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J. Cole enters the TikTok Billboard Top 50, along with girl in red and the Yeah Yeah Yeahs, but who takes No. 1? Keep watching to find out! Tetris Kelly:A 20-year-old hit takes the top spot, while two new tracks break into the top 10. “Maps” by the Yeah Yeah Yeahs jumps 20 spots to […]
Billboard’s Latin Music Week is just around the corner and we answer your most-asked questions. Keep watching to see what you can expect from the star-studded week! To buy your tickets, click here! Leila Cobo I am Leila Cobo and the team and I are so excited to share that Latin Music Week is almost […]
On a densely landscaped block in Miami, a stone’s throw from the Biscayne Bay coastline, a canopy of banyan trees, royal palms and bullet trees eventually gives way to a cave. At least, that’s how Pablo Díaz-Reixa, the musician-producer known as El Guincho, likes to describe his home studio in the city’s Coconut Grove area.
A dark, squat room tucked directly underneath his bedroom, the cave is where Díaz-Reixa spends most of his waking moments. Sometimes, he’ll notch 12 hours a day there noodling on potential beats, tinkering with the drums or listening through stacks of vinyl records he keeps by the mixing board. “The sensation I get when I’m in the studio, making music, is incomparable,” he tells me on the muggy September day when I visit his place.
Stepping just outside his pint-size studio, though, Díaz-Reixa’s own living space is ample and decidedly un-cavelike. With skylights scattered throughout its tall ceilings, his modernist abode exudes a sense of calm even with his toddler son’s toys strewn about. The place used to be a Buddhist temple, he tells me, which the Dalai Lama blessed over FaceTime before it could become a home.
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Though Díaz-Reixa misses his former (and longtime) home of Barcelona, which he and his wife traded for this Miami enclave in 2021, living in South Florida suits him. The Cuban influences here remind him of where he grew up, on the Canary Islands located off the northwest Africa coast. He prefers a quiet neighborhood like this to the overstimulating glitz of South Beach — a fitting turn for a man whose producer nom de plume name-checks a bird of prey prone to nesting in the same cozy spot for years. Miami’s proximity to Europe and other major U.S. cities for music, like New York and Los Angeles, doesn’t hurt. But living in this leafy environment has been a boon for the producer in other ways. “When you have something that’s expansive, big, with a view… well, you start to think bigger,” says Díaz-Reixa, 40, while taking gradual pulls from a cup of black coffee and kicking back on an earth-toned modular couch.
Were it not for Díaz-Reixa mentioning in passing that he’s preparing for studio sessions later that day with a certain artist (he’s tight-lipped about whom), he seems like any other area dad puttering around in house slippers, stealing away moments within the demands of childcare to mess around with songs on Ableton. The difference is that Díaz-Reixa happens to be a superproducer who frequently works alongside genre-defying and culture-shifting artists, including Björk, Rosalía, FKA Twigs and Charli XCX, and left-field Latin pop musicians like Kali Uchis and Nicki Nicole.
A former indie musician with a proclivity for making “very innovative, very freaky, very strange” music, as he puts it, in the mid- to late 2000s, Díaz-Reixa is now one of pop’s most in-demand producers, especially among artists looking to take creative risks. With his ear for distinctly outré sounds, Díaz-Reixa’s unconventional production is catalyzing pop’s transformation into something more amorphous and idiosyncratic. “I think he knows how to lead songs into a truly unique place by juxtaposing hard and soft sounds,” says Camila Cabello, who collaborated with Díaz-Reixa for every song on her 2024 album, C,XOXO. “Producers like him truly make my favorite pop music — bold and fresh.”
Díaz-Reixa’s ethos for producing music, pop and otherwise, is informed as much by his open ears as it is isolation. “I grew up without a lot of resources,” he says. “So for me, my way of listening to music was to make it myself.” While coming of age in Las Palmas de Gran Canaria, one of the archipelago’s two capitals, he listened to salsa, African music and other genres coalescing there at the time. His grandmother, a talented pianist, taught him how to read music when he was a child, but she was hardly didactic about it. Those lessons unlocked something in him — as did his hunger to hear more of anything, everything, since he didn’t readily have access to top 40 radio or a bounty of record stores on the Canary Islands.
As a teenager, he played punk and hip-hop grooves on the drums, and around then he began experimenting with recording himself — mainly Neptunes-inspired beats he had whipped up and loops he made on cassettes. “I always had a lot of curiosity about the process of recording, without knowing what a producer or an engineer was,” he says. Still, he always knew that he wanted to work in music in some capacity. “I always had it super clear,” he says. “I said it, and people would always laugh at me on my island.”
