Singer, whose new album = is out on Friday, says he is cancelling in-person commitments
Ed Sheeran has announced on his Instagram page that he has tested positive for Covid-19 and is self-isolating.
In the post he said: “It means that I’m now unable to plough ahead with any in-person commitments for now, so I’ll be doing as many of my planned interviews/performances I can from my house.”
Continue reading...Jon Hopkins timed his upcoming album to the length of a ketamine high, while apps are using AI music to tailor drug experiences. Welcome to a techno-chemical new frontier
Two hundred psychedelic enthusiasts have converged in Austin, Texas for a “ceremonial concert” on the autumn equinox. People sprawl on yoga mats around a circular stage as staffers pace the candlelit warehouse, jingling bells and spritzing essential oils. While psychedelic drugs are prohibited, some attenders seem in an altered state, lying on their backs and breathing heavily as rumbles of bass from Jon Hopkins’ upcoming album, Music for Psychedelic Therapy, shakes the hushed space.
This is the first time Hopkins – known for acclaimed solo electronic albums as well as production for Coldplay and Brian Eno – has played his new record in public, and the crowd is visibly moved. As recordings of spiritual guru Ram Dass’s teachings fill the room on the final song, the woman next to me begins silently weeping.
Continue reading...Despite a dodgy hip, the superstar remains youthful thanks to pop star friends like Dua Lipa – but is still struggling with anger and childhood trauma. He explains how fatherhood is making him a better man
A good illustration of Elton John in 2021 is how, last week, he scored the eighth UK No 1 single of his career and also had his right hip replaced. The 74-year-old certainly has his frailties – “my left hip is the hip of a two-year-old, and my right hip is the hip of a 92-year-old” – but is youthful in other ways. His enormously enjoyable and varied new album, The Lockdown Sessions, may feature a range of boomer-pleasing names, such as Eddie Vedder, Glen Campbell and two A-list Stevies (Wonder and Nicks), but there are also plenty of pop artists that could feasibly incite a TikTok dance craze: Dua Lipa, Lil Nas X, Rina Sawayama. One song pairs John with country singer Jimmie Allen over a drum’n’bass beat; another is interspersed with raps from Young Thug and Nicki Minaj.
“Watching Young Thug freestyle was just amazing!” he enthuses over a video call, self-isolating the day before his operation, dressed in collared, lapelled pyjamas over a rugby top. Oil paintings of 19th-century figures flank him in the background. “I hate it when people knock rap and hip-hop – when you actually go in the studio and watch Young Thug in front of a microphone, it’s an incredible thing.” He’d had dinner with Lipa, who duets with him on their No 1 single Cold Heart, a few nights before; he rings up Olly Alexander of Years & Years, who covered Pet Shop Boys’ It’s a Sin with him, “a couple of times a fortnight. I feel an empathy with these people. I’ve got the enthusiasm of an 18-year-old, and enthusiasm keeps me going.”
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The sound of an artist coming into her own, Rebecca Taylor’s remarkable second album as Self Esteem mixes the intimate and conversational with the unabashedly dramatic
Throughout Prioritise Pleasure, her second album as Self Esteem, Rebecca Taylor searches for a feeling she can rely on. Her stomach and heart seldom align. A callous lover makes her doubt herself. “Casual” texts from an ex evidently conceal ulterior motives. She has to check out emotionally in order to climax from a zipless fuck. Marriage and babies don’t appeal, yet other people’s still make her insecure. Even the nostalgia induced by a warm summer’s day can trick her into self-sabotage.
Pacing these shifting sands is exhausting. But simply by defining them, and acknowledging how normal it is for these contradictory states to coexist (especially in the lives of women, contorted by diet culture and dating), Taylor establishes a sturdy sense of common ground – one on which the makings of a stellar pop second act are taking shape.
Continue reading...The Depeche Mode frontman answers your questions, on his new covers album, taking early dance lessons from Mick Jagger and the right way to load a dishwasher
Did you accomplish everything you set out to on [forthcoming album] Impostor? MrBeelzebub
I was really burned out after the last Depeche Mode tour, then Rich [Machin, long-time musical partner in Soulsavers] and I started talking about songs and artists who had influenced us. Before we knew it, we were making a Soulsavers record with me as frontman that paid homage to those songs, but was almost a new piece of work. I realised that the choices were songs that put me where I am, suggested where I have been and where I might be. They are songs [such as Dan Penn/James Carr’s Dark End of the Street or Bob Dylan’s Not Dark Yet] that reflect on lives lived. I would not have known how to sing these songs when I was 18.
