June 23th : Dawn at Rap-Up Magazine's 15th Anniversary Dinner 

23 Juin : Dawn au 15ème anniversaire de Rap-Up Magazine

LIVE : Targe Menage Live (Earned It, Titans)

Dawn speaking to  Showbiz Weekly

LIVE : D∆WN - Blow (at The Jazz Café in London)

Redemptionheart is coming this summer.

Redemptionheart arrive cet été.

Dawn tweeted about Redemptionheart and her collaboration with Ester Dean :

"This summer. Red Era .. Thank you @EsterDean for this monster. don't think they ready," Dawn wrote on Twitter.
Dawn a tweeté par rapport à Redemptionheart et de sa collaboration avec Ester Dean :

"Cet été. L'era Red".. Merci @EsterDean pour ce monstre. ne pense pas qu'ils sont prêt" Dawn a écrit sur twitter.

MUSIC : DΔWN - Running From Sane

REMIX : Danity Kane ft. DR Zues - Jugni Ji VS Lemonade

Marriage Boot Camp : Reality Star

Episode 1

REMIX : DΔWN - James Dean 

MUSIC VIDEO : DAWN - Titans x James Dean

MUSIC VIDEO : DAWN - CALYPSO

D. Woods On The Importance Of Her New Film Blackbird & Mo’Nique’s Return To The Big Screen 

D.Woods sur l'importance de son nouveau film Blackbird & le retour de Mo'Nique sur le grand écran.

Get More: TV Shows, Full Episode Video, Reality TV Shows

Blackbird opens April 24 in select cities.

Blackbird au cinéma le 24/04

PHOTOSHOOT : Dawn Richard for ELLE Magazine

Her playlist for Coachella / Sa playlist pour Coachella:

MUSIC : Danity Kane - Turn It Up

Official site : Dumblond

Dumblondeofficial.com

Music : Dawn Richard - Honest

Listen carefully from the 30 minute 50 second mark to hear the song.

Ecoutez attentivement à 30:50 pour écouter la musique.

MUSIC VIDEO : Dawn Richard - Projection

Aubrey in a new reality show. 

Aubrey dans une nouvelle émission de télé-réalité

Aubrey will be in a new reality show called : Marriage Boot Camp Reality Stars.

Aubrey sera dans une émission de télé-réalité qui s'appelle : Marriage Boot Camp Reality Stars.

Aubrey needs to stop reality show if she wants the music industry to take her seriously.

MUSIC : Dawn Richard - New Or Lean

VIDEO : Life On Da Block With Dawn Richard

 Dans les coulisses du show de Dawn Richard

Interview : Dawn Richard for Saint Heron

There is a worn photo album tucked away in a forgotten storage closet in my New Orleans home. The photographs contained within are just as worn, a lot of them water stained behind thin plastic covers—some of the only remnants we managed to save after the hurricane.

Black and white photos of family members from long ago line the first few pages; their likenesses immortalized for generations to come. The black and white photos shift into faded, colored polaroids, getting closer to the present with each turn of the page.

There are only a few photos of my cousin, Dawn Richard that we were able to save. In an earlier photograph, a five-year-old Dawn sits in the grass alongside my older sister, who was just an infant at the time. Her smile is familiar—eyes closed with a teeth-baring grin.

There’s another photo of Dawn singing at her brother, Frank’s engagement party. She’s wearing a red, spaghetti strapped dress with a microphone clutched firmly in her hands—head tilted back, eyes closed, belting out a beautiful ballad, no doubt. I don’t necessarily remember what song she sang, but I do remember how quiet the room got as soon as she opened her mouth. I remember the pleased looks on everyone’s faces, as they seemed to nod in agreement, “She’s got it.” And as her voice carried throughout the room—first hypnotic and deep and then culminating in a perfectly executed high note—I remember nodding my head as well. “Yeah, she’s got it.”

By “it,” I mean talent—the “it” that it takes to actually make it in such a cutthroat music industry. Ten years younger than her, I grew up watching her cultivate that talent—honing her craft by singing in clubs around New Orleans and dancing her way across NBA basketball courts. Whenever I would see her, I’d wrap my arms around her waist, and she’d gush to my mother about how tall I was getting. “This girl won’t stop growing,” she’d tease. “I’m taking her to New York and making her a model.”

