Month: January 2023

Next Week in Music | January 30 – February 5 • The Short List: 6.5 Titles You Want to Hear

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Geez, it’s the end of January already? That was fast. And furious — at least in terms of new music. Thankfully, things seem to be slowing down a tad next week. There’s just one massive release on the way: Shania Twain’s Queen Of Me. That’s the last you’ll hear of that around here. I’ve got other fish to fry — like these upcoming releases:

 

Brian Jonestown Massacre
Your Future Is Your Past

THE EDITED PRESS RELEASE: “Anton Newcombe — frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father, force of nature — returns with the Brian Jonestown Massacre’s 20th full-length studio album Your Future Is Your Past. After a hugely prolific 2010s that saw the release of eight long-players and one mini-album, Newcombe had been going through a period of writer’s block when one day he picked up his 12-string guitar and The Real (the opening track on previous album Fire Doesn’t Grow On Trees) came out of him. Like the kraken, it was as if he’d summoned it. “All of a sudden, I just heard something,” he says. “And then it just didn’t stop. We tracked a whole song every single day for 70 days in a row.” By the end of it they had two albums ready to go. Joining Newcombe in the studio for The Future Is Your Past were Hakon Adalsteinsson (guitar) and Uri Rennert (drums). “Nobody can stop me, I’m not asking somebody, I’m not making the rounds at Warners, saying ‘please put out my record!’. It’s just for me,” he says. He hopes he can be an inspiration to others. “I would love to see more groups, people playing music in the UK and everywhere else because I really enjoy it. That’s the only reason I need. It’s the only reason to do stuff.” That hits to the core of what makes Newcombe and Brian Jonestown Massacre tick in 2022. He’ll keep jumping in that fire. That’s how he rolls. Savour it.

John Frusciante
.I: / :II.

THE EDITED PRESS RELEASE: “There are two versions of this album,” says John Frusciante. “The CD version is pronounced Two and called : I I . This is the longer version. The vinyl version is pronounced One, and called . I : This version is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl. After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines. While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda and so on, I was also inspired by my mental image of John Lennon’s tape and Mellotron experiments he made at home during his time in The Beatles, as well as events like the first minute of David Bowie’s Station To Station, …And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno’s initial concept of ambient music.”

The Go! Team
Get Up Sequences Part Two

THE EDITED PRESS RELEASE: “Over their six albums, The Go! Team have taken sonic day trips to other lands, musically dipping into other cultures. But now on this, their seventh. They’ve bought a round-the-world ticket. Benin, Japan, France, India, Texas and Detroit were all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. Picking up from 2021’s Get Up Sequences Part One, Part Two continues the feeling of Technicolour overload. A feeling that there is so much good shit out there that you are grabbing it all at the same time. The record is saying: Look at this. Look at this. When you listen to it I just want the saturation of the world to be turned up. Simultaneously messy and tight, chaotic and coherent both albums have an obsession with the power of a bassline and a backbeat. “For me each successive Go! Team record just gets fucking groovier and for me grooviness is life”, founder Ian Parton says. It’s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic.”

The Men
New York City

THE EDITED PRESS RELEASE: “When everyone left N.Y.C., the sewer opened and we crawled out.” Prolific Brooklyn institution The Men return with their ninth studio album New York City. Arriving following 2020’s Mercy, the new LP marks a return to the more scuzzy and abrasive rock ploughed over their decade and a half spent coursing through the grimy sewers of N.Y.C. Here, nocturnal proto-punk meets a timeless, all-guns-blazing rock ’n’ roll gusto. That the album leans into a more primitive, back-to-basics sound owes largely to the way in which was forged, an earlier version of the record scrapped in favour of four people playing in a room together. “The New York City album was revised, reorganized and shaped until it became clear that things fall into place like the hammer driving the nail or the scythe’s swipe through the tall grass,” they say. The result is a series of cuts played live and recorded to 2″ tape in Travis Harrison’s (Guided By Voices, Built To Spill) Brooklyn studio.

