to update your playlists! Please do not erase the songs you removed last week on the Encore thread though. So basically just add the songs you removed this week to the songs you removed last week if that makes sense. 


- I will let you guys know when you can use Connect.




Harry Styles @Hector @Edu @Love So Soft

@Beauty Queen @ryjapo @RebelHeart15 

@Harry_CAL @Eglė @tigerlily13 @Jon. @BLACKPINK

    @Hejira @Cosmic  @Kuba @Maria @Bleachella

@8Bit Heart  @Surrealism @Alesus  @Michael. @The Hawaiian Queen

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Hejira 123




Written by: Solange Knowles, Tahliah Debrett Barnett, and Hector

Produced by: Solange Knowles, Tahliah Debrett Barnett, and Kanye West

Recorded at: Paisley Park Studios




With no moon in sight, I howl at all of the exit signs in search for sanctuary

The most beautiful flowers are poisonous and the same is true for wolverines



Ya aguijan los glotonas, perforan tus ojos

Tu sinapsis se corrompe cuando él roe tu piel

En los cuerpos de los infieles la sangre fluye

Muerde y muerde, la carne reluciente invoca su hambre

Y su carne se abrió como una peonía,

Rojo en el corazón, pétalos blancos que se enrollan



Me gusta reclamar lo que es mío

Sin inhibición, estas lágrimas se convierten en ríos



Out for the capital since the streets will eat you alive

And all bullshit aside, keep an eye for Olympus

When the revolution arises they will be the first to take the piss

We all know what happened to Patrice Lumumba

They keep them in slumber with bullets mistaken for Benadryl

Man, I roam the streets as if I am a Houthi

Got all of these enemies targeting me like Jamal Khashoogi



Siempre en alguna guerra, donde mi padre me recuerda

No hay caminos para mujeres violentas


(Soy una traicionera, soy una traicionera)



Did you know that you’re fucking with a bad bitch? (¿Como?)

A woman with no salvage and no stranger to havoc?

A traicionera does not have a billionaire state of mind

Abides by convictions, 0.45 caliber is the ammunition

Sipping shots of D’Ussé with hints of lime

It is the innocence which constitutes the crime

Whose ways are strange when it's time to survive?

Demented in the system, hatred is emancipated

Contingent with oppression, violence in disguise within the lines

I am a burden, a liability, a compromise

The revolution will not be televised, it’ll alter in forms of pantomime

Directed by all of my black brothers whom you’ve left to die

Just let me baptize my sins with corrosive river water

As I preach to the pacifists chastising me at the altar

Can’t even take a look at the midnight sky

As God’s latticework is obscured by human satellites

Demons thrive underneath the guise of flashing lights

With such dexterity that puts these entertainers to shame (Oh)

And I hope Mauna Kea bursts these pipelines into flames

Acetylene tongue slithers with such a precise aim

Silently eroding bodies through transnational creed

Degradation that is slowly damaging society



Siempre en alguna guerra, donde mi padre me recuerda

No hay caminos para mujeres violentas (But I’ll make my own)


(Soy una traicionera, soy una traicionera

Soy una traicionera, soy una traicionera)



Muerde si tienes que morder (O qué)

Muerde si tienes que morder (Eh)

Muerde si tienes que morder

A palé, a palé, a palé, a palé

A palé, a palé, a palé, a

A palé, a palé, a palé, a palé

A palé, a palé, a palé, a-a-a

A palé, a palé, a palé, a palé



Soy, soy, soy una

Soy, soy, soy una (I, I)

Soy, soy, soy una

I, I, have a right to be violent

No te olvides lo que la gente piensa de mí

Sensacionalista porque soy una mujer y si, es así

Soy, soy, soy una

Soy, soy, soy una (I, I)


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Hejira 123



Meet IN RETROGRADE, the mystifying duo that have recently signed under Sony Records.


We meet Tahliah Barnett, who is also known as FKA Twigs, and Solange Knowles at the Lincoln Center Plaza as they prepare for an opera that is scheduled to premiere in mid-late 2020.

Solange Knowles is a quiet and reserved individual. Although she is the sibling of the legendary Beyoncé, it has been quite difficult for her to express herself artistically until now. She’s an artist in every sense: a singer, composer, producer, choreographer, designer and filmmaker. Solange takes architectural spaces and uses them as part of a performance, an instrument to realise her works just as she does with her music and movement. “Far too often, we do not have exclusively Black places and things” Solange says. “But here there are reminisces of Phylicia Rashad’s voice, Debbie Allen’s footwork, her mama’s hot comb through women’s hair with stories to tell, majestic ebony hued cowboys, the sluggish, laconic sounds of DJ Screw and a little brown-bodied girl who never dreamed she could not because she was surrounded by everyday examples that she could and would make her ancestors proud.''

