Swedish House Mafia released a new album called ‘Paradise Again' and here are 7 tracks you must hear. 🎵
Both, of course, also happen to be helmed by superstar manager Sal Slaiby, who delivered two of his biggest artists to the apex of the Coachella lineup afterdropped out out of the Sunday night slot last minute.
“It was just like, ‘What the f–k do we do? How do we come back? Do we just give them another [version of] what we’ve done before?’” Ingrosso toldlast summer in regards to the group evolving its sound. “I was like, ‘F–k that; it’s depressing to go back. It’s disgusting to go back.’ ”, they indeed sidestep returning to the sound that made them famous, trading their signature big room, maximalist bangers for songs of a subtler, more mature, but still extremely danceable variety.
Many may find it hard to believe that more than a decade into their tenure, the group hasn’t actually yet released an album. It’s true: While 2012’swas marketed as an album, it functioned essentially a mixtape built to house SHM’s big singles, along with singles from other dance artists as padding. The dance scene in that era certainly did not demand LPs, as there was no reason to do one when you could tour the world several times over with six songs.
Of course, main stage artists consciously evolving beyond EDM isn’t a new phenomenon. Calvin Harris did it effectively onhis new sound, a sort of supercharged mainstage techno, last month at Ultra Music Festival in Miami. As house and techno have become the pre-eminent sounds in mainstream dance music during the last half-decade, going back not only would have been indeed been “depressing” and “disgusting,” but out of sync with current trends.
reflects that the time taken was worth it. Here are our picks for seven of the most essential tracks onThe first voice heard on the album is that of Swedish vocalist Mapei, who — perhaps in a nod to how long this album took to make — declares in rich baritone that it “takes time to heal, takes time to know where your heart is at, takes time to be real.” The production here is alternatingly spare and lush IDM, not so far from some of the Four Tet/Jamie xx oeuvre.
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