The Weeknd‘s new music video might be his best to date.

Just after midnight (March 10th), the Canadian crooner liberated the Warren Fu-directed visual for his collaboration with Daft Punk, titled “I Feel It Coming,” which is immediately reminiscent of classic 80’s sci-fi films (Michael Jackson‘s Moonwalker comes to mind, given that the song has that classic MJ feel, anyway). In the clip, The Weekend — real name: Abel Tesfaye — spends most of his time solo on a faraway planet when a woman virtually appears; at some point, she suddenly turns to stone before Abel suffers the same fate. Before everything ends, Daft Punk make a pretty cool cameo, giving hope to some kind of plot continuation in the future.

Enjoy the new video below. “I Feel It Coming” is the latest to be taken from last year’s chart-topper Starboy, which also spawned the successful single of the same name. In related news, The Weeknd is currently over in Europe running the first leg of his Legends Of The Fall tour with Bryson Tiller and Lil Uzi Vert…you can check out future dates on that schedule – which sees additional support from 6LACK, Belly and Rae Sremmurd — here.

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The Weeknd chopped off his famous hairdo, dropped a new single featuring Daft Punk titled “Starboy,” and has released the music video to his lead single for his upcoming album.

As Fall season approaches, XO singer is preparing everyone for his upcoming third studio album, ‘STARBOY.’ The highly anticipated album is set to hit stores on November 25. The Weeknd is also scheduled to perform on Saturday Night Live this weekend with Suicide Squad actress, Margot Robbie hosting.

Premiered by VEVO, the “Starboy” music video was directed by Grant Singer, who has directed several of The Weeknd’s former music videos such as “The Hills,” “Can’t Feel My Friends,” and “Tell Your Friends.”

Just recently named Puma’s Global Brand Ambassador, you can see The Weeknd rockin’ Pumas in the official music video. Watch the new and improved R&B singer below in his new music video.

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Continuing his stellar victory lap celebrating an astonishingly successful 2013, Pharrell will be performing his Oscar-nominated song “Happy” at the award show on March 2nd. You would be hard-pressed to find anyone currently immersed in more musical success than Pharrell–be it singing, songwriting, producing, or wearing comically giant hats–so the fact that he will be showcasing his talents at the film industry’s biggest night isn’t entirely too surprising. Still, after a fantastic performance with Daft Punk and the legendary Stevie Wonder at the Grammys and a buzzy new track with Major Lazer which finds Skateboard P rapping–a rarity on its own–this is some great news. Here’s to hoping Pharrell takes home the big award for his catchy Despicable Me 2 anthem and takes one step closer to the precious EGOT.

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Don’t look at this as a “best of” list. This is simply an impromptu assembly of dope beats, as experienced by people who think of instrumentals as more than blank, dead canvasses for rhymes. Instrumentals are alive. Read some accounts below.

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“I’m In It” – Kanye West. Produced by Kanye West, Evian Christ, Dom Solo, Noah Goldstein, Arca and Mike Dean.

The alternating piercing moans coupled with deep, vibrating synths create one of the most unconventional beats out there, and the thumping vocals of Assassin complement everything for an electrifying, jarring track. There’s no telling how many babies will be made to this song. Or how many abortions will occur to it.

“Suicide” – Pusha-T. Produced by Pharrell Williams.

Pharrell‘s beat sounds like something out of a video game, a mishmash of dissonant tones and otherworldly drums, not to mention the occasional single syllable uttered from an unrecognizable vocal sample.It’s a true exercise in sonic A.D.D. We know that Pusha plus Skateboard P has always been a solid combination, but this genuinely sounds like “something the world has never felt before.” [Editor’s note – Props to you if you get that reference. S.K.]

“Where He Get It” – Chief Keef. Produced by Sonny Digital, Southside and MetroBoomin.

This track is one of the most finely-tuned clusterfucks ever made. With more space, we could get into its nuances, its subtleties, its overwhelming atmosphere, and the seamless presence Keef finds within those elements, but for now we’ll just say that it’s basically the most fearless instrumental of this year. It’s heavy-handed in its inclusion of so many competing leading sounds and daring in its execution. There’s no telling how so many sounds can be made to actually work together, but it happened.

“MC ILLIN” by MondreMAN. Produced by Al Jieh.

Jieh creates a watery strength for Mondre on this track. Hints of G-Funk with contemporary technicality, Jieh‘s work ripples to its own propulsions. #bubbly

“Run The Jewels” – Run the Jewels. Produced by El-P.

This shit can knock down buildings. Don’t be surprised if this song starts to replace wrecking balls.

