#denniz pop

[arbitrarygreay]

Man, if only these two songs weren't at the worst possible interval of different keys (and so requiring really noticeable pitch changing to make both meet), because they are so delightfully compatible.

[mitjalovse]

Robyn's pop is great. To be honest, Scandinavians rule here, but why? Someone much smarter than me has a better answer than what I'm proposing – I consider their work to be a bit of a sonic sorcery. Of course, this only appears to be on the surface. For instance – check the tune by Ace Of Base on the link. This shouldn't have worked that well – there is a collection of elements that don't complement each other, they battle for their primacy, yet this is what makes the entire song compelling. I agree, you can tell the group worked with a very strong producer and his name was Denniz PoP who continues to be present in the current pop machine despite him being dead. You see, his protege Max Martin, also present on the tune you hear, continues his work, because he learnt from him a lot.

[thebowerypresents]

Sophie Ellis-Bextor Brings North American Tour to Sold-Out Webster Hall

Sophie – Webster Hall – June 6, 2024

Some songs transport you back to a memory or time in your life. For me, Sophie Ellis-Bextor’s “Groovejet (If This Ain’t Love)” brings me back to studying abroad in Copenhagen, Denmark, and inhaling all the culture outside of my very American upbringing. At the turn of the decade, American pop from the ’90s to the aughts leaned into dance music largely due to the influence of Scandinavian-dance-pop producers Max Martin and Denniz Pop.

Serving as the soundtrack for my time overseas, these nightclub grooves were largely anchored by DJs and pop songstresses such as Ellis-Bextor. I admittedly missed her 2001 global hit, “Murder on the Dancefloor,” but like many, I couldn’t overlook its resurgence thanks to an iconic finale dance sequence from last year’s buzzy film Saltburn. The singer, who has been murdering the dance floor since 2001, brought her infectious bops to a sold-out Webster Hall on Thursday night.

Opening with a take on Alcazar’s “Crying at the Discoteque,” the first lady of Brit-pop pranced onstage in a magenta sparkle, feathered fringe shift dress. The show was a mix of her catalog and features, as well as well-loved covers. To create a sense of spontaneity, the mother of five boys shared that her nights of song during the Covid shutdown were similarly mixed, and to encapsulate that mood, she brought out a wheel of songs to be sung. With a spin, “Reflections,” off her last record, Hana, was chosen and performed. Engaging in a bonding experience of group choreography, hand and arm gestures formed across the floor for “Hypnotized.” After generous leg kicks and traversing the stage left to right, guitarist Pablo Tato joined the singer seated for an acoustic version of “Young Blood.” A quick change into a yellow dress with orange tassels ushered another wheel spin, which had Ellis-Bextor vetoing the choice and opting for ABBA’s ”Dancing Queen.” 

My aforementioned throwback song, “Groovejet (If This Ain’t Love),” was intermixed with “Lady (Hear Me Tonight)” “Can't Fight This Feeling” and “Gimme! Gimme! Gimme! (A Man After Midnight).” Everyone in the room hushed �� and became her disciples — as they were taken to church with a cover of Madonna’s “Like a Prayer.” Truly grateful at the end of the set, Ellis-Bextor was prepared for a crowd of people who were in attendance just to hear that song from a film, but the pop star was pleasantly surprised that folks actually came for the song that ignited the mirror ball over the dance floor and much more from her two decades of music. Not willing to say goodnight, she had to perform the site-specific “New York City Lights” and the Armin van Buuren collab track, “Bittersweet.” Quickly moving to the balcony, guitarist Tato and the vocalist performed an acoustic version of the Theaudience’s “A Pessimist Is Never Disappointed,” dreamily capping off the evening. —Sharlene Chiu | @Shar0ck

Photos courtesy of Mark Ashe | @markashephotography

[doyoulikethissong-poll]

Backstreet Boys - Everybody (Backstreet's Back) 1997

"Everybody (Backstreet's Back)" is a song by American boyband Backstreet Boys, written and produced by Denniz Pop and Max Martin. It was released as the first single from their second studio album Backstreet's Back in July 1997. The song reached number four on the Billboard Hot 100 in the US, and number three on the UK Singles Chart. It is certified platinum in the US.