Ten years has passed since Hurricane Katrina attempted to destroy our home, and I’ve only seen Dawn three times since then—our last encounter occurring last year after her grandmother, Pat, passed away. So, when I gave her a call on a lazy Thursday afternoon, we talked about the irony of me interviewing her. We laughed about Mardi Gras festivities and talked, not about how tall I was, but rather how much older I had gotten. “I’m twenty-one. I’m grown!” I laughed. “No, don’t tell me that,” she replied sullenly.

Somewhere in between our conversations about New Orleans and her new album Blackheart, I realized that Dawn hadn’t changed; I could hear her infamous teeth-baring smile through the phone and whenever I watch one of her performances on YouTube, I still see hints of her in the red dress singing at the engagement party—eyes closed, but on a stage this time, belting out a song that truly means something to her, because it is hers. Dawn is the same person she has always been, but over the last decade, she has found herself, her voice, and what she was meant to do, and no amount of time or pain can change that.

Saint Heron: You’ve manage to create a lot of intersections with your fan base. One day you’re premiering a video via New York Times, and the next you’re singing at SOB’s with a predominately black audience who loves “Damaged” as much as they do BlackHeart. Of course we understand how all of these intersections cross, but a lot of time in the “urban market” or the “indie markets” — folks do not. Do you sometimes feel conflicted that one does not understand or acknowledge the other?
Dawn Richard: This is such an excellent question and one the should be asked way more often then the amount of BS that gets thrown my way. I think the “industry folks” are conflicted by it, which makes me a hard sell to labels and even mainstream media. I’m either not urban enough or not indie enough… But my movement gets it. They embrace this diversified community, and it makes for one mixed ass crowd. What some find as my weakness, I find a strength because the music is creating its own lane and look. I can do a concert with an artist like Boots and then turn around and sing with “urban act.” If anything I think this is beautifully rare and a gem amongst a lot of the lumps or coal.

Saint Heron: How important to you is it to cater to the indie markets who have been in such support of your solo projects? Do you feel a presence within that world in terms of records sales or touring sales?
Yes. I think I’ve had to build this respect with them. Starting out in mainstream and reality TV made it a bit hard for them to take me seriously. It’s so interesting how they can’t conceive an artist with my background could achieve the works I’ve done as a solo artist. But it’s been beautiful watching them slowly believe and support and write these amazing reviews.

Saint Heron: You’ve been sort of a pioneer of the new wave of electronic experimental R&B, almost too early (and we mean this in a good way), too obscure and adventurous for your own time. When you see the certain artist applauded for being a trailblazer for that wave of sound… do you ever feel excluded or looked over because of your background with your other projects?
I’m never blind to this game. Not bitter to it. I understand that being independent means sometimes flying under the radar. It means people won’t see the vision on a large scale and you’ll not always get the credit. But I’m not here for the credit. Im here for the music. As long as there is a mic and a stage, I’ll continue doing things. For me, I haven’t even touched the surface of where my mind wants to visually take this movement. So maybe my music wasn’t meant for this time. Maybe in 100 years someone will say damn Dawn was dope.

Nia: I remember at one point you were living in New York. Why did you decide to move to L.A.?
Well, it was like a lifestyle and job type of change. Music has transferred over to L.A. despite everything being in New York in the past. Studios and people I was working with, like producers, started gravitating towards L.A., and it became the hub in the musical circle. So I had to kind of make a choice, because I was staying in L.A. more than in New York.

Nia: I was talking to my mom the other day, and I was telling her that as a little girl, I always saw you as this massive talent who was destined to escape New Orleans for bigger and better things in New York.
Is that really how you saw me (laughs)? 

Nia: Yes! I always knew you weren’t going to be in New Orleans forever, because you were just too talented, and achieving fame in New Orleans just didn’t make sense to me at the time. In what ways has New Orleans shaped you as a person and as an artist?
New Orleans is everything. I mean, it’s in my music, and it’s in my style. People always criticize me because I’m always wearing avant-garde Native American headpieces, but that’s our culture. People don’t know that where we’re from, stuff like that is quite normal.

Nia: It is!