“Tom Ford” – Jay-Z. Produced by Timbaland and J-Roc.

Fuck Yeezus, this is what hip-hop from the future will really sound like. Every single component in this robo-gymnastic beat sounds hand-picked, unique, bananas. Timbaland‘s hard drive should be a national treasure.

“King Push” – Pusha-T. Produced by Kanye West and Sebastian Sartor.

Perhaps it was the rumor that Joaquin Phoenix produced “King Push” that made its initial unveiling feel like a unicorn sighting, but the fervor the beat creates is solely a byproduct of its megalomaniacal feel – like capturing bravado in a bottle. Produced by Yeezy and an unknown beatmaker named Sebastian Sartor, “King Push” is proof that you don’t need a big name behind the boards to create a certified banger. And that squeaky noise at the beginning is critical.

“Blood On The Leaves” – Kanye West. Produced by Kanye West, Hudson Mohawke, Lunice, Carlos Broady, 88-Keys, Arca and Mike Dean.

When you integrate a sample of Nina Simone‘s rendition of “Strange Fruit” with TNGHT‘s “R U Ready” you get a supernatural experience that induces a pure sonic euphoria. When you chop the aforementioned elements into an interpolation of C-Murder‘s “Down 4 My Niggas,” you get something else entirely – something completely and utterly existential. “Blood On The Leaves” is a hodgepodge of rare and strange ingredients unified to create one of the finer reinterpretations of sound in recent memory. Truly.

“Pound Cake” – Drake. Produced by Boi-1da and Jordan Evans.

The beat literally gives you goosebumps every time you hear it. You can play it a thousand times, and it feels like the first time you heard it. The Wu Tang sample is genius, and adds to the smoothness of the beat even more. Have Canadians always been this good at music?

“Palm Trees” – Flatbush Zombies. Produced by Erick Arc Elliott.

Flatbush Zombies architect, Erick, constructs a hypnotic, eerie, and incredibly catchy instrumental that is both laid back and energetic. Palm Trees is the perfect groove for Meechy and Juice to explore and the perfect replacement addition to your parent’s reggae playlist.

“My Yout” – Joey Bada$$. Produced by Chuck Strangers.

This instrumental is a prime example of West Indies meets Brooklyn. Or better yet the West Indies influence that is already infused within Brooklyn hip-hop. It’s reggae-dub with a hip-hop twang and serves as a testament to Joey Bada$$‘s Caribbean roots. Melodic and intricate, it’s a top record on the generally impressive Summer Knights mixtape.

“Flip Ya” – Action Bronson. Produced by Party Supplies.

The sample of Junior Walker’s rendition of “Wishing On A Star” is what sets this instrumental off so nicely. The wailing saxophone, heavy bassline and faint background singing are the perfect compliment to the vivid rhymes by Bronson and Retchy P. In all honesty it should’ve been a longer song. As is, it just isn’t enough. We need more backflips!

“Portlyn” – The Stuyvesants. Produced by The Stuyvesants

The beat is just so damn smooth. It almost seems like it was made for cruising the streets on a warm summer night — just riding without a care in the world. A real 70s, blaxploitation feel to it. Good shit.

“Work” – A$AP Ferg. Produced by Chinza and Fly Beats.

No matter if you hate the song at this point or still go hard for it, the instrumentals is supremely powerful and that bass will always knock. Plus, Ferg‘s chanting at the beginning of the song could probably wake the dead. And yes, that chant should be considered apart of the instrumental.

“Black Skinheads” – Kanye West. Produced by Kanye West, Daft Punk, Gesaffelstein, Brodinski, Mike Dean, Lupe Fiasco, No ID, Jack Donoghue and Noah Goldstein.

When Kanye first performed the track on Saturday Night Live, it felt like a moment. We’d heard ‘New Slaves’, and as impressive as that song is in itself, ‘Skinhead’ is a beast all in it’s own. Kanye‘s lyrics – attacking and revolting – are still overshadowed by the power of the track behind them. Again, watching Kanye perform ‘Black Skinhead’ on SNL felt like a moment, but the beat was eternal. That militant percussion genuinely makes it sound like Kanye has an army behind him.

“Contemporary Man” – Action Bronson. Produced by Party Supplies.

Rumor has it that this is the first song Action Bronson and Party Supplies ever recorded together. If the legend is true, then it was a brilliant look into the crystal ball. Bronson‘s at his best when his spitting his cartoon-lifestyle-bars over Party Supplies‘ ever-sampling beats, and hearing the self-proclaimed “young Tom Selleck” go in over an assortment of 80’s hits feels like soul mates finding their better half. This was a match-made in hip-hop heaven, and we’re so, so glad they found each other.