Continue reading...In her 50-year career, Baca has been a singer, ethnomusicologist and Peru’s minister of culture. As she releases her 16th album, she reveals why her work is as vital as it has ever been
Susana Baca has lived multiple lives in her 77 years. She is one of Peru’s most celebrated singers, and a champion of Afro-Peruvian music, amplified by a partnership with David Byrne’s Luaka Bop record label. She is trained as an ethnomusicologist and manages a cultural centre in Peru, and she was only the second Afro-Peruvian minister in the history of independent Peruvian government, serving as minister of culture in 2011.
“It was not an easy path to achieve all that I have,” Baca says, speaking over video call. She is draped in a black shawl, speaking via an interpreter, from her home in Cañete. “My parents used to play music all the time when I was a child – my earliest memories are of my father singing and my mother dancing – but when I decided that I wanted to be a singer, my mother was horrified. We were very poor and all the musicians she had heard of had died from tuberculosis. It was an extreme life.”
Continue reading...The New Yorker writer’s book Major Labels examines why we tag music with a genre, be it for commerce or community. He explains why people still argue over great songs – and why they can thrive on cultural appropriation
When Nik Cohn wrote Awopbopaloobop Alopbamboom: The Golden Age of Rock in 1969, he only had 15 years of the rock’n’roll era to process. Five decades later, telling the story so far is such a daunting prospect that, while writing Major Labels: A History of Popular Music in Seven Genres, New Yorker staff writer Kelefa Sanneh’s trick was denial.
“I figured if I thought too much about the span of it, I would go insane,” he says cheerfully. “The idea of sitting down to write the history of music is horrifying. It feels more fun if I’m telling seven overlapping stories.”
Continue reading...With Steven Spielberg’s remake almost out, the 1961 original still feels thrillingly contemporary, a tough act to follow
It’s the opening credits that do it right away. Following three eerie whistles over a black screen, West Side Story explodes into a full screen of poster-paint colour – shifting from orange to red to magenta to royal blue – as Leonard Bernstein’s four-minute overture brassily clatters into action. Over the colour, a stark design flourish: seemingly random brigades of parallel vertical black lines, only coalescing at the overture’s end into the tip of Manhattan, viewed from the air, cuing a vertiginous bird’s-eye montage of New York City in motion. That chipper yet chillingly disembodied whistle returns; by the time we finally see a human face, six coolly riveting minutes has passed.
This whole title sequence – from the graphics to the aerial photography – was visualised by Saul Bass, the distinctive graphic designer then favoured by such aggressive stylists as Alfred Hitchcock and Otto Preminger. It still seems, perhaps even more than anything that follows in West Side Story, sleekly and breath-catchingly modern: a coup of expensive minimalism at the outset of a splashy Hollywood production. That was no accident: in 1961, United Artists set out for the film to be something bracing and new in the movie musical, an industry staple that was looking increasingly out of step with a youth culture turning toward rock’n’roll.
Continue reading...Critics compare figure of famous soprano erected in Greek capital to an Oscar statuette
Drama in life, drama in posterity. For Maria Callas, Greece’s greatest diva, there is, even 44 years after her death, no let up from the artistic wrangling that was her lot.
But this time the uproar is focused on a statue erected at the foot of the ancient Acropolis, opposite the Roman theatre where the world-renowned opera singer made her debut.
Continue reading...When teenage LA punks the Linda Lindas went viral, they caught the attention of Amy Poehler, Jimmy Kimmel and original riot grrrl, Carrie Brownstein of Sleater-Kinney, who joins them for a cross-generational chinwag
In May, the US punk band the Linda Lindas went viral with a performance of their no-holds-barred track Racist, Sexist Boy. Written in response to a real-life incident in which drummer Mila de la Garza was racially harassed by a classmate, the song alternates between sludgy punk and brisk, hardcore thrash, topped with cathartic, defiant lyrics: “You have racist, sexist joys / We rebuild what you destroy.” What made the performance even more striking was its setting among the usually hushed bookshelves of the Los Angeles Public Library.
On the back of that viral hit (currently at 4.3m views on Twitter), the teenage Los Angeles quartet – Mila and her sister Lucia (guitar), their cousin Eloise Wong (bass), and longtime friend Bela Salazar (guitar) – have signed to Epitaph Records, recorded their debut album, due in 2022, and released a snappy, and snappily titled, punk-pop single Oh!.
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The first single from her divorce-focused new album 30 is quintessential Adele: piano, romantic recrimination, and soaring vocal work
Adele’s statement announcing the release of her fourth album was published on social media earlier this week. In it, the singer doesn’t talk much about music, more about her emotional state during the album’s making, provoked, one assumes, by the breakdown of her marriage: “absolute mess and inner turmoil … consumed by grief”. She compared the album she made amid it to friends coming over with “a bottle of wine and a takeaway” and offering earthy, if astrologically based, advice: “It’s your Saturn return, babes, fuck it.”