I mean, my great uncle, Harold Fedison, created all of the Indian costumes and he’s in the Mardi Gras Indians Hall of Fame in New Orleans. For me, from the cadence of the drum, the beat, and the 808’s are all a part of who I am as an artist and who I am stylistically. New Orleans never really leaves you. If you’re born there, it kind of just moves with you. You never let go of your city.

Nia: That’s home. I don’t think people realize that that culture exists here. There’s a lot of rich history behind it, and you celebrating that has gotten lost among some people who just don’t know.
Yeah, they don’t know. They’ve never been. They don’t realize that New Orleans was this hub for French and Spanish settlers and Native Americans, and what we have as a blend. The only way you can understand it is if you go. You can’t really explain to people that there are black Indians second-lining at a funeral.

Nia: Yeah, it’s hard to wrap your head around it if you’ve never seen it.
For me, it makes sense to embody and celebrate that. We don’t really have a lot a female, pop artists from New Orleans.

Nia: Exactly. So, when you starred on “Making the Band” and, ultimately, joined Danity Kane did you truly see that as the be-all-end-all in your music career?
I think I just wanted to do music, and I had reached my cap in New Orleans. I did everything from clubs, singing the national anthem for NBA games, and dancing for an NBA dance team. I was doing everything I could possibly do artistically in New Orleans, and everyone thought, like you said, that I should do more. “Making the Band” was an opportunity for me. I never looked at it like, oh I want to be in a group or I want to be a solo artist. I was looking at it like, this is a really good opportunity for me to do music way larger than what I was doing at home.

Nia: I remember when the show first aired; it was a difficult time at home here in New Orleans because of Hurricane Katrina. We were living in Houston after the storm, and hearing your voice being televised to so many people kind of solidified this idea in my head that you were “making it” and leaving New Orleans to go out there and do what you love to do. What was that time like for you?
It was a whirlwind. After the storm, we were homeless. Hotels were full, and we were sleeping in our cars. People were sending us canned goods and shit right before the show called us to come back to tape again. We were watching TV and those people who were struggling were actually us.Nia: It was so surreal.
At that point it wasn’t about the TV show, it wasn’t about “Making the Band,” it was about how the hell we didn’t have a house in 10.5 seconds.

Nia: Can you believe it’ll be 10 years in August?
Yeah, those ten years went by fast.

Nia: So far in your career, do you think you’ve been able to find your voice and put the music that you want out there?
Absolutely, especially with my new album Blackheart. I’ve finally found myself and my niche. I’m fearless in who I am, and I’m really in a good place. I think people have kind of misunderstood me, because they don’t know where I’ve been or what I’ve been through. I’ve never grieved Katrina, I never really grieved my [grandmother] Pat’s death. I never got an opportunity to just sit in my art because grieving was always happening. I wanted to create something that was purely honest and purely who I am. I really love this era. I think it’s the best music I’ve ever made, and it’s the most me.

Nia: I actually love both of the albums in this era so far—Goldenheart and Blackheart. What were your intentions for Goldenheart, and how do you think it was received?
We were surprised by how critically acclaimed it was. I don’t think anyone thought it would go that way or that it would be that successful especially as an independent artist. I mean, the whole point of that album was to really tell the journey of my story through three parts—the rise, the fall, and the recovery of my life. I felt like at the beginning, Goldenheart was this female warrior going out on this quest and kind of having this Joan of Arc sense of pride where I will deliver this message at all costs. That’s kind of how it was for me with the music industry and everything. This large quest is kind of how everyone can relate to the beginning of the journey in their lives.

Nia: And how did that segue into the BlackHeart era?
Well you realize that when you’re on the journey, it’s not exactly what the fuck you thought it would be (laughs). So, you fall—you fall pretty damn hard, because life hits you, reality hits you, and all of the things you thought you were going to get out of the gate, you don’t. You realize you have to work extremely hard for it, and BlackHeart is the sound of that. It’s realer, it’s darker, more relatable and it’s blunter. That’s why I wanted both albums to have very distinct differences in their sound, but also have this similarity of feminism and strength in the woman to not only fall, but fall gracefully and with the intent and hope to rise again.