Houston has exported many significant figures to black music, most notably Solange’s sister Beyoncé. But, for rap fans, the city’s creation of chopped and screwed music, courtesy of the late DJ Screw, is an integral part of rap’s evolution. In repurposing the aesthetic Screw invented, Solange is encouraging the late producer’s technique to be seen through an avant-garde lens.

I: Solange, how does it feel to see Beyoncé on the cover of magazines and accomplishing such monumental feats?

S: I find it to be extremely rewarding. My first memory was seeing her run in high heels across the yard to accumulate as much stamina as much as possible. Our influence among each other has interspersed over time because I believe that in every curation or work that I do; especially because I always have her perspective in mind and she asks for my guidance most of the time. She’s the embodiment of hard work and perseverance. I truly am inspired by her groundbreaking career.

I: Great. Are there any of her influences in your upcoming music with FKA Twigs?

S: Of course, however I believe that Beyoncé’s influence is quite inescapable and she has undoubtedly created a shift in music with her various projects. Even if I was not related to her, I would still be her biggest admirer. Growing up in Houston has basically shaped our outlook on life because of the records my mother played for us as children, the cultural attractions around my neighborhood, and the rich history Houston has altogether. I definitely see a lot of myself in her and I believe that she would say the same.


The black experience has not necessarily been as documented in comparison to more privileged demographics. Perhaps not coincidentally, as this country has reckoned in recent years with the dire need for broader representation in all facets of the culture, there’s been a simultaneous renaissance in representational art. With IN RETROGRADE, both twigs and Solange Knowles have a vision to influence young black artists to have more accurate depictions of their experiences rather than merely existing in predominantly white spaces. "Opera companies have a responsibility to present classics in a way that helps audiences understand how problematic histories continue to reverberate today” Solange says. Her goal is to create new opportunities for minorities to be represented. Currently, the opera is directed by Phelim McDermott, a director mostly known for his adaptation of Satyagraha. Since Satyagraha, McDermott has staged the Met’s Baroque pasticcio, The Enchanted Island, as well as two other Glass operas, The Perfect American and Akhnaten. What twigs liked most was the opportunity to put new ideas into the show in real time as she is very spontaneous with her work. “I’m used to the thrill of going onstage and filling in for a dancer that had an accident 30 minutes before the show was scheduled to begin.”


In June of last year, Rei Kawakubo presented the first of three ‘acts’ centred on Virginia Woolf’s 1928 novel Orlando, beginning with Comme des Garçons Homme Plus’ Spring/Summer 2020 show. As directed by Olga Neuwirth, this is the first time in its 150-year-history the Vienna Opera House will stage a show by a woman.

The designer is known for rarely providing an explanation for her esoteric Comme des Garçons collections, however she was also present at the Lincoln Center Plaza with FKA Twigs and Solange Knowles for a day-long rehearsal. Style, fashion, and visuals are important aspects for IN RETROGRADE. In fact, they always have been.

FKA Twigs was raised in Tewkesbury, Gloucestershire. Her father is Jamaican, and her mother is English and Spanish. She is mostly known for her immense dexterity in New York as she is as capable of performing pieces performed by Sylvie Guillem and give an awe-inspiring voguing routine. Her ferocity is often obscured by her juxtaposing shyness, however she states that “being abashed” has helped her become a better artist. FKA Twigs began pursuing wushu training after recovering from health issues.


I: Do you see yourself more as a performer or an artist? What’s your earliest musical memory?

T: I feel as if [IN RETROGRADE] is a dynamic duo because our efficiency in executing a shared vision is very interesting. Solange is an expert at creating these elaborate sonic—or even architectural—landscapes and I am best at what my background is rooted in and emphasizing on the most intricate parts of the  production process. We are heavily involved in everything we do. When I perform in ballrooms or pole-dance in clubs, I always do it with as much integrity and respect for the culture as possible. I am both an artist and an entertainer and both are synonymous with each other for various reasons. As for my earliest musical memory, I am musically trained and sometimes play the piano. I remember listening to John Coltrane records my father had in his bedroom as well as having a religious experience once I encountered Janet Jackson’s The Velvet Rope in the attic. Aaliyah’s self-titled record and Kylie Minogue’s Impossible Princess are some good ones too.

