Featuring some of the world’s finest remixers/DJs each adding their flavor to the original,
from Manhattan Clique, MOTi and James Egbert
Preview “Emeli Sandé "Next to Me" The Remixes - http://snd.sc/YmAkK2
Emeli Sandé - Next To Me Video - http://youtu.be/-nwdjQmc_N8
Taken from the album OUR VERSION OF EVENTS (Capitol) available now
EMELI SANDE has topped off a monumental year by receiving four nominations in three categories for the 2013 Brit Awards in the UK plus winning the coveted BRITs Critics' Choice Award of 2012. This sensational singer has two songs, including this release "Next to Me", in the BEST single category while she is also nominated for BEST female artist and BEST album. The album, Our Version of Events, was the best-selling album in the UK in 2012, close to 2 million copies sold..
As evidenced on her debut album Our Version of Events, she holds a deep affinity for all the heart stuff and soul stuff as well. A fervent songwriter since the age of 10, the 24-year-old Sandé gracefully flaunts her rich voice and penchant for sophisticated melody on Our Version of Events. The album reveals her to be an uncompromising creative force in the vein of Nina Simone, Joni Mitchell, and Lauryn Hill (each of whom Sandé names as a key influence on her unforgettable sound). Just as key to her as these musical influences are artists in other media like painter Frida Kahlo (a tattoo of the artist adorns Emeli’s forearm), poet Sylvia Plath and writer Virginia Woolf. The common denominator for all of these influences is a raw honesty that permeates Sandé’s work.
Throughout Our Version of Events, Sandé creates a heady and complex soundscape to showcase her towering talent. There’s the strings-drenched epic “Daddy” (“about addiction, to anything,” says Sandé) and the hypnotic “Heaven” (early-‘90s drum-and-bass topped off by that glorious, soul-stirring voice). But while the record bears a sharp and shining retro-futurist feel, it’s also rife with raw emotion—a phenomenon that Sandé credits to a dogged commitment to acting on instinct. “Anytime I write something that’s trying to be too smart, it doesn’t work,” she confesses. “‘Kill The Boy’ was the first idea that came into my head. Any song I have to work on longer than a day, I just leave it. It’s not gonna work. Everything that’s good is really instant.”