20 de outubro de 2020 , por
Blaich, her playing unfailingly expressive and finely judged, is supportive rather than soloistic and lets Murrihy hold the spotlight. The disc takes its name from one of a handful of Irish folksong arrangements that round it off. Working Men’s Club: Working Men’s Club album art work, Novák: Piano Concerto; Toman and the Wood Nymph, Róisín Murphy: Róisín Machine album cover, John Coltrane: Giant Steps 60th Anniversary Edition album cover, Stille Liebe: Lieder by Robert Schumann album cover. Traditional music has long provided otherworldly raw material for classical composers, from Vaughan Williams’ cherry-picking of English folk tunes to Steve Reich’s borrowings of Balinese drumming. The references don’t end there; on Naked, which shares Teenage Dream’s wistful, baked-in nostalgia, Max channels Ariana Grande’s controlled yearning, while the disco-tinged OMG What’s Happening recalls Marina’s high-wire vocal undulations.
For new music that could hardly be more different from Iannotta’s exhilaratingly multi-layered works, there’s Oliver Leith’s Good Day Good Day Bad Day Bad Day, played by the GBSR Duo, percussionist George Barton and pianist Siwan Rhys, on the label Another Timbre. Grieg’s Six Songs could occasionally use a little more freshness of tone, but are beautifully, thoughtfully done nonetheless, and Murrihy’s voice dances through their melodic twists and turns. For an album made in fits and starts – and without the discernible overarching themes found on Plastic Beach or Humanz – Song Machine is remarkably coherent. She describes herself as a pianist who also sings, and when she’s doing both with her quartet there’s no one to touch her. There’s some boilerplate empowerment: Fearless, with rapper Nadia Rose, is fairly trite, but, set to confidently mellow production instead of predictable post-Sia bombast, it transcends the cliches and feels genuinely enveloping. © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC.
They are currently the most-followed girl group on Spotify and the most-subscribed band on YouTube. Novák himself quickly took against the piece, later calling it a “monstrosity”, and did not allow it to be performed for almost 20 years. © 2020 Guardian News & Media Limited or its affiliated companies. There’s zero knuckle-dragging in the lyrics. As it begins, a string orchestra joins in, playing the melody so quietly it’s almost subliminal. All this without it ever becoming clear what Gorillaz is supposed to be. The various elements are glued together by Minsky-Sargeant’s striking vocals.
On Primeval, the Welsh band look back to their earliest material, re-recording – and considerably beefing-up – caustic gear from their two 2015 EP releases, Defy the Tyrant and The Primal Chaos. As ever with Venom Prison, it’s disgust rather than titillation that drives their sound – Primeval is blistering death metal rooted in the horror of everyday violence and injustice. The Primal Chaos has shades of vintage Slayer and cranky black metal alike, while two new songs – Defiant to the Will of God and Slayer of Holofernes – point toward a stronger sense of melodic dynamism amid the aggression, particularly on the former. Buckley’s vocalist is Iarla O’Lionaird from US/Irish folk group the Gloaming, whose tender, unwavering voice handles these songs about love and loss, stemming from ancient Gaelic poetry, with directness and care.Buckley creates an immersive sound-world of electronic and acoustic drones behind him.
Iannotta recommends that each work is appreciated separately, and not heard as part of a sequence. The first thing you hear on Róisín Murphy’s fifth album is a snatch of spoken word, an extract from a monologue that appears in full later. And the closing track, We Got a Lot a Work to Do, is an aptly titled reminder. Jim James and Co. found a treasure trove of unreleased songs from the sessions for the last album and made a fitting soundtrack for quarantine. In 2019, as Hong Kong erupted against China’s imposition of new security laws, Moss left with her baby daughter, whose voice bubbles up on the light, bright Heart Sutra – belonging finally found in forward motion: “I’m going to walk out of here/All open and clear.”. Sometimes, it’s straightforward.
By Kory Grow.
And yet, a comparison of The Album with BTS’s last album reveals them to be very different propositions. The world's defining voice in music and pop culture since 1952.
The Sea Is My Mother describes a perilous crossing, driven by “dreams of peace and something more”, while on We Believe You, Jones is joined by Steve Earle, Richard Thompson and Peggy Seeger to testify on behalf of asylum seekers.
Bouncing melodies come fitted as standard; feedback filigree, political ire and gang-style backing vocals add to the impression of the platonic ideal of a band from a small town playing for their lives.
Their sixth album finds them treading familiar ground, Herring’s mannered vocals ensuring that For Sure comes across like a less emotionally detached Power, Corruption & Lies-era New Order, a comparison that’s cemented by William Cashion’s hooky – and Hooky – basslines.
The Golden Lion pub in Todmorden gives locals the chance to meet and talk about the high number of UFO sightings in the isolated West Yorkshire town.
Bartees Strange; Live Forever. Powerful and poetic; a record for our times. Albums Best New Albums Best New Reissues 8.0+ Reviews Sunday Reviews Tracks. With their gleefully hardcore, socially astute take on death metal, Venom Prison have been responsible for some of the most energising extreme music of recent years.
