Throwing Muses’ Kristin Hersh: ‘I knew integrity would pull me into the gutter’

With their 10th album inspired by a near-death ordeal, the alt-rock heroes discuss seeing their peers sell out as they stayed defiantly on the fringes

In 2013, after Kristin Hersh’s 25-year marriage came to an end, she was left broke and without health insurance. The songs she wrote in the aftermath were “about drowning in one way or another”, she says. She means this literally and metaphorically.

Hersh was relaxing by the water in California and – because she was on the prescribed tranquiliser Klonopin – nodded off. The tide came in and she awoke in the water. “I’m a triathlete so I’m a very strong swimmer but this surf just wasn’t moving toward the shore,” she recalls. “I was swimming as hard as I could but the shore wouldn’t get any closer and I started to black out.”

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Why Marc Bolan was ‘the perfect pop star’, by Elton John, U2 and more

The T Rex singer captivated generations with his strutting music and hyper-sexual charisma. As a tribute album is released, stars explain why he is glam’s greatest icon

In early 1971, a nine-year-old called David Evans was sitting at home in the suburbs of Dublin watching Top of the Pops. He was already a Beatles fan, but, by his own admission, he was completely unprepared for what was about to happen on screen.

“It was kind of challenging,” says Evans – better known as U2’s guitarist the Edge – of T Rex’s celebrated appearance performing Hot Love, frontman Marc Bolan sporting glitter under his eyes, the ground-zero moment for glam rock. “Marc Bolan was magical, but also sexually heightened and androgynous, with this glitter and makeup. It’s funny, the go-go dancers of the era were the legendary Pan’s People – he was way more intriguing sexually than they were. I’d never seen anything like it: ‘What the hell is this? Real lads are not into this kind of stuff – this is clearly music for girls.’ But when I picked up a guitar a year later, Hot Love was the first song I learned to play.”

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MTV VMAs 2020: Lady Gaga dominates during unusual pandemic broadcast

Singer reigns supreme in awards show filled with calls for social justice and recognition of Covid tragedy

Lady Gaga dominated an unusual year for the MTV Video Music awards, winning five awards in a strange and disconcerting evening.

The singer, who led the evening with nine nominations and wore a variety of masks through the night, accepted awards for artist of the year, song of the year, best cinematography and best collaboration for Rain on Me and the inaugural Tricon award, which recognizes an artist who is highly accomplished across three or more disciplines.

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Burna Boy: Twice as Tall review – fun and fury from Nigerian pop polymath

(Atlantic)
By rooting modern production in traditional melody, and drawing on various musical styles while staying true to African pop, Burna Boy defines multilayered black identity

For a vivid snapshot of what Burna Boy is capable of, head for track 12 of new album Twice as Tall, entitled Monsters You Made. The music is modern Africa, in the same way grime precisely captured young London of the day. Drill down, and the cleverly deconstructed phrases echo familiar-sounding black music concepts – in this case, roots reggae – but as a whole it’s totally of its immediate environment, and utterly original. Lyrically, the song is a sharp focusing of the singer’s never-far-from-the-surface rage into a furious condemnation of an under-considered aspect of global black life. He addresses the ruling classes, arguing that it is they who have fomented any black anger, even crime, through colonial oppression. If Black Lives Matter organisers were looking for a theme song, they’d be hard pushed to find a better fit.

Monsters You Made also has an in-song pairing we’re never likely to see again: 78-year-old Ghanaian feminist, political activist and playwright Ama Ata Aidoo and Coldplay’s Chris Martin. The former is in the shape of a snatch of TV interview about the damage done to Africa by colonialism, in which she rinses the host and hangs him out to dry; the latter finds Gwyneth Paltrow’s ex-husband singing a chorus warning that there’s only so much people are going to take.

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Brazil’s black trans musicians: ‘When we join forces, we’re dangerous!’