The accompanying music video was directed by American director Joseph Kahn. The haunted house aesthetic was inspired by the music video for Michael Jackson's "Thriller" and the 1995 film Casper. Kahn and the group wanted Antonio Fargas to portray the bus driver, as they were fans of Starsky & Hutch. Jive Records did not get behind the concept of the band in costumes or the $1 million requirements and did not believe MTV would respect the video. The band ultimately had to put up their own money to shoot the video and fight with the label to get reimbursed once it was successful.

"Everybody (Backstreet's Back)" received a total of 86,2% yes votes! Previous Backstreet Boys polls: #105 "I Want It That Way".

[mephistopheles2022]

Tobias Forge with Nicholas Johansson on the Green Carpet at the Denniz Pop Awards.

@nicholasjohansson and @dennizpopawards

[hit-song-showdown]

Year-End Poll #45: 1994

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: Ace of Base, All-4-One, Boyz II Men, Celine Dion, Mariah Carey, Lisa Loeb, Toni Braxton, Bryan Adams + Rod Stewart and Sting, Ace of Base, Ace of Base. End description]

More information about this blog here

Looking at the polls from yesterday and today, it looks like the early 90's were a good time for reggae-inspired music by artists from countries not usually associated with reggae. Most notable for today's selection is Sweden's Ace of Base. The group was doing well in their home country, as Europop taking over the airwaves across Europe. The sound wasn't as big in The States, but Ace of Base saw an immense amount of crossover success. As the years go on, Sweden would continue to have a powerful influence over the sound of pop music. Both indirectly, as more American artists start to incorporate the sound of Europop into their music, but directly as well. Cheiron Studios was founded in 1992 by a man going by Denniz Pop. He was one of the producers behind Ace of Base as well as an incredibly-stacked list of artists based both in and outside of his home country (many of whom will definitely make up a large portion of these polls). Sadly, he never got to live past the 90's, but along with Max Martin (another Cheiron Studios producer whose name I'm dropping here as a bit of foreshadowing), his sound and songwriting techniques would come to define this decade in pop music as well as the ones coming after.

[eurovision-revisited]

Eurovision 2004 - Number 13 - E-Type - "Paradise"

Perhaps the first Eurovision hopeful to used pyro as an integral part of the song's percussion?

Paradise marks the first time in my blog that there's an entry that's associated with Sweden's second most famous pop export - Cheiron Studios; the late Denniz PoP and Max Martin's formidable hit making machine. E-Type is a man, Bo Erikson, a former speed-metal drummer turned Eurodance hit maker who, through the 1990s, released a series of four albums (all top 5 in Sweden) and many singles (including five Swedish number 1s). Nearly all of his hits feature Nana Hedin on vocals, and at Melfest this year, there she is singing on Paradise. Nana is the singer who sang backing vocals on Brittney Spears Baby One More Time. She's backed Celine Dion, Gary Barlow and Ace of Base and was an integral part of Cheiron's hit-making machine.

Paradise may be the first time there's been any overlap between Cheiron and Melfest. In my hurried researches I haven't found one. Getting E-Type and Nana to Melfest must have been a major deal. What a banger to make a mark with. It starts with a pyro explosion and flings itself headlong into breakneck, explosive, cod-metal, full-throttle fun. With these antics and Nana's vocals it's impossible not to be grinning as you're whisked off on a short ride in a very fast machine. As if to add emphasis the rock-adjacent credentials of this fairground ride of a song, there's a special guest drummer - Mikkey Dee, Motörhead's drummer appearing live at Melfest.

It won the second heat with the highest televote of any of the Melfest heats from this year. Going into the final, it would have been among the favourites, but it faced an additional hurdle. The final had a jury vote and Cheiron were not necessarily the number one favourite Swedish musical enterprise within the Swedish music industry. Paradoxically, and in a very Swedish way, their success and their enjoyment of them had brought about disapproval. Paradise only got 31 regional jury points in the final. Much more surprisingly, it also flopped in the televote, finishing in fifth overall.

