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The rapper releases a new song, featuring SZA, from the soundtrack, as director Ryan Coolger says his ‘artistic themes align with those we explore in the film’

Rapper Kendrick Lamar will produce and curate the soundtrack to the forthcoming Marvel movie Black Panther, having been personally selected by director Ryan Coogler.

Lamar will “contribute [his] knowledge of producing sound and writing music”, alongside the CEO of his label Top Dawg Entertainment, Anthony Tiffith. The tracklist has not been revealed, but All the Stars, a new song by Lamar featuring R&B singer SZA, was released at the same time as the announcement.

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Make your nomination in the comments and a reader will pick the best eligible tracks for a playlist next week – you have until Monday 8 January

Go on then, we dare you to think of a tune that fits the theme – for more on which, keep an eye on the comments.

You have until 11pm on Monday 8 January to post your nomination and make your justification. RR contributor Gary Willis (who posts below the line as Fintan28) will select from your recommendations and produce a playlist, which will be published on 11 January.

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You can hardly blame Lorde for getting in a diplomatic brouhaha, celebrity singers are too young and too busy to be political sages. So here’s a cheat sheet

Give us today our daily outrage: the pop star Lorde has decided – after much consideration – to cancel her concert in Israel after a letter from BDS (boycott, divest, sanction) supporters. Cut to a rightwing American rabbi taking out a full-page advert in the Washington Post to denounce her as antisemitic, and also hold her responsible for New Zealand’s entire foreign policy.

All of this seems a bit harsh – expecting a 21-year-old to have a fully formed opinion on something she readily admitted to not knowing much about. This is a woman who sang on her first album about never having been on a plane. This is a woman who also made one of the best albums of 2017, so probably didn’t have a lot of time to refresh her news app every time something happened in global politics (and that would have been a lot of times). This is a woman who thought about something for a while, sought some advice, and then made a decision she thought was best.

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The music streaming service faces a claim on behalf of artists including Neil Young and Janis Joplin as it prepares a share sale

Music streaming service Spotify has been sued by a music publishing company for $1.6bn (£1.18bn), for hosting songs it allegedly doesn’t have the full rights to. The news comes at an awkward moment for the tech company, which is reportedly preparing for a stock market sale.

Wixen, a Californian company that collects royalties on behalf of artists including Tom Petty, Neil Young, Janis Joplin and the Doors, alleges that Spotify “took a shortcut” when it cut deals with major labels to host their back catalogues.

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The Californian music festival will also feature the Weeknd, David Byrne, Cardi B and dozens more pop and rap stars

Coachella, the two-weekend Californian event that traditionally kicks off the summer’s festival season, has announced the lineup for its 2018 edition.

Beyoncé will headline on April 14 and 21, in her first live shows since her Formation world tour in 2016. The R&B star took 2017 off from live performance after giving birth to her twins Rumi and Sir, and the Coachella announcement will further fuel rumours she is gearing up to release new material.

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Puerto Rican rapper, writer and film-maker Residente is one of the most successful Latino artists of his generation, winning 24 Latin Grammys as one half of internationally renowned group Calle 13. No other Latin artist has matched that record – and he's nominated in a further nine categories this year following the release of his solo album, Residente. He speaks with Iman Amrani about the influence of politics in his music, his family and Donald Trump

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Pioneered in the 1950s by musicians breaking the rules of jazz and composition, free improvisation is still as difficult – and potentially transcendent – as it ever was. A Guardian documentary takes you inside its world, talking to visionary performers like Evan Parker and John Edwards

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His new album Channel Orange was rushed out a week early to rave reviews, then he made headlines worldwide by blogging about his sexuality. 'I wanted to wake up without this freakin' boulder on my chest,' he says in this Guardian exclusive

Frank Ocean has had quite the week. "Yes," he says, smiling, with a barely perceptible shake of the head, as if in mild disbelief. Then he nods: "Yes. But also awesome." Two things have contributed to making his week awesome. There's the surprise release of his second album Channel Orange, a week before it was officially planned, which met with rabidly enthusiastic reviews comparing his idiosyncratic, narrative-heavy reimagining of soul and R&B to Prince and Stevie Wonder. Then there was the post on Tumblr in which he told, beautifully, the story of falling in love for the first time, with a man. "I don't know what happens now, and that's alrite," he wrote.