M(h)aol
Attachment Styles

THE EDITED PRESS RELEASE: “Irish intersectional feminist five-piece M(h)aol have announced their debut album Attachment Styles. Following the release of their debut EP Gender Studies, the band hit the ground running in 2022. Gaining a reputation as one of the most sought after live bands of the summer, M(h)aol performed at Primavera, Green Man, Latitude and End Of The Road, toured Europe with Gilla Band and Shellac and more. Based between Dublin, London, and Bristol, M(h)aol (pronounced male) are formed of Róisín Nic Ghearailt (she/her), Constance Keane (she/her), Jamie Hyland (she/her), Zoë Greenway (she/her) and Sean Nolan (he/him). Attachment Styles is a record about social connection, queerness and healing. When Róisín was writing the lyrics, she used the theory of attachment styles as an overarching theme which is a theory that looks at the impact our inter-familial relationships and society have on how we relate to one another.”

Smashing Pumpkins
Atum: Act 2

THE EDITED PRESS RELEASE: “The Smashing Pumpkins’ 12th studio album is a three-act rock opera album titled Atum (Autumn). It will feature 33 tracks and is the sequel to 1995’s Mellon Collie and the Infinite Sadness and 2000’s Machina/Machine of God. Atum was written and produced by Billy Corgan over the past four years. The album tells an epic interplanetary story set in the not-too-distant future, though the songs themselves respectively stand on their own in the Pumpkins pantheon. This is the final instalment in a concept album trilogy that began with 1995’s Melllon Collie and then continued with 2000’s Machina. The album features three original members of the band — Corgan, James Iha and Jimmy Chamberlin — as well as longtime guitarist Jeff Schroeder. Corgan had been developing the idea for the rock opera for years, and the pandemic gave him the time off the road to meticulously complete it in the grandiose way he had intended.”


I’m Not Going Back: Bay Area-based trap artist Salvarez hasn’t been the same lately on 30 – Independent Music – New Music

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After questioning his purpose lately on the multi-lingual gem for us to savour for its frankness, Salvarez thinks profoundly about the next step of his life with the superbly detailed new single called 30.

Salvarez is a San Francisco Bay Area-based indie trap artist who swerves through the doubters and takes us for a ride to remember on each track.

With his new EP Otra Vez on the way,  Salvarez hungrily extinguishes all haters with a comprehensive rap display. This is the kind of track to play loud when extra motivation is needed, to move on from a stagnate state of affairs.

30 from San Francisco Bay Area-based indie trap artist Salvarez is a lyrically astute single which will wake up anyone from a sleepy slumber. Drenched with a true insight into a relatable feeling which can consume many for too long, we find a hungry artist who is ready for anything.

Listen up to this new single on Spotify. View more on the IG.

Reviewed by Llewelyn Screen



For February, a cornucopia of classical music in Honolulu

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February will be a treat for classical music fans, who can look forward to symphony, opera and chamber music concerts featuring acclaimed performers, and up-and-coming talent playing some underappreciated composers and compositions. Even dog lovers will find something appealing.

Symphony

The Hawai‘i Symphony Orchestra opens the month with a Masterworks Series concert honoring African American History Month on Feb. 5. The program features Florence Price’s “Symphony No. 3” and Samuel Coleridge-Taylor’s “Ballade.”

Also on the program is ­Alexander Glazunov’s challenging violin concerto. Karen Gomyo, a Japanese-­born violinist who studied at The Juilliard School in New York and has received acclaim for her interpretation of tango music, will solo in the Glazunov (1865-1936) piece. Maestro Anthony Parnther, who works frequently in film and television scoring with the Hollywood Studio Symphony and has led several regional orchestras in Southern California, will conduct the orchestra.

“Glazunov was a composer who felt like Russian composers should really write Russian music,” drawing on Russian folklore, said Michael-Thomas Foumai, HSO’s composer-in-residence. “It’s melody upon melody, never-ending melody that the violin plays over 20 minutes or so.”

