Muziek

Familie Tom Petty: overdosis medicijnen werd rocker fataal

De Morgen - muziek - 19 January, 2018 - 20:29
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Categories: Muziek

The Eagles verzoenen zich met Hotel California

De Morgen - muziek - 19 January, 2018 - 14:19
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Manager vraagt publiek op te komen voor rapper: "Boef is vertegenwoordiger van de jongerencultuur"

De Morgen - muziek - 19 January, 2018 - 12:45
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Categories: Muziek

‘Nachtwerk’ van Frank Vander linden: Krop. Keel. Zoiets.

De Morgen - muziek - 19 January, 2018 - 06:10
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The Shins: The Worm's Heart review – country charm turned spiky rock – and vice versa

The Guardian - Albumreviews - 19 January, 2018 - 04:45

(Aural Apothecary/Columbia)

A little under a year ago, James Mercer released the fifth Shins album, Heartworms. Now he’s released the same album, in a fashion he describes as “flipped” – that is, the running order is reversed, and every song is in a different style to the original. By and large, the top-line melody remains intact, but everything else – instrumentation, tempo – is altered. It’s neither better nor worse than Heartworms – which itself was very much a mixed bag – but the pleasures come in different places. The Fear, for example, was the downbeat closer to the original album, a rambling low-key reminiscence about depression.

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Categories: Muziek

Fall Out Boy: Mania review – songs to appal and appease the hardcore

The Guardian - Albumreviews - 19 January, 2018 - 04:30

(Island)

Many a band has stumbled trying to take a cult following with them into the uber-mainstream. However, since re-forming in 2013, Fall Out Boy have edged further away from their emo/pop-punk roots while continuing to top the US charts. Yet last year’s single Young and Menace – a venture into EDM that referenced Britney Spears’s Oops! … I Did It Again – misfired so badly that Mania was hastily rerecorded.

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Categories: Muziek

Porches: The House review – beguiling, flawed dance-warmed pop

The Guardian - Albumreviews - 19 January, 2018 - 04:15

(Domino)

Despite having graduated from dirge-like indie to downbeat but danceable synthpop over the course of their first two albums, Porches (otherwise known as singular New Yorker Aaron Maine) don’t change tack again on their third. Instead, The House doubles down on Maine’s previous fusion of dance music and languid crooning, weaving house flavours into a record that can feel emotionally one-note, but sonically beguiling.

Refreshingly, Maine largely eschews the increasingly wearisome tropes of contemporary synthpop (snappy drums, patchworks of treated vocal samples): opener Leave the House sees his listless vocal underlaid with a warm, pulsating synth line that recalls Robin S’s Show Me Love, while follow-up Find Me brings its dance-music influences into the foreground, pairing a slow, sad top-line with a driving house beat. Elsewhere, Maine starkly Auto-Tunes his voice over layered beats (Anymore), takes guitar twang to an extreme (Wobble) and, on Åkeren, hands over the mic to a (presumably) sultry Norwegian singer.

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Categories: Muziek

First Aid Kit: Ruins review – lustrous Americana heartbreak pop

The Guardian - Albumreviews - 19 January, 2018 - 04:00

(Sony/Columbia)

It’s hard to believe now that there had once seemed a fighting chance that Johanna and Klara Söderberg were little more than an amusingly winsome diversion: Oh, look at the singing Swedish sisters with their Fleet Foxes covers! That they were able to flourish speaks volumes for both their determination to make their initial success only a starting point, and the quality of their songwriting, in which there is no diminution on their fourth album.

You would not note anything particularly Scandinavian about First Aid Kit from Ruin (albeit Hem of Her Dress, in its wordless singalong coda, recalls their compatriots the Concretes). Like its predecessor, Stay Gold – their first album for Columbia – it’s a record that evokes endless plains rather than ominous forest. It’s another American-sounding record – recorded in Portland with players including Peter Buck, and a warm, analogue-sounding production from Tucker Martine – that taps into a lineage stretching back through the Jayhawks to Neil Young, as much middle America as Laurel Canyon, mired in a particularly appealing kind of heartbreak.