You can understand why Ocean might be feeling a little stunned. He's suddenly the most talked-about man in music, though he hasn't yet done much of the talking himself. He shuffles into a dressing room behind Vancouver's Commodore Ballroom nursing a herbal tea, and plays with it nervously, a hoodie wrapped around his neck like a scarf, before politely shaking my hand, all the time avoiding eye contact. He's 24, relatively new to all of this, and suddenly the world wants to know his business.

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Despite the ‘living hell’ of his childhood, five of his past six releases have made the Billboard chart, and the indie rapper shows no signs of easing his workload – even making videos from his hospital bed after being shot in broad daylight

In an Instagram post from November, Young Dolph, a rare indie success story in US rap, reclines on a throne. He throws his left leg over one of the chair’s golden arms. On his right arm is a custom Gucci sling with red trim. Older Instagrams show Dolph wearing bandages at a Los Angeles hospital, then an arm sling to visit a jeweller. But for this self-portrait, shared with his 2.5 million followers, a hospital-issue sling wouldn’t do. “I got shot in my arm,” he says, “but OK, let me style on you bitches right quick.”

For someone who had never thought of music as a viable career choice (“I’m from Memphis, you know I thought about pimping,” he rapped on 2017’s On the River), Dolph has every right to boast: five of his past six releases, all from 2016 onward, made the Billboard album chart. His new album, Thinking Out Loud, became his highest charting yet when it broke the top 20 in October. That release also showed that, after getting shot in broad daylight in September, reportedly due to a simmering beef with another Memphis rapper, nothing will stop Dolph from getting back to work.

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Founding member of the Moody Blues best known as the group’s flautist

Ray Thomas, a founding member of the Moody Blues, who has died aged 76, played various instruments, including the French horn, oboe, piccolo, harmonica and saxophone, but was best known as the group’s flautist. Jethro Tull’s Ian Anderson would become rock’s most flamboyant flute-brandisher. However, Thomas’s solo in the band’s biggest hit Nights in White Satin, which went to No 2 in the US and reached No 9 in the UK at the end of 1967 (one of its three appearances in the UK Top 20), perfectly encapsulated the song’s mood of mystical melancholy.

Though they started out as an R&B band in Birmingham, the Moody Blues became early pioneers of symphonic rock, and precursors of the 1970s progressive movement. Their debut album, The Magnificent Moodies (1965), went to No 5 in Britain, but it was not until the band regrouped in 1966 that they found their true musical direction.

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Clapton cancelled concert dates in 2013 due to back pain that has now led to peripheral neuropathy

Eric Clapton has said that damage to his nervous system makes playing guitar difficult. Clapton, who was recently diagnosed with peripheral neuropathy, told Classic Rock: “I’ve had quite a lot of pain over the last year. It started with lower back pain, and turned into what they call peripheral neuropathy.”

Clapton, who cancelled concerts in 2013 due to back pain, said his condition felt as if “electric shocks [were] going down your leg”.

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In this all-Stravinsky disc, Ricardo Chailly and the Lucerne Festival Orchestra bring brilliance, detail and precision to works that include the rediscovered Chant Funèbre

In 2015, an early piece by Stravinsky, lost for over a century, made headlines when it was rediscovered among a pile of manuscripts in the St Petersburg Conservatory. Chant Funèbre was composed in 1908, after the death of Stravinsky’s teacher Nikolai Rimsky-Korsakov, and it received a single performance at a concert in the conservatory the following January. But then the score and parts disappeared, and though Stravinsky himself remembered it as one of the best of his early works, the assumption was that it had been destroyed during the turmoil of the Russian Revolution.