Price (1887-1853), whose work has enjoyed a renaissance among audiences in recent years, was the first Black female composer whose work was performed by a major American symphony, the Chicago Symphony. Her work usually featured references to African American spirituals and gospel, but her third symphony includes “glimpses of French music like Debussy, and even operatic music like Wagner,” said Foumai. “It has a ‘Golden Age of Hollywood’ sound.”

Coleridge-Taylor (1875-1912), a British composer of African descent, wrote music that “almost sounds like Rachmaninoff,” Foumai said. “He’s known as the African ‘Mahler.’ His music is very operatic.”

The concert featuring the Black composers and Glazunov is at 4 p.m.

Foumai’s work as an orchestrator can be heard in a HapaSymphony Series concert at 7:30 p.m. Saturday, which will feature the music of Keauhou.

Both concerts will be held at Hawaii Theatre Center. Tickets are $18 to $99, available at hawaiitheatre.com or myhso.org.

Opera

Hawaii Opera Theatre’s new production, “The Elixir of Love,” offers welcome contrast to the old trope of opera ending in tragedy, with the soprano singing an overwrought aria as she takes her last breath. Instead, composer Gaetano Donizetti’s masterpiece is “totally rom-com,” said Andrew Morgan, HOT general director.

This production will have a local twist, with the story set on a Hawaiian plantation where the shy farm worker Nemorino (Andrew Stenson) has feelings for the owner Adina (Natalie Image). He finds the courage to pursue her with the help of a “magic” love potion, which turns out to be nothing more than rum (in the original, it’s wine). Costuming will consist of aloha attire picked up at flea markets and thrift shops, while set designer Michelle Bisbee used the Hawaii’s Plantation Village as inspiration for her set.

“It’s our first completely home-built set in 25 years,” Morgan said.

Morgan said Image has a “sparkling voice, and an equally sparking stage presence,” and that Stenson will be singing a “perfect piece for him” in the second-act aria “A furtive tear,” which is considered one of the most romantic works in the opera repertoire. Efrain Solis will portray the traveling salesman Dulcamara, who sells Nemorino the love potion, and quack that he is, he gets to sing a lot of entertaining “patter” songs, with quick, witty lyrics. “He is just dynamite at that,” Morgan said. The opera will be sung in English, part of Morgan’s effort to make opera accessible to audiences.

The opera will be staged at 7:30 p.m. Feb. 17 and 4 p.m. Feb. 19 at Blaisdell Concert Hall. Tickets are $30 to $135, available at hawaiiopera.org or 808-596-7858.

Chamber music

Hawaii was privileged to hear Yo-Yo Ma a few weeks ago, and now the Honolulu Chamber Music Series hosts another brilliant cellist, Steven Isserlis, performing with pianist Connie Shih. Isserlis has been at the forefront of the cello performance for decades, and is also a music podcaster and author of children’s books. He’s known for performing on gut strings, which create a distinctly warm sound, on his rare Stradivarius cello. His program of Bach, Brahms, Chopin and his transcription of Schumann should show the far reaches of his artistry, combined with his historically informed performance style. The recital is at 7:30 p.m. Feb. 18 at Orvis Auditorium at the University of Hawaii at Manoa. Tickets are $15 to $45, available at honoluluchamber musicseries.org.

February closes out with Chamber Music Hawai‘i presenting the Honolulu Brass Quintet performing Leonard Bernstein’s “Suite for Brass,” a work written in memory of dogs that belonged to friends of Bernstein, a dog lover. One movement, “Rondo for Lifey,” was dedicated to actor Judy Holliday’s Skye terrier, while “Fanfare for Bima” is based on the theme that fellow maestro Serge Koussevitzky would whistle to call his cocker spaniel. Performances are at 7 p.m. Feb. 25 at Doris Duke Theatre, 4 p.m. Feb. 26 at Paliku Theatre at Windward Community College and 7 p.m. Feb. 27 at UH-West Oahu library. Tickets are $35, available at chambermusichawaii.org.