I: How did you and Solange meet? Why did you guys want to release music as a duo?

T: We just met over a couple of mutual friends actually. We have met at various gatherings before we had built the courage to talk to each other, however when the time came we instantly clicked over our love for neo-soul and R&B. Although we are a duo, our artistic expression is never compromised. There are various sectors that both of us are interested in and I feel as if being a duo was the right thing to do because in the studio we bounce ideas off of each other all the time. Collaborating is very essential for us.

In fact, “TRAICIONERA” features none other than Latin popstar Rosalía, who is known for combining flamenco, hip-hop, and R&B. There is a deep history to what Rosalía is trying to accomplish with her music. “I am rooted in flamenco,” she explained. “At 13, I fell in love with it, but I couldn’t sing it. To sing flamenco is like being a kind of opera singer. You have to learn how. Flamenco is dark—it’s about tragedy and intensity. Those are the traits I became passionate about.” Rosalía eventually enrolled at the Catalonia College of Music, which accepts only one student per year to its flamenco program. The song, produced by the duo alongside Kanye West, is ferocious and quite reminiscent of Rihanna’s 2018 project Mariposa Negra. It has a thumping, eerie rhythm and is one of the first songs IN RETROGRADE has recorded as a duo. Surprisingly, both FKA Twigs and Solange sing in Spanish in the bombastic tune.


The production gives the impression of both incredible power and immense control, as a great number of massive sonic elements are woven together so tightly that they almost cease to sound intentional and prepared. The way that instruments spring from nowhere into flurries of decadent, sumptuous sound – the way that the production bends around the individual performances and that rock-steady rhythm section keeping it all in check.

Major classical-music institutions are generally too enmeshed in networks of power to make meaningful gestures of resistance. At the Lincoln Center Plaza, Twigs’s singing has gradually edged closer toward Western classical tradition—in her vocal tone as well as melodies that mechanically ascend and descend the scale, she sounds operatic, almost Gregorian. She croons with the New York Philharmonic Orchestra for an exclusive video for The New York Times.

IN RETROGRADE is scheduled to appear at the conference to discuss algorithmic bias alongside Ruha Benjamin, a sociologist and an Associate Professor in the Department of African American Studies at Princeton University, Virginia Eubanks, and a panel from The Center for Critical Race and Digital Studies at New York University. The major outcome of algorithmic bias is that it is enabling predatory companies to advertise selectively to vulnerable people. While we all live under this new regime of data analytics, the most invasive and punitive systems are aimed at the poor according to ‘Automating Inequality’ by Virginia Eubanks. It encourages fear towards demographics that fit in with a certain statistical profile. “It’s really a pleasure to bring these issues into the forefront with our music” says twigs.

With “PROTOTYPE”, the duo sings in an unhinged manner about the black experience and being a black artist whilst commercialized iterations of their culture is being appropriated by the masses through social media—especially Instagram. “It’s about blacksound, fetishizing the features we are still being ridiculed by, and how racism has transcended in the digital age”.  Blacksound, as the performative and aesthetic complement to blackface, demonstrates how performance, (racial) identity, and (intellectual) property relations have been tethered to the making of popular music and its commercialization since the early nineteenth century. Blacksound also reveals how practices of exclusion that are germane to musicological discourse are connected to the racist practices and supremacist systems that defined society and popular culture throughout the nineteenth century.

“TRAICIONERA” featuring Rosalía and PROTOTYPE will be released soon.


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I: In one of the verses, you state that a TRAICIONERA “does not have a billionaire state of mind.” What does that mean exactly?

S: There aren’t any ethical billionaires at all. The premise behind the song is reclaiming your power that was obscured by greed and exploitative tendencies—and with that sentiment alone I described every single billionaire. As a society, we often glamorize these powerful individuals with tropes that we see ourselves in. For instance, I’ve heard a lot of people say that they were influenced by their motivational stories and they’ve seen themselves being in a similar position because of that. What we fail to acknowledge with policies and discussions of such men is the turpitude and vindictiveness in various sectors. You see, of course Jeff Bezos is successful because of how overworked Amazon workers are in these terrible working environments. Of course Mansa Musa was successful and the richest black man at one point after selling black women to the Transatlantic Slave Trade. As my sister Beyoncé has stated, there is nobody that is degraded in society as much as the black woman. The entire concept of a “TRAICIONERA” is that we use our exertion of influence for good. Why is the concept of a billionaire so glamorized when health disparities have exacerbated immensely regardless of technological advancements? You get the gist.

