Take a visionary duo inspired by hip-hop and renowned for ceding control to their software and performing in total darkness, who have inspired haywire mutations of electronic music that seek to dissolve any remaining boundaries between our emotions and the machines we use to express them. Boil it down to just one musician and an acoustic guitar to reveal the durability of this cryptic, futuristic sound.
I woke up in hospital. I had fourth-degree burns down my right arm, all the way to the bone marrow. After four weeks in the burns unit, doctors gave me a choice: spend years attempting to save the arm, or amputate and leave hospital within a week. I chose amputation. It was the right decision but it was still devastating.
Now, more than 50 years into their career, British pub-pop legends Squeeze have rested their pints long enough to revisit Trixies (BMG), a rock opera founding members Chris Difford and Glenn Tilbrook wrote as teenagers before they had a record deal. In 1974. The ambition! The naivete!
I'm very sensitive to sound, so the smallest noises can be distracting. Silence is sometimes loud for me. After the diagnosis, Sussman's parents switched him to a school that specialized in helping students with learning differences. His mom also started playing brown noise to help him relax or fall asleep, after she read that low-frequency (lo-fi), deep rumbling sounds-like heavy machinery or strong rainfall-can soothe those with ADHD.
Early Life Crisis, the teen rapper's follow-up to Bad Ass F*cking Kid, features YoungBoy Never Broke Again (on "Masked Up") and OsamaSon ("Pain Talk"). Nettspend wrote the album with Keifa Carter, Nathaniel Campos, and more collaborators, enlisting production from CXO, Rok, and others.
Captured during a live recording session deep in the Corsican wilderness, the 11 track project presents a raw, hardware driven performance forged through real time improvisation. The album embraces the unpredictability of live electronic music, where instinct, physical interaction and spontaneous decision making shape the sound as it unfolds.
Tame Impala is credited as a writer and producer on the track "Merry Go Round." Diplo is listed as a writer and producer on multiple songs, including "Body Body" and "FYA," with JPEGMAFIA joining him on the latter. Mike WiLL Made-It contributed to "2.0" and "Aliens," while additional collaborators include Teezo Touchdown, Flume, and El Guincho.
Spears was arrested around 9:30 p.m. in Ventura County and released on Thursday, sheriff's office records show. She has a May 4 court date scheduled. Spears, 44, born in Mississippi and raised in Louisiana, was a teen pop phenomenon who became a defining superstar of the '90s and 2000s.
This one is for the girls who have a bad habit of deep rumination! I wrote this song about how it feels to question love. You spend so much time with a person and give so much of yourself to them, but can't help but wonder if it's genuinely you that they are in love with, or the feeling of just having someone.
Laurie Anderson, the performance artist, told Paul Simon about me and said, 'You should get Adrian to play on your record. He always comes up with interesting sounds that I'm sure you could use.' That's me, the man with the interesting sounds.
Music and art should not be easy. Once it becomes easy, it's meaningless. In a way, it's the things you don't see or hear that make it art. You know what I mean, in a way. It's a weird intuition that the listener has that picks up on the journey that the artist has been through to make that particular thing with the tone of the voice, etc. You can't replace that.
It's similar to a vinyl record, but the tracks are in a USB drive. It has no moving parts inside, so it's totally digital in how it stores sound. But it has a physical shape users can hold, flip over, look at, and collect, so in a way, the designer is asking: what if digital music had a physical body?
I belong to a current of poetry that is meant to be read in public. Houellebecq's statement reflects his philosophy on artistic expression, emphasizing the performative nature of his work across multiple mediums. His musical recordings and public performances demonstrate this commitment to bringing poetry and artistic vision directly to audiences through various channels beyond traditional literary publication.
This release is about connection. Not in a strategic sense, but in terms of feeling part of a scene rather than orbiting around it. There's a lot of really strong music coming out of Australia right now, especially in the underground, and this felt like the right moment to place something there.
I'm gonna have some really good music to put out after this. All those heady emotions he encountered in Scotland - obsession, treachery, heartbreak - are great fuel for writing pop music. Nam's first single in two years, "How the Fire Started," starts with "You never gave a damn about me until I had something you needed" - a message to Rob if there ever was one.
Intense listening capabilities from these exquisite players which required, more than anything else, a great deal of trust. They posited about thematic structures, which somehow got agreed upon, live in the moment through a collective groupthink. Right there on stage. No words spoken, just an exchange of bizarrely intense looks. Ranging from 'we're almost there' to 'don't you dare.' That's trust, people.