It all sounds thoroughly grim, but it also has a hint of reassurance about it for her fans, who come to Adele in record-breaking numbers for relatable heartbreak – the musical equivalent of an old friend in the pub, tearfully relating the latest chapter in their reliably disastrous love life as they demolish a third glass of pinot grigio. For one thing, it underlines that she has fresh heartbreak to write about, which had been an issue with her last album, 25, on which she was forced to rake over the same relationship that had inspired its predecessor for material. For another, her fans might have cause to be alarmed by what the cover of Vogue refers to as “a new look, a new love, a new sound”. How reliably relatable can Adele now be, with her home in LA, her squad of Hollywood A-list pals, her three-times-a-day exercise regime and, the Vogue profile suggests, an employee on hand with a different pair of shoes should the singer want to change out of her heels? It’s a statement that, consciously or otherwise, sends out a message: “Business as usual babes, fuck it.”
Continue reading...They had screaming fans and transatlantic hits as part of the 60s’ British invasion – an unlikely result for a band of jazz and blues heads. Still touring as the Manfreds, they look back on one of the strangest catalogues in UK pop
In an office in the middle of Pinewood Studios, former members of Manfred Mann are discussing their EP The One in the Middle. It was recorded in 1964, at the height of their first flush of fame – between the first and second sessions for the EP, their single Do Wah Diddy Diddy had gone to No 1 in the UK and the US. But, in spite of that success, it is perfect evidence of how different Manfred Mann were from their contemporaries in what was then called the beat boom.
The EP features a version of Herbie Hancock’s Watermelon Man. With the greatest respect to peers like the Swingin’ Blue Jeans, you didn’t get a lot of repurposed hard bop from them. It also features a Bob Dylan cover, six months before the Byrds released Mr Tambourine Man and sparked a trend for taking Dylan songs in new directions. Manfred Mann, for their part, retooled With God on Our Side as a kind of epic southern soul-influenced piano ballad. And then there’s the title track, an extraordinarily early example of pop music in self-referential, meta mode.
Continue reading...First came K-cinema, then K-pop and K-TV. Now South Korea’s young stars are conquering the world with K-art. But what do their dark visions say about their nation’s psyche – and ours?
Ohnim is having a blue period, just like Picasso. Over Zoom from a gallery in Seoul, the Korean rapper Song Min-ho, better known as Mino to K-pop fans but Ohnim in the art world, shows me a painting he finished the previous evening in collaboration with artist Choi Na-ri. It depicts a blue crouched figure, like a depressed version of Rodin’s Thinker. It may be still wet but will soon be shipped to London’s Saatchi Gallery for an art fair that showcases work by three of Korea’s biggest K-pop stars.
The meeting of K-pop and K-art is making the art world lick its lips. Businessman David Ciclitira, who set up the StART Art Fair at the Saatchi, says: “K-pop stars have immense reach through their social media. Guys like Mino, Henry Lau and Kang Seung-yoon, whose work will be in the show, have six to seven million followers each on Instagram. In Seoul, fans queue round the block just to see a work of art by any of them. Then they fight each other to buy. I don’t suppose it’ll be quite like that at the Saatchi Gallery, but you never know.”
Continue reading...‘Some people thought our vocals sounded sarcastic. I felt like I was just being a normal teenager, moody as hell’
We made Overload at Mayfair Studios in Primrose Hill. We were running between two rooms, recording the poppier stuff for our debut album, One Touch, with Matt Rowe, who was famous for his work with the Spice Girls. And then, in the other room, working on Overload with [co-producer/writer] Cameron McVey and his team. The writing process was pretty organic, everyone adding lyrics and melodies. But for me, Cameron was instrumental in Overload. He has a way of pulling the best out of you, and he loved to ask us what was going on with our schooling, our mates, going out.
Continue reading...Rock history has painted Paul McCartney as the man who broke up the band. Now he reveals that it was Lennon who was first to look for a way out
It remains the most analysed break-up in rock history: the one that set the template. When the Beatles split more than 50 years ago and Paul McCartney, John Lennon, George Harrison and Ringo Starr went their separate ways, it was McCartney who shouldered most of the blame.
But now McCartney is setting the record straight for good. “I didn’t instigate the split. That was our Johnny,” he has insisted in a candid and detailed interview to be broadcast later this month.