Country dancing event at Glendale arena to raise funds for autism support

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PHOENIX — People can help set a world record while dancing to country music and support the local autism community at the same time during an event in March at Desert Diamond Arena in Glendale.

Tickets are on sale now and start at $35 for Country Fun for a Cause on March 12, an inaugural event held by Raise Your Hand Inc. Foundation that features local country musicians and line dancing.

All net proceeds go to the organization that supports individuals with autism spectrum disorders and at-risk populations, according to a press release.

Prior to the music getting underway, the organization will attempt to set the Guinness World Record for the largest line dancing with event founder Bobby Joe Bell’s song “Line Dancing” serving as background.

Local artists set to take the stage at 4:15 p.m. include Bell, Chad Freeman & The Grant Brothers, Phoenix Country All Stars and Chauncey Jones.

More information can be found online.

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Paterson Music Project sees plenty of success stories in its 10th year

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Hours before Paterson’s first citywide music festival in nearly two decades, violinist Hector Otero wasn’t nervous, despite the fact that the conductor, who had fallen ill, was still a no-show. As concertmaster, Otero, 17, had to step in and lead his classmates in a final rehearsal.

“It’s not that big of an issue,” said Otero, as the sound of regimented string, horns, and drums echoed in a nearby practice room. “We’ve been to so many events and festivals.”

A high school senior, Otero, who earned a full-ride scholarship to study music at Montclair State University, evinces the calm of a seasoned performer. He is one of the many success stories from the Paterson Music Project, a non-profit in its 10th year, that offers affordable after-school and weekend music instruction in a city whose arts education programs are at the whim of state funding.

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The Music Project, which began in 2013 with only 30 students, now has two locations in Paterson — at P.S. 16 and the Community Charter School — and another in Woodland Park, together serving 470 students. At Saturday’s event, the All-City Festival, the musical talents of more than 250 student from 28 Paterson schools echoed through the hallways at John F. Kennedy High School.

“This concert is not just for students from our program — it’s the first citywide event since 2007,” said Shanna Lin, director at the Music Project. “What better way to celebrate our 10-year anniversary.”

The ongoing threat to arts education has a historical precedent. In the fallout of the Cold War and the mid-century space race, school curriculums became hyperfocused on STEM subjects, according to Michelle Van Hoven, supervisor of fine and performing arts for the Paterson Public Schools

School districts faced with dwindling budgets — often in low-income communities of color — are still quick to jettison their arts programs.

Van Hoven, who began as a music teacher at Rosa L. Parks School of Fine and Performing Arts about a decade ago, has witnessed the ebb and tide of funding over the years. Now at the helm of the city’s arts education department, Van Hoven advocates from within.






© Michael Karas/NorthJersey.com
Students rehearse as part of the Paterson Music Project at John F. Kennedy High School in Paterson on Saturday, January 28, 2023.

“Music and arts programs are expensive in general,” Van Hoven told the Paterson Press. “But in the time since, we’ve realized how vital arts education is.”

Advocates, like Van Hoven, are pushing the benefits of arts education in childhood and adolescent development, arguing it can even help with mental health, so crucial in an age of cyberbullying and pandemic-related trauma.

“It provides opportunities for students to explore themselves as people, it increases their creativity, increases motivation,” Van Hoven said.

The students also create close bonds with other young musicians, according to 16-year-old Geanelly Vallecillo. She — with the help of her sister, Haley Vallecillo, 14, also a violin player — convinced her parents not to move to Connecticut, and instead remained in Paterson to finish out her instruction with the Music Project.

The program for Saturday’s All-City Music Festival included nine compositions ranging from folk songs to Scott Watson’s jazzy Awesome Sauce. The finale was a “collective composition,” which is an organized improvisation in which the musicians respond to certain prompts and hand gestures.

“We start with something very simple — just a rhythm,” said Rachael Diaz, a 16-year-old junior. “With that one idea, like a spark, it starts a fire.”