Nia: I just find BlackHeart so empowering. I love the interlude “Choices,” because when you’re singing, “I love you, but I love me more,” and “I choose me,” it just speaks to my 21-year-old self (laughs).
(Laughs) Yeah, I think we forget it. We forget the choice is ours in all things that are going on, from Je Suis Charlie to Ferguson. It’s the choice to love yourself enough to want peace and to want for this to end. That record is so powerful and so simple, and the video speaks so many things. We think we want to choose ourselves, but when we’re in the midst of our fight to want to be all these different things, we lose a lot of ourselves in the process.

Nia: It’s so relatable!

Yeah! It’s relatable to men, women, black, white, or any person. At the end of the day, the music doesn’t really have a genre or a face or anything. It kind of just sits on its own.

Nia: What’s your favorite song on the album?
It changes all the time, but I think I’d have to go with “The Deep.” It’s lyrically one of the best records I’ve written, because it rings true to life. To have a love that deep it’s like you don’t know how to love shallowly. There are a lot of people out there who can relate to that.

Nia: I love that song too, along with “Choices” and “Billie Jean.” Yeah, “Billie Jean” is such a fun take on the original [laughs]. In today’s music scene, who would be considered a Billie Jean?
Shit, I feel like I was a Billie Jean at one point.

Nia: (Laughs) Really?
But not in the sense of having sex for money. I mean I made a lot of sacrifices to get this music shit. Sometimes it could have been doing a gig where I wouldn’t be getting paid enough. Everybody has a Billie Jean moment, but no one wants to admit it. If I wanted to call out someone else for being a Billie Jean, I’d have to go in my little black book and see what the fuck I was doing three or four years ago.

Nia: Blackheart was released in January after, like you said, a rough time in your life. How have you been doing emotionally, and how have you been able to work through those emotions with your art?
(Laughs) I don’t know how I’m feeling emotionally. I’ll let you know in about a year. I wish my dad didn’t have fucking cancer, and I miss you best friend—my [grandmother] Pat. I hope to have a relationship one day similar to the one my mom and her shared. So, I’ll let you know.

Nia: Well, we’re praying for your dad, and we miss Tee Pat so much. Her and my grandmother used to talk on the phone and take trips to the movies all the time.
Yeah, they were super close, and I love her for that.

Nia: She used to tell us when you’d be on TV and when to look out for you. She was just so proud of you and so are we, because you’re not letting these struggles stop you from doing what you love.
Of course not. That’s not how either of us were raised. We figure it out, that’s what we do in New Orleans. We dance at funerals, and when we fall, we figure out how to get back up, and we dance some more.

Dawn Richard signs to SJ Media Group

Dawn Richard signe avec SJ Media Group

After the storming success of her latest album 'Blackheart' state side, Dawn Richard is set to put herself on the worldwide map as she signs to pioneers in music management SJ Media Group to represent her career on UK soil.

Richard started her career after auditioning for ‘Making the Band 3’ in 2004 then going on to become a member of American girl band Danity Kane. After linking up with label head Sean ‘Diddy’ Combs and Kalenna Harper they formed the group Diddy-Dirty Money.

Two consecutive platinum number one albums under her belt with Danity Kane, a platinum album ‘Last Train to Paris’ alongside three platinum selling singles with Diddy-Dirty Money her flourishing solo career is now her focus.

With her fearless approach to music, Dawn produced and wrote her latest album ‘Blackheart’ alongside her writing partner Noisecastle III as well as fully releasing the project independently. To date it has received critical acclaim from Fact Magazine, New York Times, LA Times, and Billboard.

Upon the move to SJ Media Group, Dawn said, “I'm truly excited to join with SJ Media Group. I've been dreaming of sharing my art globally and collaborating with a team that can allow me to touch hearts all over the world. I finally can.”

Steve Mottershead, founder and MD said “I am absolutely delighted that Dawn has committed to working with us. The team here are very excited at the opportunity to introduce her unique and extraordinary talent to the UK public.

Dawns passion and desire for creating great music immediately stood out and we will give her the platform and support to do that in the UK"

Après le succès de son dernier album 'Blackheart ', Dawn Richard signe avec des pionniers en matière de gestion de musique SJ médias pour représenter sa carrière sur le sol britannique.

Avec son approche courageuse de la musique, Dawn a produit et écrit son dernier album 'Blackheart' au côté de son partenaire d'écriture Noisecastle III ainsi que la sortie complète du projet de façon indépendante. À ce jour, il a reçu des critiques élogieuses de Fact Magazine, New York Times, LA Times, et Billboard.