Hit the Coast finds him putting the bad times behind him, and heading for a brighter future, “flying and free”.
At a time when many opera singers are out of work and chances to hear the full-throttle human voice in all its glory are few, a new recital disc as good as this one feels more than usually like a treat. Aggressive opener F the World skews the loneliness of “incels”, while Ram It Down fuses lyrics about latent homophobia with twisted, steroid-injected happy hardcore. This highly efficient extraction of pocket money runs the risk of making music seem like a secondary consideration, but that doesn’t tally with The Album’s contents.
Crucially, the guest appearances never feel like the musical equivalent of those sitcom cameos where the audience immediately applauds because they recognise the star: you get the feeling the various artists are there for what they can bring to the song, rather than who they are, which means they meld into a fluent whole.
All rights reserved. One episode didn’t feature a film at all: just a still of Afrobeat drummer and long-term Albarn collaborator Tony Allen, who had died aged 79 before the track he had worked on with Skepta in March, How Far?, could be released. “Novák is worth knowing about, and we must play his music.” This is Vítězslav Novák (1870-1949), who was a pupil of Dvořák in Prague, and one of the young composers, alongside Suk and Janáček, who joined a group of artists and writers to publish a “Czech manifesto of modernism” in 1895. A heaviness permeated the summer, one laden with the uncertainty of the coronavirus pandemic, as well as the consequences of George Floyd’s killing by Minnesota police in May. Cane & Able follows two shorter EPs; the able “Cane” here is producer Sean C, who lends Trotter a more mainstream-attuned set of beats than Salaam Remi (Vol 2) or 9th Wonder (Vol 1). Murphy’s fans may concur with the sentiment. There are tracks on Róisín Machine that correspond to Crooked Man’s recent output – not least Game Changer, the rhythm of which mirrors the experiments with 6/8 time signatures on his 2018 album Crooked House – but the pair have been collaborating on and off for years (some of Róisín Machine first saw the light of day on 12-inch singles in 2012 and 2015). Daily reviews of every important album in music. ... Albums Best New Albums Best New Reissues 8.0+ Reviews Sunday Reviews Tracks. Elsewhere, though, this veteran polemicist is on fire, his learned invective weaponised to meet the present moment.
There’s no time for longueurs, no padding, no ponderous ballads.
Moreover, it was a project overtaken by world events. It’s also the centre of a thriving music scene, where 18-year-old Sydney Minsky-Sargeant’s band have undergone lineup changes to evolve from a guitar band into a New Order-type rock-electronic hybrid.
enacts the uncertain birth of change through its free jazz-referencing improvisations. ‘String quartet” seems a rather reductive way of describing any of the four utterly compelling works by Clara Iannotta that the Jack Quartet play here. This production approach reaches a deranged height on Crazy Over You, its backing track constructed from a patchwork of eclectic sounds – bursts of Bollywood-ish strings, flute, rave-y synth stabs, a Brazilian cuica, what sounds like a Japanese gottan – interspersed with bursts of sub-bass.
Perhaps in that work there may be a hopefulness after all.
But I’m on fire,” the 46-year-old sings on Here I Am). The curious mix of earnestness and unambiguous anger, slightly heavy-handed satire (the Brexit-inspired Model Village perhaps could have made its point without mentioning “gammon”) and brilliant absurdism (“Kathleen Hanna with bear claws grabbing Trump by the pussy”) perhaps shouldn’t work, and yet does so.
Map of the Soul: 7 was a blockbuster, 75 minutes of music apparently inspired by Dr Murray Stein’s book Jung’s Map of the Soul.
Loving the Spice Girls today is an exercise in childhood nostalgia; Melanie C honours those fans – and herself – as adults worthy of hearing themselves in vital pop.
It deals in precision-tooled rap-influenced pop that makes most western artists’ efforts in that area seem wan. • Song Machine Season One: Strange Timez by Gorillaz is released on 23 October, with a number of tracks out now.
The songwriting is sharp, and the melodies uniformly great.
But they do share one thing: neither is merely saxophone with string accompaniment.
You get the feeling Damon Albarn isn’t entirely sure himself how to define Gorillaz, which makes Song Machine Season One: Strange Timez an oddly perfect way to celebrate the band’s 20th anniversary.
Floating above an intriguing combination of jangling guitar and scattered beats, the tune of Friday 13th, featuring Octavian, sounds alternately joyous and melancholy; the scrabbly punk and stand-up drumming of the Slaves/Slowthai track Momentary Bliss falls into an unexpectedly pretty chorus. But listening to the quartets in chronological order (not the way they are arranged on the disc, incidentally) reveals how quickly Iannotta has made the sound world of the four instruments very much her own.
An act of self-indulgence, or a brave, boundary-pushing experiment that sometimes works to startling effect and sometimes very publicly fails? The rest of the track-listing has both power and nuance, taking in personal relationships (We Should Be Good), autobiographical pain (Fuelt) and references to TS Eliot (Ghetto Boyz N Girls), with Trotter barely pausing for breath before landing the next masterful rhyme.
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