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Categories: Muziek

Balthazar-bassist Simon Casier: "Nu ik dertig ben, mag ik wat melancholischer klinken"

De Morgen - muziek - 19 January, 2018 - 01:00
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Categories: Muziek

Hanne Torfs, frontvrouw en toetseniste: "Niets zaliger dan met een leeg hoofd bewegen op muziek"

De Morgen - muziek - 18 January, 2018 - 13:12
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Tune-Yards: I Can Feel You Creep Into My Private Life review – wonky diva wakes up to wokeness

The Guardian - Albumreviews - 18 January, 2018 - 07:00

Merrill Garbus’s identity politics may skirt self-parody, but by combining them with house and disco, she’s made an album custom-built for 2018

There are many ways for an artist to reboot their muse in preparation for a new album. You can try the old-fashioned retreat from the city to a rural idyll; the time-honoured practice of “getting it together in the country”. You can travel abroad and immerse yourself in different musical cultures, or surround yourself with collaborators from outside your usual artistic wheelhouse, in the hope that their influence will broaden your horizons. Or, if you’re Merrill Garbus, frontwoman of Tune-Yards, you can go on a six-month meditation workshop “to learn about my experience as a white person in the realm of social justice” at a Californian centre that is home to “a supportive learning community of white practitioners exploring racism in the context of Buddha dharma and looking for ways to transform our white racial conditioning and white supremacist systems”.

Whether you think this sounds a worthwhile practice, or as if it was dreamed up by a Spectator journalist cackhandedly trying to satirise liberal right-on-ness, Garbus’s participation in it is intriguing. Amid critical acclaim for the kaleidoscopic music on Tune-Yards’ previous three albums, accusations of cultural appropriation have often been thrown her way. You don’t need to join a six-month meditation workshop exploring racism in the context of Buddha dharma to think it’s a bit off for a white artist to adopt what sounded worryingly like a faux southern black accent, as Garbus did on 2014’s Rocking Chair. And at its worst, her eagerness to atone for past transgressions on I Can Feel You Creep Into My Private Life is so clunkily rendered it suggests Garbus’s desire to demonstrate her wokeness has outstripped her desire to make interesting music. The joyless spectre of the Knife’s final album, Shaking the Habitual – on which the Swedish electronic duo did their bit to dismantle the institutions of patriarchy by being as tuneless as possible – hangs around Colonizer, a grey porridge of discordant samples, distorted voices and a kick-drum pulse, over which Garbus flutingly sings: “I use my white woman’s voice to tell stories of travels with African men … I turn on my white woman’s voice to contextualise acts of my white woman friends.”

Related: Tune-Yards: ‘The shared experience of music is sacred’

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Categories: Muziek

Classical album of the week: Czech PO/Bělohlávek – Smetana's Má Vlast

The Guardian - Albumreviews - 18 January, 2018 - 05:00

(Decca)

Czech music was always what defined Jiři Bělohlávek as a conductor. In his six years with the BBC Symphony Orchestra he conducted a wide range of works, from Mozart to the present day, but it was the music of his fellow countrymen that consistently brought the best from him. Many of those performances – of Suk, Janáček and especially Martinů, as well as Smetana and Dvořák – have been released on disc, but he also recorded extensively with the Czech Philharmonic Orchestra, where he took over as chief conductor for a second time after leaving the BBC, and where he remained until his death last year at the age of 71.

Related: Jiří Bělohlávek obituary

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Categories: Muziek

Legowelt, Donna Leake en Bicep op and& festival in Leuven

De Morgen - muziek - 18 January, 2018 - 00:00
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Mount Eerie: “Distortion”

Pitchfork - Best New Tracks - 17 January, 2018 - 16:45

From Mount Eerie’s upcoming album, Now Only

Categories: Muziek

Mouse on Mars: “Dimensional People Part III” [ft. Justin Vernon]

Pitchfork - Best New Tracks - 17 January, 2018 - 14:10

From Mouse on Mars’ upcoming album, Dimensional People

Categories: Muziek

Dit zijn de strafste songs van de week

De Morgen - muziek - 17 January, 2018 - 13:15
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Categories: Muziek

Charlotte de Witte krijgt eigen podium op Tomorrowland

De Morgen - muziek - 17 January, 2018 - 08:00
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Categories: Muziek

London Grammar komt naar Rock Werchter

De Morgen - muziek - 17 January, 2018 - 03:37
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Op wereldtournee met een virtuele Roy Orbison: staat binnenkort bij elk concert een hologram op het podium?

De Morgen - muziek - 16 January, 2018 - 14:20
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Categories: Muziek

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