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Eventually Díaz-Reixa moved to Barcelona. Around then, he played a solo gig as El Guincho at an underground Madrid club — with a sampler, a mic and a floor tom with an electronic trigger in tow — that changed his life. Young Turks (now Young)/XL Recordings, the tastemaking U.K. label group home to the likes of Radiohead and The xx, reached out to him on Myspace and signed him to a record deal shortly after, on the strength of that particular show. He began touring the world, and in 2008, he released his second album, Alegranza!, an avant-garde mélange of Tropicália, Afrobeats, looped vocals and other sounds.
Though he found a growing audience, especially in Australia, the United States, the United Kingdom and Mexico, Díaz-Reixa felt like an outsider even within the mid- to late-aughts heyday of inventive indie-pop. “There wasn’t a space for me in that music, nor in hip-hop, because of the themes I touched on,” he says. “I talked about love, identity. So I was in a kind of limbo as an artist. They didn’t know where to put me at festivals.”
In 2010, shortly after releasing his third album, Pop Negro, Díaz-Reixa got a call from Icelandic musician Björk. She wanted to work with him on her forthcoming album, Biophilia, so Díaz-Reixa made the trek to New York from Barcelona for the sessions. During that process, Björk said something that stunned him. “I remember that she told me, ‘You’re a producer.’ ” That didn’t totally sit right with Díaz-Reixa, who recalls thinking, “ ‘I’m an artist.’ ” Around then, his mother was diagnosed with cancer, and in 2012 — the same year he signed a publishing deal with Warner Chappell Music — he returned to the Canary Islands, where he spent a little over two years with her until she died.
When Díaz-Reixa returned to Barcelona, and to music after pausing things for several years, he started reevaluating his career — and realized that Björk had been right: He was meant to be a producer, not an artist. “In truth, what she said made sense,” he says. “Because the part that I’ve most enjoyed is making songs. I liked shows, the connection. But I think my true calling is to spend as much time as possible in the studio, and the least amount of time possible on the other duties as an artist: promotions, doing two interviews a day, touring.” After that, he put together a new album, Hiperasia, that he used to “explore my skills as a producer and see who I was going to be as a producer,” he says. “I used that as a kind of school.”
A few years later, a musician he knew in Barcelona, Rosalía Vila Tobella, invited him to see her perform at a flamenco bar, or tablao. She was singing standards and accompanied by a guitarist, and he remembers being struck by the way she commanded the small room, putting on the type of show that wouldn’t be out of place in a massive stadium. But when Rosalía later reached out to Díaz-Reixa to collaborate, he at first demurred. “Obviously I saw her as a tremendous talent, but I wasn’t sure where I could help,” he says. “She was very traditional in a style of music that I was very ignorant about. So for me it was like, ‘How do I situate myself here?’ ” Once the two of them got to know each other, though, they clicked and started informally making music together.
Those meetups led to Díaz-Reixa eventually helping Rosalía co-write her staggeringly original 2018 album, El Mal Querer, the entirety of which he also produced. He declines to comment more specifically on what he imparted in those sessions, but following the success of the album — and the more he kept producing — he realized that the isolation of his youth translated into a major strength in the studio, in that he looks “in places that the majority of people overlook,” he says. “I’m neither the best instrumentalist nor the best singer. But I do have that little thing that I’m realizing something that, later, will appear in the session.”
That sensibility comes through in how, say, he might suggest a Gucci Mane sample for a Cabello song — which he did for the snippet that ended up undergirding the pop star’s “I LUV IT.” Or the way he subverts traditional song structure. “I always look for the element of surprise to arrive very soon in a song,” he says. “You don’t have to wait 40, 50 seconds until the hook.” Cabello, a fan of Díaz-Reixa’s work with Rosalía, says she found in the studio that Díaz-Reixa “adds that quality of a bloodhound on the hunt for something magical, and he doesn’t settle for anything less.”
While he’s partial to collaborating on full albums like El Mal Querer and C,XOXO, Díaz-Reixa still relishes working with artists on individual songs. Recently he collaborated with Charli XCX on “Everything is romantic,” a sweeping track from her album — and cultural phenomenon — brat. As Díaz-Reixa tells it, Charli already had brat’s campaign carefully defined by the time that, about midway through completing the album, she came to Miami for a week to record with him. Charli had a clear idea about what she wanted this particular song to be: “She had been in Italy with her partner, and she wanted to reflect,” he says. “She had something written, just lyrics.” He adds that she sought out a “grand” opening to the tune, and from there Díaz-Reixa swiftly assembled the piledriving beat at A2F Studios, where “Everything is romantic” came together, along with a few other tracks that didn’t make the final cut.