Sadly, the Melfest performance marks the last time that E-Type recorded and performed with Nana Hedin. His 2004 album Loud Pipes Save Lives was the last to feature her vocals. Thereafter he worked with Sanne Karlsson. Nana continued singing solo and entered Melodifestivalen 2005 on her own as well as continuing to be possibly the most famous backing singer in Sweden. In 2009 she was diagnosed with tongue cancer, the treatment for which resulted her needing reconstructive jaw surgery. Since then she has been unable to sing.

[levok]

Shall we nominate Omar? 😊

https://dennizpopawards.com/TheGrandPrize

Let’s go 🙌

[techtechonmymind]

90s boy bands are so funny because Max Martin was sitting behind his big mahogany desk being like I absolutely WILL pit these two groups against each other publicly, financially, and psychologically and professionally while working with both of them and Denniz Pop was like great idea, by the way I came up with this amazing instrumental for the Backstreet Boys’ upcoming highly anticipated second single Everybody (Backstreet’s Back) and Max said amazing work for the year pal copy paste that to the new *NSYNC song I Want You Back - no one will notice - and let the cash flow in.

[twinkdrama]

uh, yes please

[weaversweek]

My year in mix: to the future

Four acts that threatened to do Great Things in the years after 1997.

"Do you know what it takes" - Robyn

First big release for the singer-songwriter, who worked with Max Martin and Denniz Pop on this perky shuffler. The sound of Max Martin would become very familiar in the next few years, but it would be almost a decade before Robyn became the huge star.

"One headlight" - The Wallflowers

It's the guitars that get me, every time. And the pounding rhythm, like ribs on a road as you go at 82kph down the autoroute. The lyric comes in as something of an afterthought, until we reach the chorus, and it's always rousing.

"My idea was not to conquer the world. It never has been. I want to achieve more each time I do these things than I had last time. And that doesn't necessarily mean sales or exposure. I was interested in making a much more complete record last time around than I had on my first record."

All over BRMB for half of the summer, but the record failed to get near the weekly top 40.

"I want you" - Savage Garden

An early-spring morning in Newfoundland. My squeeze has left for work, and I'm alone in the house for a couple of hours. What's playing on Muchmusic?

Ooh, they're new. Remind me of Duran Duran, but very much of the time.

And that I remember the first impression after so long says that Darren and Daniel were doing a lot right.

"I am the mob" - Catatonia

Second minor hit for Cerys and her Sleeperblokes. What Cerys lacks in vocal precision is more than made up by lyricism and her unique style: this is music of the valleys, boyo, and don't you ever forget it.

A couple of high-quality albums followed before the group split in the new century.

One more entry in My Year in Mix, and it's carbon-dated to 30 September.

[cawamedia]

Denniz Pop Awards 2024

Denniz Pop Awards, som delades ut för elfte gången 2024. Givetvis var Cawa Media på plats för bevakning. Bland flera tidigare års pristagare märks Smith & Tell och Ellen Krauss. Totalt delades fem priser ut, varav tre talangpriser och två hederspriser. Stjärnproducenten Denniz Pop avled 1998. 1. Wilhelm Börjesson tilldelas talangpriset för bästa låtskrivar- eller producenttalang. 2.…

[mitjalovse]

Robyn's a fascinating figure. True, she wasn't always like this. Mind you, her early work is nothing to scoff at, but I am unsure how she sees the latter now. The hallmark of the late 90's on her debut are way too strong, though there are some traces pointing towards the later triumphs of Scandinavian pop music complex. Nonetheless, she did quite well within the genre these pieces usually belong to. I mean, the songs from her introduction might not get played a lot at her current concerts – correct me, if I'm wrong about this–, but I believe she did gain a lot of knowledge out of this period for her consequent discs. Nonetheless, Robyn Is Here remains her at her most commercial, she really chased the charts then.

