Our excitement was very similar in some ways, it was like, "Gwen Stefani's going to be in it. texted this whole process and talked on the phone. There were discussions as a group about what is the goal of this record? But there was never a point where anybody was like, "Oh I don't like that vibe," or whatever. The most amount of back and forth happened when we were making “Levitating” and “Love is Religion,” both of which had multiple versions. Joe remix was really perfect for that because he starts off and the first thing you hear "Future Nostalgia."Įverything went through our mutual teams there was a process to drop things, and of course there were sample clearances. I knew that I wanted that to be the first track. The first thing that she's saying, if you read the lyrics to the song “ Future Nostalgia,” she sets the course. I wanted to situate Dua in the lineage of women making pop dance songs.Īll of those are in there and sets it out in the beginning. There were lots of touchstones that came into that for me: Madonna, Missy Elliott, Deee-Lite, even Stevie Nicks. I had some ideas of who the features could be, and I knew that I wanted to try to tell the story of women in dance pop over a period in time. “Love is Religion” had not come out, and so essentially my version was going to be the first one that people would actually hear. I knew that there would be a couple of songs that I would be involved with directly, and I would remix one song from the album and do one of the new ones. The first thing I did was make this big, long list of remixers - I just shot for the moon on that. The idea was that I would curate and work with the team to make those decisions. It was really important to me because I don't understand that world at all it's not my thing. we want to use samples and we're willing to have all new versions of the songs and features." I ran with that and I got back to them and said, "I could not want to do this any more than I want to do it." I felt like I understood it and they were clearly going for a more underground dance music vibe - did not seem like they wanted EDM. Her team reached out and said, "We have this crazy idea for a mixtape, like an old-school mega mix, like what they would do on the radio. Taking it apart, I knew that I was playing with something very precious. When people love something so much - because Future Nostalgia was the soundtrack of a hard time for a lot of people. This kind of project, it would have been very possible to sh*t the bed completely. Over a recent Zoom call from her home in London, Stamper told NYLON the story of how the project came together, what it was like working with Madonna and Missy Elliot, and how a good remix should feel like falling in love with the details. “I wanted to situate Dua in the lineage of women making pop dance songs.” “I knew that I wanted to try to tell the story of women in dance pop over a period in time,” Stamper says. Working closely with Lipa’s team, Marea Stamper oversaw and curated the mix, making sure each of the songs flowed seamlessly into the next, while also imbuing the project with a vital narrative arc. The mind who helped put it all together is The Blessed Madonna, a prominent figure in the underground dance/house community. With a slate of master DJs, legendary guest acts - Madonna, Gwen Stefani, and Missy Elliott appear as new features - along with surprise samples from Stevie Nicks and Jamiroquai, this new and expanded Lipa-verse is meticulously designed to keep you dancing. Keeping in the same spirit as You Can Dance, Club Future Nostalgia reworks the disco glitter of Lipa’s Future Nostalgia into a pulsing, underground affair. In the years since, the format fell out of favor, but Dua Lipa, along with the prolific London-based DJ The Blessed Madonna, have revived it in all its glory with their ambitious new megamix album Club Future Nostalgia, out now. Designed to appeal to the club kids of her audience, the project reworked tracks from her first three studio albums into dance floor-ready bangers. In 1987, Madonna released You Can Dance, one of the first major remix albums in pop music history.
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