Informed by baile funk, metal and more, Linn da Quebrada and Jup do Bairro – with producer Badsista – are dodging racism, transphobia and music industry resistance to tell their own stories

Jup do Bairro and Linn da Quebrada first met at a festival in São Paulo through mutual friends. It didn’t go well, Jup says while we wait for Linn to join our Zoom call. “I looked at her and joked: Is it Linn for linda?”, meaning beautiful in Portuguese. “I remember she rolled her eyes and I thought: Yikes, game over!”

But the two musicians kept running into each other. “Linn often performed at the same parties I was invited to and since we both lived far from the city centre, we’d always wait for the bus together,” Jup says. In the end, they became close friends and eventually musical partners.

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Brazilian pop sensation Anitta: ‘Run for president? I’m 27!’

Born in Rio’s favelas, Anitta became Brazil’s biggest pop star. Then a political awakening made her even more influential. She talks Bolsonaro, Black Lives Matter and bisexuality

Anitta had imagined that this summer would be a break: a period in which she could record new music. It would have followed 10 years in which she became Brazil’s biggest pop star, including stadium tours, a Netflix docuseries about her life, and hits with Madonna, Snoop Dogg and Rita Ora – all of which skyrocketed her from a Rio favela to fame. Instead, she’s been quarantining at home with her five dogs, infiltrating her country’s politics and being touted as a future Brazilian president.

I speak to her in early June, just as the coronavirus pandemic is tightening its grip in Brazil. (The country’s death toll is now the second-highest in the world.) Demonstrators have gathered to denounce the president, Jair Bolsonaro, who has urged governors to open states while dismissing Covid-19 as “a little flu” and reminding Brazilians that “we’re all going to die one day”. Some of the protests have expanded to include the issues of systemic racism and police brutality that plague Brazil’s population, which is 50.7% black or mixed race, according to a 2010 census. The country is hot with unrest.

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Madonna leads celebrity vogue for Covid-19 conspiracy theories

Singer’s claim vaccine is being concealed is latest example of stars spreading falsehoods during pandemic

Dancer, singer, songwriter, actor, director – Madonna has had quite the career.

But the queen of pop’s latest reinvention came this week in the form of a video posted on Instagram that shared a coronavirus conspiracy theory with her 15 million followers.

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Joy Division: all of their songs, ranked!

It’s 40 years since the release of their final album, Closer. From flexidiscs to French magazine giveaways, which tracks match up to the Manchester band’s beautiful, brutal best?

Failures has a very Joy Division title, but the sound is sub-Raw Power-era Stooges. Meanwhile, the fact that Ian Curtis sounds about 13 years old underlines the slightly amateur air. With the best will in the world, you would have needed powers of clairvoyance to work out that its authors would turn out to be epochal.

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Lost Rolling Stones song with Led Zeppelin’s Jimmy Page to be released

Scarlet is joined by two other unreleased songs, Criss Cross and All the Rage, on a deluxe version of Goat’s Head Soup

A long-lost song the Rolling Stones recorded with Led Zeppelin’s Jimmy Page is to finally be released. Scarlet, thought to be named after Page’s daughter, was recorded in October 1974. It is described in a press release as having “layered guitar textures” from Page, and is “as infectious and raunchy as anything the band cut in this hallowed era”.

It is to be released on a deluxe edition of the Stones’ 1973 album Goats Head Soup, recorded in Jamaica and containing the atypical hit single, Angie. It is generally seen as a notch below the run of albums that preceded it, including Let It Bleed, Sticky Fingers and Exile on Main St, though Mick Jagger praised it above Main St on release, saying: “I really put all I had into it.”

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We’ll Meet Again: how toxic nostalgia twisted Vera Lynn’s pop masterpiece

The song’s magic lay in its poignancy – the very quality that has led to Britain’s parochial obsession with the second world war

From Captain Tom Moore’s chart-topping You’ll Never Walk Alone to Katherine Jenkins’ charity take on Vera Lynn’s We’ll Meet Again – a cover version as grey and sickly as 1940s rationed margarine – 2020 has been a year in which we’ve been reminded, more than ever, that British culture is unable to escape the long shadow of the second world war.