“Orange Juice” – Vic Mensa. Produced by Cam.

It’s hard to see a song named “Orange Soda” and not immediately think of Kel from Kenan & Kel. Like the memorable TV show, “Orange Soda” is bright and bubbly. Synths rise like the heat on a summer day while the bass moves fluidly and freely like a nice breeze. It’s a near-flawless setup for the upbeat and vibrant delivery of Vic Mensa: the rap game’s Kel. Who loves “Orange Soda”? I love “Orange Soda.” I do, I do, I do–ooo!

“Go All Night” – Kelela. Produced by Morri$.

It’s an unspoken fact: any song that includes a sampled crowd “Hey,” is bound to be great–especially if it’s an R&B/soul/whatever-exactly-it’s-supposed-to-be  song. It’s as if Morri$ knew what this song was destined to be: an after hours banger where you’re huddled up close to someone you just met at the club. Will you leave with them when the lights turn on? Will you at least get their number? Maybe, maybe not. You’re more concerned about the twilight synths leaving your knees weak, and those 808s ringing in your ears.

“Gas Pedal” – Sage the Gemini. Produced by Iamsu.

No words are needed. Hell, are words even possible? This beat is groundbreaking.

“Fuck That Nigga” – DJ Mustard. Produced by DJ Mustard.

Let’s keep it 100: Mustard soundtracked 2013. People say that he makes the same song over and over again, yet rappers keep calling him for beats. Explain that.

“Torture” – Danny Brown. Produced by Oh No.

On “Torture” Danny Brown takes some time out from being on Adderall goofball order a grim picture of his past life. Oh No provides a beat that seems more suited for Ghostface than Danny, but the Detroit spitter delivers his most in-pocket performance ever as he details a life plagued with horrors. The beat here alone is enough to give you coke-fiend nightmares.

“Hoarse” – Earl Sweatshirt. Produced by BadBadNotGood.

The beat feels like a tornado mixed with a black hole, growing in intensity, consuming everything, yet somehow pushing me away. That feeling, plus the Wild West sound effects give the song an acute loneliness that truly haunts. But it’s weird because it feels you’re haunted by an absence rather than a presence.

“Enemy” – Kelela. Produced by Nguzunguzu.

Nguzunguzu really put some work into that beat. It’s reminiscent of Portishead‘s “Machine Gun” in terms of how it demands your attention. It’s very militant and forceful, especially with the random pauses. It feels like someone’s marching toward you with a knife. Beyond how it makes you feel though, it’s amazing how so many of the elements of the instrumental are just plain unpredictable. How in the world did Kelela write lyrics to this?

The post RESPECT. Roundtable: Our Favorite Instrumentals of 2013 appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The project includes 12 tracks, original beats from notable producers Sean C & LV (credits to Jay-Z, Wale, Fabolous), as well as reinterpretations of tracks by Kanye West (e.g., “OnPoint”), Daft Punk, Pharrell, and J Dilla. In addition, Grammy award-winning poet J. Ivy lends his spoken word talent to the tape as well.

 Stream it or download it below.

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You may not have heard of Zach Cordner, but you’ve seen his work in the pages of RESPECT. and beyond. Next Saturday, September 7, he will be having a solo exhibition at Ironlak, a gallery in Los Angeles. The show will feature prints of mainly street culture, music and hip hop. Zach has portraits of The Game, Raekwon, Daft Punk, Mos Def, Method Man & Redman, Amber Rose, Jay Z onstage at Coachella and even one of Eazy E’s Impala, so be sure to make it out if you can. If you’re into dope photography, it will be the place to be.

There will also be some limited edition t-shirts of Mos Def and Daft Punk. Check out the other poster below.

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Listen up L.A. readers and photography aficionados, The Hundreds Gallery will soon be featuring the works of California native and celebrity photographer Zach Cordner, and it is sure to be a show you won’t want to miss.

Cordner’s first solo gallery exhibition, entitled “Icons and Innovators“, is set to open this Friday the 26th at 7pm, and is comprised of Cordner’s best music and celebrity portraits from the past 12 years. In addition to selling prints, Cordner, in collaboration with The Hundreds, will be selling t-shirts emblazoned with original images of Daft Punk, OutKast and Darlene Ortiz. Oh yeah, and there will be free food and drinks.

The gallery will only be open until September 5th, so make sure to check out Cordner’s inspiring and exciting works!

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