Muziek

Footwork versus Fab Four: dit zijn de 10 beste platen van de week

De Morgen - muziek - 3 hours 59 min ago
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Categories: Muziek

Ik moet al die Beatles-heruitgaves fysiek in mijn bezit hebben, want ik ben ziek in mijn hoofd

De Morgen - muziek - 3 hours 59 min ago
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Categories: Muziek

De soundtrack bij Californië in 10 geweldige nummers

De Morgen - muziek - 3 hours 59 min ago
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Rockers en filmsterren op uitvaart Chris Cornell

De Morgen - muziek - 26 May, 2017 - 18:07
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Categories: Muziek

Afscheid van Chris Cornell

De Morgen - muziek - 26 May, 2017 - 18:07
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Categories: Muziek

Cliff Richard treft schikking met politie in sekszaak

De Morgen - muziek - 26 May, 2017 - 16:03
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Categories: Muziek

Carly Rae Jepsen’s “Cut to the Feeling” Is Euphoric Pop Music

Pitchfork - Best New Tracks - 26 May, 2017 - 15:00

A lot of words have been written asking why E•MO•TION didn’t make Carly Rae Jepsen into the world’s biggest popstar. The difficult truth is that while Jepsen makes incredible pop music, she is actually not very good at being a popstar—centering herself in the music. Though that’s also one of the things that makes her so appealing to a certain swath of listeners. E•MO•TION came out at a time when mainstream pop was winking hard about ex-boyfriends and nemeses until subtext became headline and Lucille Bluth’s heavy eyelids looked subtle. Jepsen’s third album was refreshing because it was pleasingly blank, more interested in sensations than sensationalizing, focused on the act of desiring rather than its object.

“Cut to the Feeling” is one of E•MO•TION’s reputed 250 offcuts, which we’re now hearing thanks to its inclusion on the soundtrack to a kids’ movie called Leap. It’s bombastic and gaudy, like a trebly, millennial version of Belinda Carlisle’s “Heaven Is a Place on Earth.” It also sits quite happily alongside peak Robyn, Icona Pop’s “I Don’t Care,” and Frozen’s “Let It Go,” and contains some excellent pop “HEY!”s. Even so, it’s still distinctly Jepsen, her coaxing vocal creakiness convincing her paramour to stop denying what they want and just fucking go for it with her. “I wanna cut to the feeling!” she demands, sounding breathless and halfway there already. “Take me to emotion/I want to go all the way,” she sings to this guy, though really he’s just a mule for this brazen hedonist to reach those disembodied, ineffable highs.

Pop music is one of the truest ways to access those moments where “your frame of reference is shot and you are temporarily the most suggestible person alive,” as the writer Durga Chew-Bose describes it. That’s where Jepsen gets you. Maybe that makes her a meta-popstar, crafting music that celebrates pop euphoria while striving to attain it at the same time—and mostly succeeding. Regardless, it’s a good week to hear it.

Categories: Muziek

Ariana Grande kondigt benefietshow in Manchester aan: "Meer liefde is het antwoord op geweld"

De Morgen - muziek - 26 May, 2017 - 14:25
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Categories: Muziek

'Ten' van Pearl Jam opnieuw bovenaan Album 500 van Studio Brussel

De Morgen - muziek - 26 May, 2017 - 12:24
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Categories: Muziek

Pukkelpop trekt naar Zuid-Afrika

De Morgen - muziek - 26 May, 2017 - 10:30
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Categories: Muziek

Liam Gallagher schenkt opbrengst eerste soloconcert aan slachtoffers Manchester

De Morgen - muziek - 26 May, 2017 - 05:57
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Categories: Muziek

Tom Williams: All Change review – surging, vintage pop-rock

The Guardian - Albumreviews - 25 May, 2017 - 17:30

(Caroline)


He has released four albums as Tom Williams & the Boat but for his fifth, the Hastings troubadour has dropped his anchor, come ashore and is suddenly riding a quickening hype-wave, under his own name. The vintage pop-rock of All Change was recorded between classes with a student-backed band while he was artist-in-residence at Leeds Beckett University but its orchestral flourishes and even, on the track What a Shame, bursts of choir alongside an eerie organ, make it sound expensive and epic. Stylistically, Williams swings from Damien Rice acoustica on Sometimes to a whorl of psychedelic Radiohead on the refugee crisis-inspired Everyone Needs a Home, while nailing Oasis’s knack for pop songwriting. Better, though, is the monster, bourbon-laced riffage on Little Bird, as if latter-day Arctic Monkeys had done the Twin Peaks soundtrack, and the throaty urgency of Higher Place. Next year’s Brits critics’ choice award is surely his.

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Categories: Muziek

Life: Popular Music review – little innovation, lots of energy

The Guardian - Albumreviews - 25 May, 2017 - 17:15

(Afghan Moon)

These are tough times for the wake-up-sheeple school of rock music – the kind that is predicated on delivering profound enlightenment to the enslaved masses over howling guitars. As Hull band Life demonstrate deftly with their debut album – the dryly titled Popular Music – that’s because it is difficult to avoid sounding incredibly dated with it. At times, you get the impression their retro stylings could be deliberate – on Euromillions, echoes of the Clash’s Know Your Rights are too loud to ignore – but generally the critiques of consumerism and anonymous society feel generic and vague. More interesting is the band’s sonic stew, which is intermittently reminiscent of everyone from the New York Dolls and Brummie Oasis knock-offs the Twang to 80s Californian punk and Buzzcocks – the latter, specifically, in the brilliant Rare Boots. It makes for a conflicted listen: while the sentiments feel stale, Life prove there is no best-before date on punk’s gleeful energy.