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Regardless of the project, Díaz-Reixa sees his job as a producer to meet artists where they are. “There are artists who have tremendous vision, and tremendous qualities to meet that vision, but they don’t have a way to convert the vision into music,” he says. “Other artists have a lot of qualities as musicians, but they need a bit of vision, or clarity. As a producer — and any colleague of mine would tell you this — what we have to do is just listen.”
Díaz-Reixa’s sought-after production skills, and his ongoing collaborations with boundary-pushing artists, are especially significant given that, for a while, he was a bit of an industry oddball. He stuck to his instincts for elevating music that was important to him — reggaetón, African music and off-kilter electronic music — for years, though it took a while for the world to catch up with him. “As in production, I made music that was kind of strange, indie,” he says. “There wasn’t space for people making music in Spanish with all those influences. Then suddenly, fast-forward 10 years later, that’s mainstream. Suddenly the world let its guard down and said: ‘No, all of these styles of music can be valuable, and they can be a part of a two-and-a-half-minute song that enchants the world.’ ”
His patience has paid off. Díaz-Reixa’s production work has nabbed him five Latin Grammys thus far and an MTV Video Music Award for “Con Altura,” a collaboration between Rosalía and J Balvin. He’s helping mentor the seven writer-producers signed to his label, Rico Publishing. He hasn’t yet sold his production catalog — though he has been approached about it. “It doesn’t interest me,” he says. “It’s not something that I see, for now. Also, when you’re a dad, you see a future there, too,” he adds, explaining that maybe his son could take on managing the catalog one day. More (secret) projects are also in motion. But at this point, Díaz-Reixa insists there’s no particular project or award left on his bucket list.
“Really, the greatest prize of making music is to keep making music,” he says. “My goal is much more artisanal: I love the process, I love to make music, and I want to keep dedicating myself to music — to be within the mystery of music, and to live inside that mystery.”
This article appears in the Oct. 5 issue of Billboard.
The Velveteers are opening the campaign for their sophomore album, A Million Knives, on a bit of a historic note.
The just-released first single, “Go Fly Away,” is a collaboration with the Black Keys — and, in fact, marks the first time Dan Auerbach, who signed the Denver trio to his Easy Eye Sound label and produces the group, and Patrick Carney have produced something together for another act. “Pat’s played drums on some records I (produced) and stuff,” Auerbach tells Billboard. “With the Velveteers he was very hands-on, and it was all of us working in the studio.”
Velveteers frontwoman Demi Demitro says Carney was a periodic visitor to the A Million Knives sessions, which took place last December at Auerbach’s Easy Eye studio in Nashville. “We didn’t know it was that first time, but it was really cool to work with both Dan and Patrick,” Demitro says. Carney, in fact, started the songwriting process off with the opening keyboard line, which Auerbach says came from a music sample library. “We just kind of worked off it from there,” Demitro recalls. “Patrick’s drumming on the song, both of the drummers in my band (Baby Pottersmith and Jonny Fig) are playing, then I added this heavy guitar for the after-chorus. After we sat with the song for a little bit we added some overdubs, just to kind of put the little sparkling touches to it.”
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Auerbach says the idea of a Velveteers-Black Keys combination was organic — and perhaps inevitable. “We’d done some touring together and all of us are friends,” he says, “and I think Pat was excited to get in the studio, too, and work on a song with them. That was a really cool experience.”
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“Go Fly Away,” however, is the only song constructed like that for A Million Knives. The rest of the 13-song set — due out Feb. 14 — comes from a prolific spate for the trio, while and after touring to support its 2021 debut Nightmare Daydream, which included stadium dates opening for Guns N’ Roses and Smashing Pumpkins.
“We were on tour for what seemed like two years straight,” Demitro says, “so every chance we would get when we were at home we were writing. We probably had 30 songs that were written. We had about a month before we were going into the studio, so we just narrowed them down to the ones that felt like they were coming in best.” Auerbach adds that “you just have to go with your gut” in the selection process. “I tried to help them, but they have very strong opinions about what they do and how they want it represented. I’m only there to make recommendations. They had all these tremendous songs with big, giant hooks and they were feeling very ambitious and confident. That really just made it fun.”