Continue reading...Lockdown and ‘looking after the grandmas’ may have kept the Rage Against the Machine guitarist away from recent protests – but he refuses to be silenced
Tom Morello has made more than 20 albums, as a founding member of Rage Against the Machine – the political rap-rock band who have sold 16m records, and whose 1992 track Killing in the Name has become a perennial protest anthem – and of the bands Audioslave and Prophets of Rage. He also plays solo under the name the Nightwatchman, and has toured with Bruce Springsteen’s E Street Band. His unique approach to the guitar, which he has self-deprecatingly described as “making R2-D2 noises”, has led to him regularly being voted as one of the greatest guitar players of all time. His latest album, The Atlas Underground Fire (released on 15 October), features a series of collaborations recorded in lockdown – with Springsteen, Eddie Vedder, Damian Marley and Bring Me the Horizon, among others. He is a celebrated “nonsectarian socialist” political activist, famed for performing at demonstrations – he played at Occupy events across the US and Europe – and a co-founder of the nonprofit “social justice” organisation Axis of Justice.
You recorded your new album in lockdown. Did the pandemic also mean you missed out on the ongoing protests in the US?
Not only was there a global plague to contend with, there was the US political situation and the white supremacy comeuppance, all happening at a time when I was locked down with my 97-year-old mom, my 90-year-old mother-in-law, and two kids going crazy trying to learn remotely. I was unable to be on the literal frontlines for the first time in my adult life, because I’m trying to keep the grandmas alive, you know. So in the middle of the George Floyd protests I recorded a song called Stand Up, with Imagine Dragons, the great trans soul singer Shea Diamond and Bloody Beetroots as well. I was trying, from the bunker, to contribute in any way I could. But you’re absolutely right: that’s my bread and butter. I’m at the front of that march for 30 years, and now, you know, there’s a plumbing problem, or one of my kids broke a window with a basketball, so that’s my day
The Queen drummer and singer-songwriter on former girlfriends, forgetting lyrics and liking red wine
Born in Norfolk, Roger Taylor, 72, is an original member of the band Queen, which formed in 1970. Their hits include Bohemian Rhapsody, We Will Rock You and Radio Ga Ga. Taylor’s new solo album is Outsider, and he is currently on tour in the UK. The Queen + Adam Lambert’s Rhapsody European tour takes place next year. Taylor is married, has five children and lives in Surrey and Cornwall.
When were you happiest?
When I first heard one of our records on the radio.
Between the ‘chitlin’ circuit’ and her new rave tunes, the soul diva even picked up praise from Elvis. In our new series where you ask the questions, this storied musician reveals a few untold yarns
Why do you think that your early 70s classic albums (I’m Just a Prisoner, Stand By Your Man, Candi Staton etc) are less canonised than other ‘classic’ albums of that period by the Stones, the Beatles etc? mesm
Back then I didn’t get on the same chart as those guys because Black artists on smaller labels were put in the R&B charts, not the pop charts. It was musical segregation. To cross over you needed a big label and money behind you. There was a lot of politics. In the UK there was one chart, which is how it should be.
Continue reading...Almost since it first emerged on the streets of the Bronx, audiences have expected hip-hop to express a revolutionary purpose. But perhaps this music shouldn’t have to take a political stand
Halfway through side one of A Wolf in Sheep’s Clothing, the 1991 debut album by the hip-hop duo Black Sheep, some protesters interrupt the music. “Yo, man,” one guy says. “Why don’t you be kicking some records about, y’know, the upliftment of the Blacks?” Another asks why Black Sheep is silent about “the eating of the dolphins”. Someone else mentions “the hole in the ho zone”, turning environmental degradation into a dirty joke – perhaps unwittingly.
In response to all these demands for instruction, the guys from Black Sheep can only chuckle. Something about hip-hop makes listeners greedy for more words, better words. But Black Sheep made a brilliant album. What more could anyone want?
Continue reading...Livanskiy’s operatic vocals and hazy beats put her at the forefront of Moscow’s underground club scene. Now she’s retreated from the city to the forest to nurture her imagination
Yana Kedrina’s earliest exposure to music came in a wooden dacha in a pine-forested village 2,000 miles from Moscow. Kedrina’s grandmother, who built the summer cottage with her husband, would invite Kedrina and her seven sisters over to sing Russian folk songs and drink cherry leaf tea. The rustic surroundings and feelings of kinship nurtured in Kedrina an infatuation with her culture’s folklore and a devotion to community.
“A large family, gathering to connect to its ancestral heritage, was an experience unique to a time that predated this individualism we live in now,” Kedrina says, speaking in Russian. Her grandmother never lived to see her blossom into an internationally recognised musician under the name Kedr Livanskiy (Russian for the Lebanese cedar tree). But Kedrina, 31, takes solace in the fact that her career has spiritually fulfilled her grandmother’s dream of travelling beyond her village in Russia’s Tomsk region.
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