Carly Rae Jepsen, With a New Album, Is Definitely Changing Her Number

1 Aug 2015 | Author: | No comments yet »

Carly Rae Jepsen heading to SA.

The walkup to Carly Rae Jepsen’s E•MO•TION, has not been short. (Also, it has not been conventional; she dropped the collection in Japan way back in June.) So far, in the U.S. she’s shared four singles—one that even came with a Tom Hanks-filled music video—and they’ve all been good, teetering on the verge of great, pop radio fare.According to the statement, the two dated concert will be in support of Jepsen’s second studio album E.MO.TION which features her two latest singles I Really Like You and Run Away with Me.

Gliding through a party for marriage equality at Cipriani Wall Street recently, an international pop star, sticking close to her bodyguard and multiple handlers, was not immediately recognizable despite being slated as the night’s headlining entertainment. “Who’s that?” gawkers asked repeatedly, cellphones at the ready in case the opportunity for a selfie with someone of note presented itself.Cape Town – Hilltop Live Africa and Universal Music South Africa announced on Thursday that Canadian recording artist Carly Rae Jepsen will be playing two shows in October as part of her E.MO.TION album release in South Africa.

For those who have only watched the TV show and haven’t experienced the podcast, there’s a certain level of structure to the show that is missing from the podcast. The Cape Town concert will take place at the Grand Arena, GrandWest on Wednesday October 21, 2015; while Pretoria will get to see the pop singer on Saturday October 24, 2015 at Monument Amphitheatre. Upon being whispered her name, a man replied, “Oh, that’s ‘Call Me Maybe?’ ” He turned to his companion: “That’s ‘Call Me Maybe.’ ” The pair requested a selfie. From the mostly-creepy pre-chorus (or is that the chorus?) where Jepsen whispers “warm blood underneath my skin”, to the ’80s club low-end builds and drops, and the fact that it’s pretty much four different choruses in one song, “Warm Blood” is as fascinating as it is addictive.

For example, in the most recent episode of the podcast, a health teacher/bongo player played by Andy Daly turns out to have a split personality that murders people, diversions occurred involving Jason Mantzoukas discussing what he would and wouldn’t do for charity, and there’s a surprise visit by Paul F. Produced and co-written by Vampire Weekend’s Rostam Batmanglij, it’s a woozy, ’80s-tinged highlight on an album that itself will prove a highlight of 2015.

Add in RobotCop—not RoboCop, but a similar “remorseless law enforcement machine designed to administer justice”—and it looks like a Grade A (get it? Jepsen’s song “Call Me Maybe” spent the next year burrowing its way into brains all over, from Justin Bieber, who connected the singer with his manager and record label, to American troops in Afghanistan and even Colin Powell, all of whom performed their own renditions. This grouping of episodes has been pretty structured so far and better than ever for it, but “Carly Rae Jepsen” really reminds me of how great this show can also be when it’s throwing crazy things into the story just for the hell of it.

There was also an album, “Kiss” (2012), which could only be overshadowed, selling fewer than 300,000 copies, even though it contained more flavors of Ms. When Zeke refuses to shoot the Hamrobberer, he is fired, but then comes back as RobotCop, who is swift in judgment with shows of force that are not proportionate to the crimes. Borne of more than 200 songs and a few attempted and aborted styles, the album manages to be cohesive in sound (’80s-influenced synth pop) and message (it’s possible to be coy, grown and sexy all at once).

It’s probably just as well these two crazy kids don’t get together, since Scott, as a widower of one year, hasn’t been… intimate… with a woman for 24 hours. “My biggest pet peeve is definitely when a cashier gives you your change and puts the coins on top of the bills. Why not put the coins in my hand first?” Otherwise, Kid Cudi is mostly in the background, which makes sense for the episode (and Reggie Watts spent plenty of episodes as sidekick in the background) but removes some of the spark of recent episodes, where the two Scotts were front and center. Braun’s Schoolboy Records and Interscope. “This time we wanted to stop worrying about singles and focus on having a critically acclaimed album.” Such consistency has been essentially nonexistent in following up novelty singles that went beyond viral — Baauer’s “Harlem Shake,” “Gangnam Style” by Psy, another act of Mr. Her back-and-forth with Scott when he believes her song “I Really Like You” is an announcement of her feelings towards Scott is great, as is her decision to make Tom Hanks audition for the video, instead of just Casting Away.

Another good Cudi moment comes when theme park owner Tim Duncan (Paul Scheer) explains that he endangered the lives of several roller coaster riders by slamming the emergency stop button when he heard screaming. CBB characters and guests are always better when you can tell that Scott likes them and Scheer makes it obvious that Scott loves improvising with him in this way. Our rides are meant to be ridden stoically,” Duncan retorts, and the cut to Cudi’s deadpan example of stoicism is a grace note, an inessential piece that adds so much. After last week’s hilarious Temptations skit, Scott gets his own with “Don’t Just Tell Me, Show Me,” where he tries to advise people with problems by getting them to do their job and teaching them lessons through that.

