FATOU, NVEE, GABI, AND S RIYA'S BLACK SWAN have diverse roots and a distinct vision. The economic premise of "the black swan theory," which holds that the improbable has happened, is where "BLACK SWAN" originates. In tandem, the girl group unites members from different countries with a shared objective: becoming the best idols in the world. "I see us getting very big and reaching a huge amount of people through our music," band leader and rapper Fatou says, also letting out, "I want us to be perceived as human beings who gave their all for their dreams."
Following those dreams, breaking through in K-pop, and eventually becoming an idol-it's a progressive realization of a worthwhile dream. For Senegalese Belgian Fatou, she has loved music since she was born. "I used to dance and sing for family relatives whenever they came to our house. So, I knew since I was like five that I had to do music; there was no way I was going to do something else," she says, and then at 15, she was introduced to K-pop.
NVee was originally going to school in the U.S. to become a singer-actor. But at one point, she felt as though she wasn't in the right place. That's when K-pop took over her life; she vowed to make it as a K-pop idol above every roadblock, no matter how challenging or long the journey was going to be. In her words, "It took me about two years of auditions until I was finally accepted, and here I am sticking to my word and living my dream for real."
"Music has always been a big part of my life," recalls Brazilian-German Gabi who was floored by K-pop in 2016, and how proficiently artists were performing simultaneously difficult songs and choreographies while still putting on impressive acts. The singer subsequently went to South Korea for dance and vocal training after qualifying for their company's (DR Music) audition in 2021.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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INDIA'S HIP HOP MOVEMENT GAINS MOMENTUM
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