T: And that sentiment is also applicable in the lines “degradation that is slowly damaging society” and “let me baptize my sins with corrosive river water” because we demonize and vilify impoverished communities both implicitly and explicitly. I feel as if everybody knows how important the concept of climate change is to many people—especially since activists such as Greta Thunberg are motivating younger audiences to act. However, the reason why urgent measures aren’t being taken is because of exploitative tendencies that infringes on the livelihood of black and brown communities both domestically and globally. Why does Flint have disgusting brown water that is infiltrated with lead? Why is Yemen facing the world’s worst humanitarian crisis and political leaders aren’t being held accountable for war crimes? These are quite rhetorical questions that require an imminent response. Environmental degradation ultimately truncates the achievement of impoverished communities as well. As individuals with a platform, we need to create more advocacy as well as build upon the activism pioneered by younger demographics.

S: As an American, I find it repulsive that we are joking about another World War III occurring because these jokes are romanticizing the idea of going to war and diminishing the fact that it is not the American bloodshed that will occur. Brown people are already facing instability in their regions yet the jokes I’ve seen online are just...abhorrent. We want to tackle a lot of issues with our upcoming projects. A couple months ago, we recorded a demo with Lizzo—she’s a friend of ours that is currently unsigned—about policing a black woman’s body for example. Our creative process revolves around healing, learning, and building upon ourselves.

I: What is the message that you would like to send to your audience with “TRAICIONERA”?

T: I would like to embolden everyone that listens to the song and empower themselves with various subletites that are interspersed throughout the song’s lyrics. The song isn’t just a song for female empowerment nor is it a criticism of neoliberal capitalism. [laughs] The intention of saying that being a TRAICIONERA “is the future” is that reclaiming public ignominy or being more outspoken for ideologies you believe in should be encouraged. With that being said, it is pivotal to understand that as public figures we do encourage various perspectives that are not necessarily what we agree with. “TRAICIONERA” encourages peaceful relationships by being more cognizant and having an eclectic standpoint whilst having the ability and strength to say no or be unafraid to walk away from a relationship when the other person is too domineering. That’s why the song begins with a glamorization of violence through the lens of a wolf because it exemplifies an aspect of ourselves that is primitive, however through being in equilibrium it’s quite avoidable to not get carried away if that makes sense.


S: In one my favorite lines of the song, it states:


Siempre en alguna guerra

Donde mi padre me recuerda

No hay caminos para mujeres violentas (Pero no es así)


And this builds upon what [FKA twigs] is trying to convey because with the rise of the #MeToo movement—or even the Black Lives Matter movement as a matter of fact—standing up for ourselves is often perceived as causing a disturbance or inflicting the work environment. When I’m looked upon differently from other males in the STEM sector for being a woman with an interest in physics, I am expected to brush off misogyny as a harmless joke. As a black woman, I am supposed to “let go” of individuals saying racial slurs either online or in the workplace. I’m supposed to brush off microagressions and pretend that they do not bother me. That’s not true. I won’t be subjected to a reinforcement of your patriarchal tendencies and neither will I let you take accountability and speak on the behalf of me either. That’s what being a TRAICIONERA is all about.

“TRAICIONERA” (featuring Rosalía) and PROTOTYPE is coming soon.



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hector 31,485




Hurt Me hitting top 10 this week
Hilary: Oh... My... Gosh! Tell me about it!! I’m so speechless to see Hurt Me go top 10 for the very first time like this is so amazing.. I haven’t have had this amazing reception to any of my music like this before besides Codes but wow. I’m literally so speechless [laughs] it’s so cool. Wow, I honestly love to see this happening because this just means people are giving this little crazy girl a try and being legit interested on what I have to sing and I’m.. I love it. I know I say that a LOT but that’s how I feel right now [laughs] I wanna say thank you to everyone who has been streaming and requesting the song on radio this much, I’m mind-blown but very grateful too! Thank you, thank you, thank you!

The Hurt Me music video
Hilary: To me it was very important to have Shawn in the music video because this song is about him, it’s about letting go and moving on, getting over what happened to me and actually, us, so it was crucial that he would be present. We went out for dinner one day, catch up in a lot of stuff that we were doing and then I talked to him about the video and what I wanted to do on it and he was in love with the idea and didn’t even hesitate on giving me a response. I saw that the video has over 5 million views already on Caltube and I don’t even know what to say [laughs] once again y’all are leaving me speechless [laughs] but thank you for that and keep watching. I had so much fun working on this video.