Though the crisp performances, successful individual jokes, and visual appeal of “Carly Rae Jepsen Wears a Chunky Necklace and Black Ankle Boots” elevate a weak central narrative, they can’t turn middling material into great material. Jepsen never stopped writing music, tasking John Ehmann, her artistic development representative at Interscope, with tracking down dream collaborators, including some he had never heard of. “I was obsessed with Solange’s ‘Losing You,’ and I was like, who made this?” Ms. Jepsen said of a track by Beyoncé’s indie-leaning younger sister. “That same thing happened with Sky Ferreira’s ‘You’re Not the One.’ ” Those songs led her to their co-writers and producers, Dev Hynes and Ariel Rechtshaid, frequent collaborators who have spun their deeply textured work with hook-conscious underground darlings (Jessie Ware, Vampire Weekend, Haim) into pop gold, and earned them studio time with Beyoncé, Florence and the Machine, Madonna, and Britney Spears. “She got in touch through management and said she was a fan, but I didn’t really believe it — people just say that,” Mr.

Check out The Ham Robberer: Even in a still photo, without the graceful capers and digitally scrambled warble, costume, gesture, and camera framing still convey the little crook’s panache. In fact, all the visuals of this episode are striking, from the beautifully lit entrance of RobotCop to the subtle but noticeable color coordination of wardrobes. We get a much wilder presentation and a bunch of fun new characters in an episode that feels much more like the insane escalation of wackiness that often occurs on the podcast.

Hynes was “nerve-racking, because I was so desperate to prove myself,” although not in the one-hit-wonder sense. “There’s a stigma attached to being a pop artist that you don’t write or you’re in the room and get credit but you didn’t do anything,” she said. From the moment Scott cuts off Will’s relationship troubles (“Jill told me she had to have extracurricular relationships with women or she’d get bored—”), instructing him to “keep thinking gazebo,” it’s clear where this segment is leading, but Dr. Jepsen could introduce her more age-appropriate side to her many tween, Bieber-oriented fans, the market required a transition. “ ‘Kiss’ was steered in a young direction, but knowingly so,” she said. He seems to have it in for Mitch (Mike Mitchell), shooting him in the knee for almost walking off with a pen (“The show of force was totally disproportionate to the crime!,” Kid Cudi exclaims) and repeatedly drawing a bead on him. But in the final showdown with The Ham Robberer, after taking aim on Mitch, RobotCop shifts target at the last moment and shoots (and shoots, and shoots, and shoots) Eric The P.A.

Bang!, the reveal that Zeke’s been human the whole time doesn’t make a lick of sense, though Baron Vaughn plays the two personas with command and clarity. He masquerades as a soulless automaton to get his old job back, but he also pretends to have malfunctions brought on by the human remnant’s memories interfering with his cold, calculating robot abilities? Jepsen “dipping her toe back into familiar waters for the audience, to get them excited.” That “slight familiarity” is also important for radio programmers, she said.

Jepsen’s “S.N.L.” performance was “an opportunity for her to say, ‘Look, I’m going to play my single,’ but I’m also going to say, ‘This is a new side of me that I want you to see and that I’m really proud of.’ ” Recorded mostly in New York and Los Angeles, where Ms. Rechtshaid, who is credited on “All That” and “When I Needed You,” said that pop music and indie sensibilities were moving closer together, giving an act like Ms. But Scott’s response when Zeke removes his costume—cobbled together from bits of his old computer, some silver spray paint, his daughter’s bicycle helmet, oh, and a RoboCop costume he found at an old party supply store—sums up the impact of RobotCop: “Eh, what?” The flexible reality of the show lets it get away with handwaving explanations over and over, but this time, they don’t even bother to handwave it. There’s no explanation, no joke made about the gap between what Zeke’s trying to accomplish and what he actually does or about the brutality of his actions. (Admittedly, his distracting urge to masturbate does make more sense for a human.

Jepsen with truly wanting to develop a new aesthetic, rather than just collecting the cachet that comes with working alongside Pitchfork-approved artists. “I can tell when that’s happening because people will ask me to do one thing and then want it changed,” he said. “Whenever that happens, I know you don’t actually want what my songs sound like, you just want how people reacted to them.” For Ms. Jepsen, who scrapped an entire folkier pop album on the way to the buzzing electronics of “Emotion,” pushing into more adventurous songwriting is becoming as addictive as one of her songs. “I want to go even weirder on the next album,” she said. “My desire now is to see how far I can stretch pop.” Her team just might let her. “I have to give kudos to Scooter, because he’s got a lot of different artists on his roster” and unlike many of them “I write my songs,” she said. Jepsen complete tracks, encouraging her to record work by others without co-writing, his trust in her is growing. “To my delight, one day he accidentally sent my own song to me — he said, ‘I think this would really suit you,’ ” Ms.

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