Related: Vera Lynn: the best of the wartime spirit, not its continuation by other means | Stephen Moss

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K-pop singer Yohan dies aged 28

Record label announces ‘the most unfortunate, sorrowful news’ about singer from boyband TST

Kim Jeong-hwan, known as Yohan in the Korean pop group TST, has died aged 28.

TST’s record label, KJ Entertainment confirmed the news, saying: “We are sad to relay the most unfortunate, sorrowful news. On June 16, TST member Yohan left this world. The late Yohan’s family is currently in deep mourning.” The cause of death has not been announced.

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Phoebe Bridgers: ‘Aged 12 or 13 I was just like, I’m the next Bob Dylan’

As she prepares to release a second album, the Californian indie rocker reflects on provocative lyrics, recent collaborations and what she now thinks of Ryan Adams

You are a talented young musician whose career has taken off in the past couple of years. Artists you greatly admire want to collaborate with you, declaring themselves “floored” by your music, and excitable comparisons are made to the work of Bob Dylan and Leonard Cohen. Now you’re touring the world, jetting off to faraway places that you could only dream about while growing up in west-coast suburbia. But when you get there – to Japan, say – you find yourself strangely unmoved by your surroundings. Worse, you end up longing for the everyday comforts you’ve left behind. You would rather skip the visit to the temple or the ride on the bullet train with your bandmates and sneak home.

This is the predicament in which Phoebe Bridgers finds herself on her new album, Punisher, a collection of beautifully wrought songs that cast a razor-sharp eye on the absurdities of modern life. In Bridgers’s lyrical universe, dreams that appear beguiling from a distance are liable to fall flat in the space of a chorus. “I wanted to see the world,” she sings rousingly on Kyoto. “Then I flew over the ocean/ And I changed my mind.”

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Catherine Deneuve was Johnny Hallyday’s secret love, book claims

Revelation that celebrated actor was late rocker’s ‘Lady L’ takes France by surprise

More than two years after his death, the French rocker Johnny Hallyday is still causing sparks between the women in his life.

The late star, a notorious womaniser, is at the centre of a love-triangle spat over claims the actor Catherine Deneuve was his lifelong soulmate and a factor in his split with his first wife, the singer Sylvie Vartan.

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The Sweet bassist Steve Priest dies aged 72

Family did not share a cause of death for the glam rock star, who had 13 Top 20 hits in the 1970s

Steve Priest, bassist and vocalist with glam rock band The Sweet, has died age 72. His bandmates confirmed the news, sharing a statement from the family. The cause of death is not yet known.

Bandmate Andy Scott paid tribute to Priest, describing him as the best bass player he had ever played with. “From that moment in the summer of 1970 when we set off on our musical odyssey the world opened up and the roller coaster ride started.”

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Lady Gaga: Chromatica review – Gaga rediscovers the riot on her most personal album

Returning to the sound of her maximalist electro-pop heyday, Gaga explores buried trauma, mental illness and the complexities of fame on this return to form

A criticism often levelled at Lady Gaga is that the fantastical imagery she constructs around her albums eclipses the music itself. But it’s a sliding scale – and one that certainly mattered less when she was knocking out undeniable dance-pop party starters like Poker Face and Just Dance, or cementing her status as pop’s freaky outlier on the twisted Bad Romance. That she appeared in alien-like form in that song’s video made perfect sense: here was a chameleonic pop superstar in the vein of Bowie, Prince and Madonna opening a portal to an escapist dimension. Later, it made sense that she would lean into the imagery of hair metal on 2011’s gloriously OTT, Springsteen-referencing Born This Way. Yet on 2013’s bloated Artpop – billed as an exploration of the “reverse Warholian” phenomenon in pop culture, whatever that may be, and featuring at least one performance in which she employed a “vomit artist” to puke green paint on her chest – the aesthetic felt more like desperate distraction tactics.