Après le passage à SJ Media Group, Dawn dit: «Je suis vraiment heureuse de rejoindre SJ Media Group. J'ai rêvé de partager mon art à l'échelle mondiale et de collaborer avec une équipe qui peut me permettre de toucher les Hearts partout dans le monde. C'est finalement possible ".

Steve Mottershead, fondateur et MD a déclaré: "Je suis absolument ravi que Dawn s'est engagé à travailler avec nous. L'équipe ici est très enthousiaste à l'occasion de présenter son talent unique et extraordinaire au public du Royaume-Uni."

La passion et le désir de Dawn pour la création de la grande musique se distinguent immédiatement et nous lui donnons la plate-forme et le soutien pour le faire au Royaume-Uni "

PHOTOSHOOT: Redemptionheart

First picture for the 3rd album of Dawn "Redemptionheart"

Première photo pour le 3ème album de Dawn "Redemptionheart"

OK! Exclusive Video: Dawn Richard Talks Blackheart Album, Danity Kane Breakup And Why Kris Jenner Is A "Genius"

Vidéo exclusive de OK! : Dawn parle de Blackheart, la séparation de Danity Kane et pourquoi Kris Jenner est un "Genie".

VIDEO : Dawn Richard & Aundrea Fimbres performs Phoenix

MUSIC VIDEO: Dawn Richard - Choices

BREAKING NEWS : Aundrea in the studio

Une vidéo publiée par aundreafimbres1 (@aundreafimbres1) le Janv. 22, 2015 at 11:45 PST

Aundrea shared with us a video of her in the studio on instagram ! Is she releasing music soon? Wait & see.

Aundrea a partagé avec nous une video d'elle en studio sur instagram?Est-ce qu'elle va bientot sortir des musiques? Attendons de voir.

Dawn Richard Reveals The Reasons Behind Danity Kane’s Fallout: Lies, Shade And Poison

Dawn Richard révèle les raisons derrière la chute de Danity Kane: Mensonges, hypocrisie et Poison

Once an emblem of strength and sisterhood, pop group Danity Kane — the product of MTV’s “Making the Band 3″ competition — was reduced to tabloid fodder last year when TMZ reported that Dawn Richard struck band mate Aubrey O’Day in the head after an altercation in an L.A. recording studio. This morning, Richard opened up about the incident to The Breakfast Club and explained that her breaking point had been met long before she closed her fist and swung.

According to Richard, Danity Kane, which was reborn as a four-piece group in 2013, had been hard at work recording “DK3″ when tensions started rising. Richards recalled that O’Day and Shannon Bex confronted her and claimed she was monopolizing the album’s vocals, and that when they tried to secretly adjust tracks behind Richard’s back, she lost her cool.

“They told me we had the studio the next day, and they went in the day before,” she shared. “I walked in on them doing it, and I tried to confront them…I blacked out…I couldn’t believe it. It’s my fault, their fault, everybody.”

“There is no excuse for my behavior…but everybody gets pushed to a limit,” she added. “When something is poison, and you go into the studio and people are literally going behind your back and lying to you and taking your vocals and doing things that are shady, that’s foul.”

In retrospect, Richard said DK was doomed from the moment it reunited without all of its original five members and pointed to pride as the ultimate catalyst to its undoing.

“The problem with Danity Kane is everybody wanted to play everybody’s role, and when you’re in a group like that, that can’t survive — everybody can’t be Kobe [Bryant] on the team,” she said. “A quarterback cannot decide tomorrow to say ‘I’m gonna be a wide receiver.’ He might be a really great runner, but when it’s time to get this championship ring, everybody has to play a part.”

Now, Richard bemoaned, the group’s legacy is nothing more than a punchline.

“We could have done something really revolutionary — it would have been dope to be a part of that,” she lamented. “Before all of this, we were just known as that girl group with that really dope song — that was positive! Now we’re a joke: ‘Oh, you punched that girl.’ ‘Oh, that TMZ story.’ That wasn’t what we built.”

Watch Richard’s full interview below, and check out her solo album “Blackheart,” which was released last week and which Richard says addresses the DK fallout.