This article originally appeared on NorthJersey.com: Paterson Music Project sees plenty of success stories in its 10th year

Lamin Fofana – Unsettling Scores · Album Review ⟋ RA

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Lamin Fofana – Unsettling Scores · Album Review ⟋ RA
  • Moody, cinematic ambient music that probes the depth and devastation of the climate emergency.
  • Since his family moved to Guinea, after fleeing civil war in Sierra Leone, experimental producer and composer Lamin Fofana has gone from harnessing the roots of Detroit techno to exploring uncharted regions of contemporary sound art. By cultivating a practice he calls transmuting text into sound, Fofana has used the works of poets who address themes like migration, displacement and colonial thinking to inform and invigoriate the spirit of his music and the resistance it represents. His latest album, Unsettling Scores, addresses how a lack of meaningful action surrounding the climate emergency has severe implications for Black life. Take, for example, Caribbean islands where there has been a six-fold increase in the number of children displaced by storms. Over seven tracks of densely textured ambient music, Unsettling Scores meshes eerie organic sounds and industrial ambience into a cataclysmic sensory experience. As dry soundscapes give way to walls of hissing static that land like rain, it’s almost as if you’re witnessing rapid environmental change in real time.

    Fofana paints sometimes barren, sometimes lively landscapes that range from rural to urban. On opener “Tune Of Departure,” whirring synthlines sound like they’re scanning previously inhabited land for signs of life, while ghostly keys conjure an air of displacement. “Erosion / / Whispers ‘a laminated shout'” unfurls like a wet monsoon. In the first half, pads shimmer like heat distorting the air, only to make way for micro-percussion that sounds like torrential rainfall hitting zinc roofs. Fofana’s gift for blurring the lines between organic and electronic are on full display here—this is detail-oriented ambient music that demands close listening.

    Not everything on the album is ambient or arrhythmic though. The closer “Oily (Resurfacing)” offers something close to dance music. Resonant dripping sounds and the churning of machinery form an upbeat techno track that seems to imply that, in spite of the damage to Earth’s climate that we’ve witnessed on the prior tracks, the exploitation of Earth’s resources will continue regardless of the consequences.

    The true doomer centerpiece of Unsettling Scores is “A Symbol of the Withdrawn God Redux,” an 11-minute rework of another track from 2016. Here, hammering sounds and grainy organs combine into a landscape of gritty industrial noise, with choral pads adding a hint of the celestial. The title plays on the concept of the withdrawn high god, or deus otiosus in ancient West African religions. After all, only a laissez-faire god could allow the mudslides, hurricanes and general devastation this track meditates on to continue uninterrupted. There’s a cinematic edge to Fofana’s style of ambient music, which disguises high stakes and existential dread with what can feel like peaceful quietude. Unsettling Scores both soundtracks and prods the status quo, a premonition from beyond the climate emergency’s point of no return, to a future where nothing has really changed and everything is worse.

  • Tracklist
      01. Tune Of Departure
      02. A Symbol Of The Withdrawn God Redux
      03. Erosion / Whispers “a laminated shout”
      04. Broken Time Of Transition
      05. Rehearsal Of Truth
      06. The Ocean After Nature
      07. Oily (Resurfacing)

Rick Astley: I wasn’t cut out to be a pop star | Entertainment

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Rick Astley says he “wasn’t born” to be a pop star.

The 56-year-old singer shot to fame in the late 1980s when he signed a deal with industry giants Stock Aitken Waterman – which saw him become labelmates with the likes of Kylie Minogue, Jason Donovan, and Sonia – and sold more than 12 million records worldwide with hits such as ‘Never Gonna Give You Up’ and ‘Together Forever’ but decided to quit the industry altogether in the 1990s because he “didn’t want to do any of it” anymore.

“He said: “I don’t think being a pop star is a very natural thing for anybody but some people, some people manage to do it and some people are born to do it perhaps. I don’t think I was really. I had developed a fear of flying, I didn’t want to go and promote records. I didn’t want to do any of it, really. “

The ‘Take Me To Your Heart’ singer – who went on to have daughter Emilie with then-partner Lene Bausager but eventually returned to showbusiness in the early 2000s and remains active in music today – went on to add that he was “super lucky” to have made a lot of money during his heyday which at the time enabled him to walk away after from the top.

