How did Miley Cyrus' "We Can't Stop" become a '50s-style doo wop number? Since when was Meghan Trainor's "All About That Bass" about an upright bass fiddle? At what point did Macklemore's "Thrift Shop" evolve into a '20s hot jazz tune? And whose idea was it to rework Lorde's "Royals" into a polished ballad sung by a sad clown? It's all part of the topsy-turvy world of Postmodern Jukebox, an ongoing musical project spearheaded by pianist and arranger Scott Bradlee, who takes contemporary pop and rock tunes and fashions new arrangements for them that cast them in an unpredictable variety of musical styles from the past. Born on Long Island, Bradlee relocated to New York City after studying jazz at the University of Hartford. While playing gigs at restaurants and nightclubs in New York City, Bradlee began experimenting with ragtime and jazz arrangements of pop tunes from the '80s, and he recorded several self-released digital albums of his offbeat versions of well-known melodies, as well as performances that interpolated seemingly dissimilar songs of different eras.
2016 release from the Dutch singer/songwriter. Fake It Till We Die is Anouk's eleventh studio album and the follow-up to Queen For A Day, which was released earlier this year. After Anouk Teeuwe's breakthrough in 1997, she's had numerous hit singles in the Dutch and Belgian charts. Anouk represented the Netherlands at the Eurovision Song Contest 2013 in Malmö, Sweden. Her song made it to the final - the first since 2004 for the Netherlands; and finished ninth. Anouk's musical style has been described as a combination of Joan Osborne, Melissa Etheridge and Alanis Morissette. She is known for explosive rock songs but has also made small and fragile songs. In addition to her pop/rock sound, she also experiments with soul, funk and hip hop.