In particular, I have a fascination with one-hit wonders, songwriters who at some point inexplicably produced a morsel of unequivocal genius, a sonic masterpiece, like a portal into an unknown universe... three to five timeless minutes that hover with esoteric intelligence as if heaven itself reached down and caressed a human voice... a song that brushes close enough to the divine to leave us believing in a force greater than our flesh and bones.
It is Moby at the peak of his powers but there's one track that stands especially tall. It's Harbour and it features a sublime vocal from Sinéad O'Connor. The song, stately and seductive, is yet another reminder of the rare gifts of the late singer.
We internalised an idea of cool that involved the appearance of, if not actual, effortlessness that's hard to shake. But maybe, probably, we were wrong. Certainly, there was something disingenuous about our pretending not to care. Of course we had goals and ambitions and lots of people pedalled desperately to achieve them beneath the surface, while maintaining a nonchalant, no revision front above the waterline.
We tend to think AI music tools are just gimmicks for social media creators, or that they're limited to basic beats. But it's hard to dismiss them when companies like Google, Meta and Stability AI are pouring resources into generative audio models that can produce full compositions in seconds.
Spotify's "Smart Reorder" option, announced on Wednesday, is available now in the Spotify app for Premium subscribers. To try it out, open a playlist and tap the "Mix" button then "Edit." The "Smart Reorder" button should be at the bottom of the editing screen.
It's purely a creative space. There are no deadlines. There are no have-to's. It's just something I do for me. When you design a recording studio, the first thing you want to do is treat the room to make sure the sound is good, so you're getting an accurate depiction of the music as it was played or recorded.
Grace Ives returned in November with three new singles, "Avalanche," "Dance With Me," and "My Mans," her first new music since her 2022 album Janky Star. She's now announced a new album, Girlfriend, due out March 20 via True Panther/Capitol Records. It was written and produced with Ariel Rechtshaid and John DeBold, with mixing by Dave Fridmann.
I consider myself somewhat of a Super Bowl halftime show expert: I don't know much about football, but I sure know a hell of a lot about musical icons, pop culture, and putting on a show. So, it's with those credentials that I hereby declare that Bad Bunny's halftime show at Super Bowl LX was one of the best ever, if not the very best of all time. There, I said it.
If City Center Encores! was originally founded as a kind of musical-theater seance devoted to raising the dead, or at least the long-forgotten then High Spirits is about as literal a mission statement as you could ask for. The rarely revived 1964 musical opens with a seance and arrives at City Center like a theatrical ghost itself: long unseen, mostly forgotten, and faintly glowing with the promise of pleasures from another era. That alone makes High Spirits worth summoning.
Bay Area producer Marsh crane's introduction came when he stumbled onto Knxwledge's VATOGATO tapes on Bandcamp. Their journeys to the Chicago dance genre reflect the stylistic approaches that set them apart from their Midwestern compatriots; where RP Boo and co.'s minimalism emphasizes the persistent rhythms that sustain a dancefloor, username and Marsh crane embrace a busier, Zoomer-inspired sound, hashing underground rap microgenres and recognizable samples into dreamy collagist fantasies.
As a piece of theatre, it finds its flow. As a debate play, though, it gathers a locomotive energy as it travels towards the showdown between Frank Miller (James Doherty), who is returning to this dirty little village in the middle of nowhere, and the marshal Will Kane (Crudup) who put him behind bars. That is mostly because of the uncanny and urgent relevance of this 1952 film about a community working out (or rather, squirming out of) its civic responsibilities around institutional wrongdoing.
Mozart's opera The Magic Flute is long, running for about three hours, and possesses a famously convoluted plot, laden with esoteric philosophical concepts. It's very much a grown-up affair, but you wouldn't know it from Protein's simplified 75-minute dance-theatre adaptation, which is faithful to the original (well, mostly), highly entertaining and suitable for all ages. Certainly, the audience at the performance of Protein's The Magic Flute I attended at a packed The Place, an even mix of children and adults, appeared rapt throughout
"Conceptually a lot of the video was inspired by the themes of Tranquilizer itself, exploring themes of archiving and degradation," says Elliott. To create this heady balance of catalogued crumbing, Elliott and George devised a narrative surrounding a piece of software that's tasked with forecasting natural disasters, documenting and analysing values like wind speed and precipitation - "essentially a worst-case scenario machine", Elliot says.