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Stephin Merritt of the Magnetic Fields: ‘I used to live in a commune where music was forbidden’

As he releases Quickies, an LP of minature gems, the master songwriter contemplates a pop song’s perfect length – and whether Covd-19 has ended his career

Stephin Merritt has just spent six weeks confined to his Manhattan apartment after contracting coronavirus. He was ill for 10 days, then recovered. He’s usually a crazily prolific songwriter – two of his band’s most celebrated albums, 50 Song Memoir and 69 Love Songs, obviously contain 119 songs between them – but he hasn’t come up with any new numbers since he got ill. The problem is that he can only write songs in bars. And not just any bar – it needs to be “one-third full of cranky old gay men gossiping over thumping disco music”. Plus he needs a glass of cognac, to be slowly sipped, and a corner with a light so he can see his notebook.

Fortunately, before the outbreak, he was able to find a place that fulfilled these conditions and the result is the Magnetic Fields’ latest album. Like most of Merritt’s records, there’s a concept – on this one, titled Quickies, all the songs but one are two minutes 15 seconds or less. However, that’s not an unusual length for a Magnetic Fields tune – as Merritt points out over the phone, one-third of the songs on 69 Love Songs would qualify.

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U2’s 40 greatest songs – ranked!

As Bono turns 60, we look back at how the Irish greats turned scratchy post-punk into a stadium-filling proposition – and continue to move with the times

Bafflingly left off Pop – it was released on the B-side of Staring at the Sun – North and South of the River is audibly better than swathes of that album: a low-key excursion into something resembling trip-hop, replete with breakbeat and lo-fi orchestral samples and particularly yearning Bono vocal.

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Lana Del Rey hits back at critics who say she ‘glamorises abuse’

The singer-songwriter said ‘there has to be a place in feminism for women who look and act like me’, citing her lyrics on ‘submissive roles’

Lana Del Rey has hit out at the accusations that she “glamorises abuse” that have trailed her throughout her decade-long career. In a lengthy text post to her Instagram account, the 34-year-old singer criticised “female writers and alt singers” who she says have blamed her “minor lyrical exploration detailing my sometimes submissive or passive roles in my relationships” for “[setting] women back hundreds of years”.

She wrote: “In reality I’m just a glamorous person singing about the realities of what we are all now seeing are very prevalent emotionally abusive relationships all over the world.” She said she had been “honest and optimistic” about her “challenging” relationships: “News flash! That’s just how it is for many women.”

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Charli XCX: ‘It’s weird yelling into a mic while my boyfriend does a puzzle’

She’s written hits for Lizzo and Rita Ora, plus a string of her own. Next up: an album she wrote with fans while on lockdown in LA

Nineteen years post-Pop Idol, there is not much left to demystify about the way pop music is made. Fans follow the industry’s movements as obsessively as football supporters do the Premier League; songwriters and producers have their own followings. There are podcasts where artists explain a song’s path from genesis to completion. And yet, watching Charli XCX handwrite lyrics live on Instagram over the past few weeks, straight from her brain to her notebook to thousands of viewers, felt like a borderline masochistic degree of exposure – the equivalent of me livestreaming my way through every sentence of this piece. I’d rather walk down the street naked.

On 6 April, XCX – 27-year-old Cambridge-born Charlotte Aitchison – announced she was making an entire album, How I’m Feeling Now, while in lockdown at home in Los Angeles. She would share every step: lyric-writing and video-shooting; progress-stalling allergic reactions; tearful late-night Instagram confessions that she thinks she expects too much of her collaborators (later deleted). Fans were given carte blanche to give feedback and contribute visuals. “Sometimes it’s nerve-racking,” she says, when I ask if this amount of openness makes her feel vulnerable. “Other times bad comments will sway me, but I need to roll with the punches. If people don’t like it, it’s OK. The idea is to have some kind of interesting tension, to make the music feel different, and representative of the time that we’re in.”

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