Ce matin, Dawn a parlé de l'incident avec Danity Kane à The Breakfast Club et a expliqué que son point de rupture a été atteint bien avant qu'elle fit un coup de poing à Aubrey.

Selon Dawn, Danity Kane, qui a renaît avec 4 membres en 2013, avait travaillé dur pour enregistrer "DK3" lorsque les tensions ont commencé à monter. Dawn a rappelé que Aubrey et Shannon Bex l'ont confrontés et ont affirmé qu'elle monopolisait l'album avec sa voix, et que quand ils ont essayé d'ajuster secrètement les musiques dans le dos de Dawn, elle a perdu son sang-froid.

Elles m'ont dit que nous avions le studio le sur-lendemain, et elles y sont allées la journée avant", partage-elle. "Je les ai affronté sur le fait & ai essayé de les affronter ... j'ai fais un blackout... Je ne pouvais pas le croire. Ce est ma faute, leurs fautes, tous le monde ".

"Il n'y a aucune excuse pour mon comportement ... mais tout le monde est poussé à la limite," a t-elle ajouté. "Quand quelque chose est un poison, et vous allez en studio et les gens y vont littéralement derrière votre dos et vous mentent et enlèvent votre voix et font des choses qui sont louches, c'est ignoble."

Rétrospectivement, Dawn a dit DK a été condamnée dès le moment où elles se sont réunies sans l'ensemble de ses cinq membres d'origine.

"Le problème avec Danity Kane est tout le monde voulait jouer le rôle de chacun, et quand vous êtes dans un groupe comme ça, ça ne peut pas survivre - tout le monde ne peut pas être Kobe [Bryant] dans l'équipe", dit-elle. "Un quart ne peut pas décider demain pour dire:« Je vais être un récepteur de large. «Il pourrait être un très bon coureur, mais quand il est temps d'obtenir cette bague de championnat, tout le monde doit jouer un rôle."

Maintenant, Dawn a déploré l'héritage du groupe est rien de plus qu'une punchline.

"Nous aurions pu faire quelque chose de vraiment révolutionnaire - ça aurait été génial de faire partie de cela", a t-elle déploré. "Avant tout cela, nous étions juste connus comme ce groupe de fille avec cette chanson vraiment top - c'était positif! Maintenant, nous sommes une blague: «Oh, vous avez foutu un coup de poing à cette fille. '' Oh, cette histoire TMZ" Ce ne était pas ce que nous avons construit "..

Source :MTV.com

Dawn speaks on moving past Aubrey disagreement & new album "Blackheart"

Dawn parle du fait qu'elle soit passée à autre chose après son embrouille avec Aubrey & de l'album "Blackheart"

Dawn Richard talks Danity Kane breakup, "Blackheart," and overcoming the odds.

Dawn Richard parle de la rupture de Danity Kane, "Blackheart", et à surmonter les obstacles.

Dawn parle de la rupture de Danity Kane, que les filles ne voulaient pas d'elle dans l'album et qu'à cette période, elle vivait des moments très difficile entre le décès de sa grand-mère et le cancer de son père, le studio était son seul échappatoire. Elle parle aussi de la musique "Castles" qui était destiné pour Danity Kane mais qui n'a pas été choisi, la musique parle du parcours de Danity Kane et qu'elles étaient dans un chanteau de sable qui pouvait s'éffondrer à tout moment. Ensuite, elle nous présente 'Blackheart' qui est quelque chose de totalement différent et que les 3 albums de la trilogie (Goldeheart, Blackheart & Redemptionheart) ne sont pas fait pour être comparer.

Listen to Blackheart on Spotify

Ecoutez Blackheart sur Spotify

Here/Ici

Dawn - Meet the Artist at The Apple Store

Dawn Richard Opens Up About Blackheart: "I Fell Pretty Damn Hard"
Dawn parle de Blackheart à session d'écoute privée

Dawn Richard’s Blackheart, the follow up to 2012’s Goldenheart, is now available on iTunes.


Last night, prior to the release of what she calls her “passion project,” the former Diddy-Dirty Money and Danity Kane member held a private listening session for a small group of media outlets in New York City.

During the shindig, Dawn gave us a first look at the futuristic visual for her song “Tide,” she explained why this project was special, and she vibed out to several tracks while spoiling us with liquor.
“We don’t care if you walk away here and say that sh*t was horrible or whether it was amazing, what we want you to do is feel,” Dawn told us about the project.