[ultra-nohai]

Trance Vortex 9

Another complilation of the Trance Vortex series is available now on YouTube!

TRACK LISTING:

CD1 01 SOLARSTONE The Calling (Still Waters Edit) 02 B.B.E. Desire 03 ANTILOOP In My Mind 04 PRONTI & KALAMI Movin' Around 05 DJ VALIUM Keep Da Klubstyle 06 TILT Invisible 07 RMB Redemption 2.0 08 DISCOTRONIC Tricky Disco 09 VENGABOYS Up & Down 10 DARUDE Next to You 11 BANDOLERO TEAM Paris Latino 12 MOVIN' MELODIES Rollerblade 13 MIGHTY DUB KATZ Magic Carpet Ride 14 THE SOUNDLOVERS Run Away 15 SQ-1 Balare 16 PO.LO. I Want You 17 BLAULIANT 112 Geht Los 18 FREESTYLERS Ruffreak 19 EMBARGO Hysterie 20 PUSSY 2000 It's Gonna Be Alright

CD2 21 MELODIE MC Give It Up! (For The Melodie) (Denniz Pop Remix) 22 MARKUS Electronik 23 DOUBLE 99 Rip Groove 24 TOM JONES Sexbomb (Peppermint Disco Radio Edit) 25 HOTEL SAINT GEORGE Never Say Never 26 WISDOME Off the Wall 27 TECHNOTRONIC Pump Up The Jam (Tin Tin Out Radio Mix) 28 MR. KONRAD Dire Fare Baciare 29 KLUBBHEADS Discohopping 30 MASH Music Is Playing So Loud 31 SHARON FORRESTER Love Inside 32 OLI Oh Eh Eh 33 X-FADE Dance 34 THOMAS Show Me the Way 35 DANIJAY I Fiori Di Lillà 36 HOUSE OF GLASS Disco Down 37 BARTHEZZ On the Move 38 DB BOULEVARD Point Of View 39 MARIO LOPEZ The Sound of Nature 40 COSMIC GATE Back to Earth

[doyoulikethissong-poll]

Leila K featuring Papa Dee - Rude Boy 1996

Laila El Khalifi is a Eurodance singer and rapper of Moroccan descent, from Gothenburg, Sweden. Together with Rob'n'Raz she had her first hit in 1989 with the song "Got to Get". During the first years of her career she had many chart-topping hits and her music was played all over Europe. She broke up with Rob'n'Raz and went on her own to Ibiza, where she set up concerts on her own. Her solo career started in 1991 with the single "Time".

Daniel Wahlgren is a Swedish-Ghanaian rapper, also from Gothenburg, Sweden. He debuted in 1988 with the single "Funky Raggamuffin/Let the Music Play". His songs have been featured in several feature films including Predator 2. Due to his prolific yet flexible imprint he has enjoyed a successful career as one of Sweden's most sought after voice artists dubbing cartoons and movies alike.

"Rude Boy" was written by Leila K, Papa Dee, Denniz PoP, Max Martin and Herbie Chrichlow, produced by Denniz PoP and Max Martin, and it peaked at number 8 in Finland and 29 in Sweden. The album Manic Panic peaked at number 4 on the Finnish charts and 17 on the Swedish charts. The artist Darude, known for the song "Sandstorm", took his name from "Rude Boy".

"Rude Boy" received a total of 71,3% yes votes!

[objetivoreggaeton]

María Becerra regresa con IMAN, una pegajosa canción pop como carta de presentación de la nueva era

María Becerra se aleja del reguetón y explora su lado más pop en IMAN, el primer adelanto de su nuevo disco.

“IMAN” es una “declaración pop, impregnada de la influencia distintiva de Estocolmo, en donde nacieron infinidad de Pop hits de la mano de Max Martin y Denniz Pop”, expresa la prensa oficial.

https://www.objetivoreggaeton.com/es/argentina-es/maria-becerra-regresa-con-iman-una-pegajosa-cancion-pop-como-carta-de-presentacion-de-la-nueva-era/