Speaking on Channel 5 documentary ‘Stock Aitken Waterman: Legends of Pop Music’, he added: “I was super lucky that I had a massive amount of success in a very short period of time, somebody gave me a truckload of money for it and I could say ‘Okay, I’m done!'”



Biggest Drone Show, Classical Music to Grace Beating Retreat Ceremony, Watch This Report … – Latest Tweet by DD News

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Lil Yachty Releases Psychedelic Rock Album, ‘Let’s Start Here.’

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So, this is different.

Already an eclectic musician, Lil Yachty takes things in a new direction with his fifth album Let’s Start Here.

Putting all semblances of rap to the left, the album is heavily influenced by the sounds of artists like Tame Impala. “My new album is a non-rap album,” Yachty said in an early 2022 interview. “It’s alternative, it’s sick… It’s like a psychedelic alternative project. It’s different. It’s all live instrumentation.” 

A 14-track offering, the album also contains features from Teezo Touchdown, Justine Skye, Daniel Caesar, and Fousheé. Also, “drive ME crazy!” should be a whole single, in my opinion; that song is a banger.

Stream Let’s Start Here. below.

Lil Yachty Releases Psychedelic Rock Album, ‘Let’s Start Here.’ was last modified: January 27th, 2023 by Meka



The Beatles Song That Left Dolly Parton ‘Feelin’ All Kinds of Emotions’

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The Beatles have influenced many artists in every genre. While Dolly Parton came from a vastly different background than The Beatles, she was still struck by one of their earliest hits in America that left her “feelin’ all kinds of emotions.”

‘I Want to Hold Your Hand’ is one of The Beatles’ earliest hits

Dolly Parton | BRIDGET BENNETT/AFP via Getty Images

In the early 1960s, The Beatles became one of the biggest artists in the U.K. “She Loves You” and “Please Please Me” were two early singles that put the band on the map in their native country. In 1963, The Beatles finally began to take over in the U.S. with “I Want to Hold Your Hand.” 

The single was released in the U.S. with “I Saw Her Standing There” as the B-side. Its success in the U.S. marked the beginning of the British Invasion as the track peaked at No. 1 on the Billboard Hot 100, becoming the first Beatles song to achieve this accomplishment in the U.S. The track gained even more momentum after The Beatles performed it on The Ed Sullivan Show in February 1964. 

Dolly Parton said The Beatles track is the first song that left her ‘jarred’

Dolly Parton grew up in a small cabin in the mountains of Tennessee, but The Beatles could still reach her home. While Parton would become a country superstar, rock n’ roll still managed to leave an impression on her. In an interview with Entertainment Weekly, Parton said she always listened to music, but “I Want to Hold Your Hand” was the first song she became obsessed with. 

“I loved all kinds of songs, and I grew up singin’ all sorts of songs, but the first time I ever remember totally being jarred and feelin’ all kinds of emotions was when that song came out. I couldn’t get enough of it. This girlfriend of ours had an old trap car, so we used to ride around — she was a little older than us. I just remember us hearing that on the radio any time we had a chance — because they played it night and day when the Beatles first came on the scene.”

The “Jolene” singer also said the catchy tune reminds her of her first kiss because it came out around the same time she was “beginnin’ to date a little bit.”

Parton is collaborating with Paul McCartney for her upcoming rock album

Dolly Parton could be having a full-circle moment with a member of The Beatles as she teased an upcoming collaboration with McCartney on her forthcoming rock album. The album comes after her induction into the Rock and Roll Hall of Fame and will reportedly feature covers of songs by Led Zeppelin, Elton John, and The Rolling Stones. One song she said will be on the album is a cover of The Beatles’ “Let it Be” and will feature McCartney. 

“Paul McCartney sang with me on ‘Let It Be’,” Parton said on The Rachael Ray Show. “I’ve got a lot of wonderful iconic songs that people love and wonderful iconic singers joining me on them.”