“With Goldenheart, it was such a surprise that people loved it the way they did, it’s almost like we weren’t ready for that critically acclaim.”

“Coming into this (Blackheart), I never really wanted people to compare it, I want people to just listen to it and see why this is a completely different project; it’s not supposed to be compared.”

Dawn preceded to further explain Blackheart, which serves as the second coming in her three album trilogy.
“Blackheart is the fall; I lost my Grandmother five months ago, my father found out he had Cancer seven months ago; he has Lymphoma, and it can’t be cured, and then the DK thing happened. That was the year I had. For me, I don’t respond to things, I just go into a hole; I kind of disappeared, and just wrote.”

“It’s funny how you speak things into your life; Blackheart was supposed to be the fall and I fell pretty damn hard. What came out of that, to me, is my most honest album; I was fearless in this… with all sounds.”

“People are like, ‘you’re so electro now,’ but it’s just more me, there is no genre to this. With Goldenheart, I was a little nervous about how people would accept me… this time I don’t f**king care. I don’t expect you all to get it, what I would like you to do is see the vision of it. This is my baby, this is all my money.”

Dawn closed out the night by telling us to drink more and maybe sleep with each other (lol). She also blessed us with an exclusive vinyl copy of Blackheart, which includes the song “Tide.”

Here at Singersroom, we are truly pulling for Dawn’s success. She’s a genuine individual with a load of creative juices.

L'ancienne membre de Diddy-Dirty Money et Danity Kane a tenu une session d'écoute privée pour un petit groupe de médias à New York.

Pendant la fête, Dawn nous a donné un premier aperçu de la vision futuriste pour sa chanson "Tide", elle a expliqué pourquoi ce projet était spécial, et elle nous a fait écouter plusieurs pistes tout en nous gâtant avec de l'alcool.

"Nous ne nous soucions pas si vous partez d'ici et dites que cette sh * t était horrible ou si c'était incroyable, ce que nous voulons vous faire est sentir," Dawn nous a parlé du projet.

"Avec Goldenheart, c'était une telle surprise que les gens ont adoré la façon dont ils l'ont fait, c'est presque comme si nous n'étions pas prêts pour toutes ses bonnes critiques."

"Avec Blackheart, je n'ai jamais vraiment voulu que les gens comparent, je veux juste que les gens l'écoute et vois pourquoi ce projet est complètement différent; il n'est pas censé être comparé ".

Dawn explique d'avantage Blackheart, qui sert du deuxième album de sa trilogie.

"Blackheart est l'automne; J'ai perdu ma grand-mère il y a cinq mois, mon père a découvert qu'il avait un cancer il ya sept mois; il a un lymphome, et il ne peut pas être guérie, puis la chose avec DK est arrivé. C'était l'année que j'ai eu. Pour moi, je ne réponds pas aux choses, Je vais dans un trou; Je disparais et j'écris. "

"C'est drôle comment vous parlez des choses dans votre vie; Blackheart était censé être l'automne et je suis tombé sacrément dur. Ce qui est ressorti de cela, pour moi, c'est mon album le plus honnête; Je étais sans crainte ... avec tous les sons ".

"Les gens sont comme,« vous êtes tellement électro maintenant, mais ce est un peu plus de moi, il n'y a pas de genre à ça. Avec Goldenheart, j'étais un peu nerveuse au sujet de comment les gens allaient m'accepter ... cette fois je m'en fiche. Je ne m'attends pas à ce que vous comprenez, ce que je aimerais que vous fassiez, c'est voir la vision de celui-ci. C'est mon bébé, c'est tout mon argent ".

Dawn a terminé la nuit en nous disant de boire plus et peut-être dormir avec l'autre (lol). Elle nous a aussi béni avec une copie de vinyle exclusif de Blackheart, qui comprend la chanson "Tide".

Ici, à Singersroom, nous sommes vraiment de tout coeur avec Dawn pour le succès. C'est une personne vraie avec beaucoup de créativité

Source: Singersroom

MUSIC VIDEO : Dawn Richard - Tide : The Paradox Effect

BUY/ACHETEZ : Dawn Richard - Blackheart

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