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Categories: Muziek

The Amazons: The Amazons review – uneven indie rockers

The Guardian - Albumreviews - 25 May, 2017 - 17:00

(Fiction)

Like Palma Violets, Catfish and the Bottlemen, Circa Waves and many others before them, this hotly tipped four-piece from Berkshire infuse the best bits of mid-noughties guitar music with a woah-and-ooh-heavy pop sensibility. Their debut album kicks off with Stay With Me, with its earworm riff and singalong chorus built around the three words of the title, complete with those obligatory whoops. Similarly, Junk Food Forever – their latest single – is a Radio 1-friendly voyage into loneliness via some fairly unchallenging lyricism (“Junk food forever / Late nights together / Jackets in leather / I can’t forget ya”). Things are more amped up elsewhere, with Black Magic and Burn My Eyes taking a darker, more Royal Blood-ish turn despite similarly catchy refrains. The latter in particular proves a highlight, with the focus switched from anthemic guitars to a spaced-out synth line and swirling vocal. Sadly there’s not quite enough of that energy, with piano ballad Palace particularly lacking in vigour. The Amazons have a playful rockiness that could see them rise above the surfeit of indie revivalists, but right now they’re still a little too close to landfill.

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Categories: Muziek

The Charlatans: Different Days review – their best album in 20 years

The Guardian - Albumreviews - 25 May, 2017 - 16:45

(BMG)

The Charlatans have endured two members’ deaths and a breakdown. Such upheavals have wrought resilience, reflection and subtle metamorphosis. Here, guest drummers (ex-Verve man Pete Salisbury, New Order’s Stephen Morris – who also programmes – and A Certain Ratio’s Donald Johnson) bring a different funk. Other contributors include the Smiths’ Johnny Marr (guitar on three tracks) and crime novelist Ian Rankin (spoken word). Paul Weller donates some of his best music for the soulful Spinning Out, while elsewhere there are musical echoes of New Order and Love.

However, the Charlatans’ 13th album is grounded on the band’s own indestructible chemistry, Tim Burgess’s exquisitely happy-sad vocals and their ability to juggle melancholy and joy into exhilarating pop songs. Solutions and the title track have hooks in abundance. Plastic Machinery salutes individuality in an authoritarian world. Not Forgotten and There Will Be Chances capture beautifully a sense of progress through remembrance, the beating heart of the band’s finest effort since 1996’s Telling Stories.

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Categories: Muziek

Lil Yachty: Teenage Emotions review – idiotic, startling and brilliant outsider rap

The Guardian - Albumreviews - 25 May, 2017 - 16:30

(Universal)

If you are a hip-hop fan who considers a rapper’s talent as directly proportional to the size of his or her vocabulary, and for whom the phrase “back in the day” is always accompanied by a wistful sigh, prepare for your worst nightmare in zeitgeist-surfing 19-year-old Atlanta rapper Lil Yachty. There are certainly some idiotic moments on his 21-song debut LP. On one chorus, he just says “Harley” over and over again, while, on Better, presumably floundering for a word that rhymes with “whatever” and “clever”, he shoehorns in the name Trevor. His mum will be charmed by the song dedicated to her, less so by him telling a female house guest, on DM Freestyle, that “there’s piss all in the bathroom, bitch go clean it up”.

There is a fundamental misunderstanding of woodwind instrumentation when he says another young lady can “blow that dick like a cello”. There are precious few punchlines and still fewer original images – just a zoetrope of sex, money and Xanax.

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Categories: Muziek

Charlotte de Witte: "Ik vind rust in harde techno"

De Morgen - muziek - 25 May, 2017 - 15:16
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Categories: Muziek

‘Ik vind rust in harde techno’

De Morgen - muziek - 25 May, 2017 - 15:16
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Categories: Muziek

The Unthanks: Diversions Vol 4: Songs and Poems of Molly Drake review – subtly heartbreaking

The Guardian - Albumreviews - 25 May, 2017 - 14:00

(RabbleRouser)


Cover versions of Robert Wyatt and Anohni songs, hook-ups full of thunder and chug with a Yorkshire brass band, a stark soundtrack about shipbuilding, and now this: the fourth side-project in the Unthanks’ intriguing parallel career. This album features settings of poems and songs by Nick Drake’s mother, Molly, first revealed to the world on a 2007 compilation of her son’s music, Family Tree.

Related: Rachel Unthank: how I fell in love with the defiant songs of Nick Drake's mother Molly

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Categories: Muziek

Laurence Crane: 6 Trios, 2 Solos and 1 Quintet CD review – clean, uncluttered graciousness

The Guardian - Albumreviews - 25 May, 2017 - 13:45

Ives Ensemble
(RTF Classical)

Laurence Crane’s music does so much with so little. The gestures are frank and ambiguous, bemused and sincere, self-deprecating and alert, unadorned and unpretentious. Take 2011’s Piano Quintet, the central work on this lovely new disc from the Ives Ensemble. It starts as a lumpen waltz, as endearing as awkward dancers who don’t give a damn, then subsides into little phrases that tug repeatedly, now hopeful, now fretting. The means are simple but the impact is deep. In his booklet notes, Crane points out that this collection spans three decades.“What has changed in the intervening years?” he asks of his own creative evolution. The answer seems to be about scale and structure – longer movements, more complex ways of organising material – but the uncluttered courage of those early pieces is still there. It is all performed with a clean graciousness that sounds way easier than it is.

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Categories: Muziek

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