Hurt Me reaching 25 million streams on Encore
Hilary: Again... Speechless [laughs] it’s like, y’all decided to leave me at a loss of words today with all of these news! [Laughs] But I’m grateful though, like, this song has been growing and growing on Encore day after day and even without any playlist support it’s so mind-blowing that it continues to grow like this. I’ve had my song playlisted before, I think Shawn did it once and I was very happy that he would give me the chance to have my song heard on his playlist. I think I’m now playlisted on Maluma’s new Encore playlist that he announced not too long ago, maybe? [Laughs] my team told me about it but I was coming into this interview and I couldn’t read the e-mail properly. But if this is true, thank you Maluma you’re amazing!


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hector 31,485



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Hejira 123



I: What’s the biggest challenge you've faced thus far as a duo?

T: Finding a balance that satisfies the both of us. We have completely different backgrounds yet have so much in common at the same time. Solange is extremely intelligent and already an accomplished individual, hence through music she has a lot to say and so do I. In our upcoming EP, I believe that we have found a balance between our preferred sounds and throughout our journey as an artist we aspire to perfect the song we have created as well as venturing on different projects.

S: As a duo, we “argue” a lot but we strengthen our relationship through finding a medium between our differences. For example, we rarely acknowledge that breeding Black women and removing their children built the wealth of this country. We never acknowledge how the ideology that grew around this practice impacts Black women and families today. As a duo, we haven’t interwoven that topic into our music as of yet but it’s something important for me to acknowledge because of the adversity I have seen my sister [Beyoncé] go through. She has taught me a lot as well as twigs and I wholeheartedly believe that she thinks so too.

T: I do. [laughs]

I: Since you guys are interested in completely different genres, what made you two decide that “TRAICIONERA” (featuring Rosalía) is the best song to introduce the duo to the public?

S: I wouldn’t necessarily say that “TRAICIONERA” is the best song we have created per se, however it signifies the point in time in which we started experimenting with different sounds and it was also the first song that we have officially recorded when we decided to become a duo. In the EP, “TRAICIONERA” functions as a bridging point between the two sides of the record for sure. It’s a gritty and ferocious tune. Would I say that it’s the defining sound of [IN RETROGRADE]? Absolutely not. The song is special for us because it’s nostalgic in the sense that I still recall venting to [FKA twigs] about the topics mentioned in the track and because I remember recording the song in the studio so vividly.

T: For sure. “TRAICIONERA”, in my opinion, makes the EP more cohesive as without it the project in its entirety may sound too eclectic. Plus Rosalía adds a lot of flavor and attitude to the song. Our initial projects are correlated to the various female empowerment movements that are ongoing today—such as Lindsay Lohan’s domestic abuse story or Britney Spears’s retaliation against the public for sexual liberation. The song finishes with the line “I have a right to be violent” because it sheds light on various injustices such as the juxtaposition between how the media portrays Maluma in comparison to how they compare Britney Spears. If I were in Britney’s shoes, I would be furious with each and every person that has published an article that is untrue to my character. Another reason why we wanted to release “TRAICIONERA”‘ as the lead single is simply because of how current it is and it also has implications for the future as well with discussions such as environmental degradation and exploitative tendencies by people in power.

I: Speaking of “people in power”, the song also includes a lyric that may have caught people off-guard: “All bullshit aside, keep an eye out if you’re in Olympus.” What exactly does that mean?

T: Well, the title “Olympus” is given to artists that have accomplished extraordinary feats in their career. We decided to include that lyric not to berate the most successful artists in the music industry, but it is our way of conveying a message to our audience that you should not change your identity for the sake of commercial success. The sentiment is applicable to any sector, however as musicians I feel as if we are chastised to undergo through changes that are not true to who we are and luckily we are debuting in a time where artists are...growing a pair of balls for the lack of a better term. More artists are shedding light on the injustices and unethical practices by music executives and that’s basically what we are trying to say. The ultimate message is along the lines of being true to who you are, even if that means compromising something that every artist strives for.

S: I actually listen to most artists that are incessantly played on the radio right now. It’s not a direct jab at anyone, rather it’s a simple commentary on compromising your identity for superficial things. 

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