4/21/2020 Labrinth Electronic Earth Rar
Labrinth performing in Manchester in 2013.(real name Timothy McKenzie) is an English recording artist and record producer from. After producing 's in 2009 (on which he also performed all instruments), Labrinth came to prominence in 2010 for his work on 's debut album, for which he produced the singles ', ' (on both of which he also performed) and '. During the same year, he also appeared on tracks by ('Oh My God', from ) and (', from ). He released his first single in September, ', which reached number three on the. Whilst continuing to record his debut album, Labrinth also performed on and co-produced the charity single ' for, along with a range of artists including and.In March 2012, Labrinth released his debut album. Written and produced largely by Labrinth and his manager Marc 'Da Digglar' Williams, the album also features songwriting credits for, and more. Following the success of 'Let the Sun Shine', and second and third singles ' and ', three more singles were released from the album: ', ' and ' with, which was Labrinth's first single to top the UK Singles Chart.
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Deluxe versions of the album featured bonus tracks with contributions from, and more.Later in the year, Labrinth featured on the single ', from the album, and also released an (EP) of previously unreleased tracks, which featured a wide range of artists including. Labrinth reunited with Tinie Tempah in 2013, featuring on the tracks 'It's OK' and ' on his second album, the latter of which was released as a single the following year and reached number 16 in the UK. 2014 also featured the first releases from Labrinth's upcoming second album: ' was released in September and reached number 11 in the UK, and ' followed in November and peaked at number seven.
Labrinth also collaborated with on the single 'Higher', which was released in March 2015. Singer-songwriter is featured on the track 'Meanest Man'. KeyIndicates song released as a singleIndicates song written solely by LabrinthTitleArtist(s)Writer(s)Producer(s)ReleaseYearRef.Notes'A.D.H.D. ^ (Media notes). Odd One Out Music. CS1 maint: others.
^ (Media notes). Disturbing London Records,. CS1 maint: others. ^ (Media notes). CS1 maint: others.
^ (Media notes). CS1 maint: others. ^. Retrieved 22 March 2015.
^ ' (Media notes). CS1 maint: others. ^ (Media notes). CS1 maint: others. ^ (Media notes). CS1 maint: others.
Labrinth Electronic Earth (Deluxe Edition). Album: Electronic Earth.
^ (Media notes). CS1 maint: others. ^ (Media notes). Disturbing London Records,. CS1 maint: others.
^ ' (Media notes). CS1 maint: others. ^ ' (Media notes). CS1 maint: others.
^ 'Higher' (Media notes). CS1 maint: others. (Media notes).,. CS1 maint: others External links. at.
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From the amount of times boasts about how groundbreaking he is on debut album, you'd expect to hear something so pioneering that it would make sound like. 'Hey Simon, we're f.g them up/sending them Syco,' he proclaims on the percussive jazz-pop of opener 'Climb On Board.' The Simon in question is of course, Mr.
Cowell himself, who was so impressed by the Hackney producer that he invited him to become the first non-talent show signing to his label in six years., real name, appears to be slightly uneasy about this unlikely partnership, hence the rather unsubtle attempts to distance himself as far away as possible from the usual X-Factor alumni. In fairness, is much more idiosyncratic than 's typical factory-production fare.
'Earthquake' is a thrillingly bombastic take on the ubiquitous dubstep sound with its cascading arcade game synths, speaker-blowing beats, and Gregorian chant middle-eight; 'Sweet Riot' is a suitably named blend of sugary R&B melodies and menacing electro-rock which echoes -era; while the orchestral funk of 'Last Time' sounds like an intriguing clash between. But despite protesting that he's 'far from JLSfD' on a pointless cover version of 's 'Express Yourself,' he does have more in common with the urban boy band than he may care to admit. Other than 'Beneath Your Beautiful,' a soulful duet with, the album is swamped with layers of Auto-Tune which renders his -esque vocals nondescript; the claustrophobic electronica of 'Sundown' borrows from an unlikely source ('s 'Big Yellow Taxi') in a clumsy manner; while the contrived indie rock of 'Treatment' treads the same faux-emotive territory as the average X-Factor winner's single. Certainly doesn't sound like a production, but it's also not quite the bold, innovative statement that appears so determined to convince us of.
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