Much of A Million Knives is, as Auerbach describes, aggressive and heavy, while “Go Fly Away” marks a transition into four more measured and melodic songs — a kind of calm after the storm.
“You could say that,” acknowledges Demitro, adding that the songs mostly deal with “the different forms of heartbreak, in a lot of different ways…It was definitely a purposeful decision for the sequence; it felt like all those (later) songs — like ‘Heaven,’ ‘Go Fly Away,’ ‘Up Here’ — it felt like those songs were meant to be next to each other. Once you get to that part of the album it felt like this big, emotional release.”
In addition to Auerbach and Carney, A Million Knives includes other guests, particularly on guitar, including regular Easy Eye cohort Tom Bukovac, Cage the Elephant’s Nick Bockrath, and the Reigning Sound’s Greg Cartwright. “It was just my experience and my gut and what I thought might help the song or a situation,” Auerbach explains. “We don’t always use the stuff we try, but you’ve got to throw things at the wall and see what sticks.”
Demitro says she “felt less confident” in making a second album, explaining that “once people start listening to your music and you have an audience, you have the tendency to second-guess yourself a little more.” Nevertheless, she considers A Million Knives to be “a lot more honest than its predecessor,” which is something she was wanting to accomplish, “just being a little more vulnerable with how I actually felt. I think on our last album there are a lot of metaphors, and on this album I wanted to say things more as they are, which I think I did.”
The Velveteers are currently on the road with headlining dates through Oct. 25, with plans for “a lot more touring” during 2025, according to Demitro. In the meantime, the trio will be working on setting up A Million Knives for release, including more singles and, Demitro promises, “a lot of visual art pieces coming. I think we’re really excited to share everything we’ve been working on.”
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We’re running through the best music moments at HBCU Homecoming, presented by Capital One. Keep watching to see what they are! Tetris Kelly: GloRilla, Offset, Lil Durk and more have taken the stage at homecoming celebrations, and with homecoming season in full swing, we have your go-to guide of the best events around the country. […]
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Coldplay’s Moon Music has stormed to the top of the U.K. Albums Chart upon its release, becoming the fastest-selling album of the year by a British act, U.K. Official Charts can confirm.
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In just 72 hours, the band’s latest album has already sold over 160,000 chart units, setting Coldplay on course for their 10th consecutive No. 1 studio album, as per the latest Chart blast.
It marks the biggest first-week sales in the U.K. for a British act since Adele’s 30 in 2021, which debuted with 261,000 chart units. If Coldplay maintains this momentum, they might edge closer to Taylor Swift’s record, which claimed the fastest-selling album of 2024 with The Tortured Poets Department, which moved 270,000 chart units in its first week.
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It marks the biggest first-week sales in the U.K. for a British act since Adele’s 30 in 2021, which debuted with 261,000 chart units. If Coldplay maintains this momentum, they might edge closer to Taylor Swift’s record, who claimed the fastest-selling album of 2024 with The Tortured Poets Department.
Public Service Broadcasting are eyeing their third Top 10 album with The Last Flight, which is currently at No. 2, while The Smile — an offshoot of Radiohead — follows closely with their latest effort Cutouts at No. 3. James Bay’s Changes All The Time is also expected to land in the Top 5.
The 1975’s Being Funny In A Foreign Language is projected for a re-entry into the Top 10 at No. 6, driven by the release of an exclusive liquid-filled vinyl.
Alison Moyet is on track for her first Top 10 album in over a decade with Key, marking a triumphant return for the singer-songwriter.
In the lower half of the Top 10, Aphex Twin’s Selected Ambient Works Volume II (No. 8) and Jake Bugg’s A Modern Day Distraction (No. 10) are set for strong debuts.
Further down the chart, FINNEAS could score his first Top 40 album with For Cryin’ Out Loud!, predicted to debut at No. 20. Caribou’s Honey is on track to become the Canadian producer’s third Top 40 album, while indie favorite Orla Gartland is set to land her second Top 40 album with Everybody Needs A Hero (No. 25).
Elsewhere, former Black Midi frontman Geordie Greep’s debut solo album The New Sound is on course for a Top 40 debut (No. 31), and Leon Bridges’ Leon follows closely behind at No. 34.
Stay tuned as Coldplay’s Moon Music battles to cement its place as the year’s biggest release in the U.K., with Friday’s final chart reveal set to determine if they’ll match or surpass Swift’s 2024 milestone.