Related: Key Igor Stravinsky work found after 100 years

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Royal Opera House, London
David McVicar revives his provocative production for a third time with more nudity, a severed head and a heroine who acts like a petulant pseudo-teen

Shock and revulsion don’t often endure for over a century. Since Strauss’s Salome premiered in 1905, we’ve gradually come around to all manner of once-outrageous ideas, from onstage nudity and performers who stand with their backs to the audience to voting women and same-sex marriage. Yet Salome remains to this day a thrilling, chilling piece, its eponymous antiheroine as disturbing as ever.

David McVicar’s 2008 production – directed in its third revival at the Royal Opera House by Bárbara Lluch – still doesn’t take any chances. McVicar injects extra opportunities for provocation with more nakedness, more hints at sexual violence, a gorily realistic severed head, and lashings of fake blood. This is the stuff of B-movies.

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Why are so many Mongolians winning international singing awards? To find out, Kate Molleson travelled 1,000 miles across the country to meet latest star Ariunbaatar Ganbaatar, drinking mare’s milk, sleeping in yurts and recording its vocal masters

Last summer, a video from Cardiff went viral in Ulaanbaatar, the capital of Mongolia. It showed opera coach Mary King moist-eyed during the finals of BBC Cardiff Singer of the World. Who had moved her to tears? Mongolian baritone Ariunbaatar Ganbaatar. Towering, broad-shouldered, with a huge smile and a mighty voice, the 29-year-old sang Rossini, Verdi and Tchaikovsky – and charmed everyone, including the judges, who declared him joint winner of the coveted Song prize. “There was something so imposing about the sound,” King said. “Contained and glorious. It’s very unusual to find this combination of presence, power and effortlessness.”

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French pop singer who won the Eurovision Song Contest in 1965

France Gall was 17 years old when she won the 1965 Eurovision Song Contest with Poupée de Cire, Poupée de Son, a composition by Serge Gainsbourg in which the singer lamented her plight as a helpless puppet persuaded to sing about matters of love in which she had no experience. By that time Gall, who has died aged 70, was already a star of France’s yé-yé scene, a rival to Sheila, Sylvie Vartan, Françoise Hardy and Chantal Goya, and regularly featured on the covers of such popular magazines as Mademoiselle Age Tendre and Salut les Copains.

A pretty face, neat blond hair – sometimes bobbed, sometimes long – and perfectly chosen clothes were among the ingredients that made her a model for France’s teenage girls. She could sing in her baby-doll voice about hating school (in Sacré Charlemagne, her first big hit in 1964, with a lyric by her father) or advise a boy to stop playing the field (in Gainsbourg’s Laisse Tomber les Filles, from the same year) without losing her innocent smile.

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The prog veterans haven’t spent their 33-year recording career standing still – as they’ve moved on creatively, they’ve also reinvented music industry models

Marillion were still defining their sound when they recorded their first album, 1983’s Script for a Jester’s Tear. While they’d already got crude pastiches of Supper’s Ready out of their system, the dramatic album closer still displays strong echoes of Genesis’s The Knife and Pink Floyd’s Comfortably Numb. The tale of a young soldier caught up in the Troubles in Northern Ireland remains an intense and moving piece that transcends its rather obvious influences. In archetypal neo-progressive fashion, it builds through multiple sections, with a Psalm 23/Lords’ Prayer spoken-word part backed by a staccato riff stolen from Gustav Holst’s Mars, the Bringer of War, and a powerful closing section demonstrating Fish’s growing powers as a lyricist. A high water mark of early 80s neo-prog, it’s a song that’s far more than the sum of its parts.

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David Bowie died two years ago today, but his songs remain endlessly open to interpretation. Eight Guardian writers pick their favourites, and dig into what makes them so special. Please share your own in the comments

On 11 August 1974, two days after Richard Nixon stood down in disgrace as president of the United States, David Bowie recorded Young Americans at Sigma Sound in Philadelphia. The band included Carlos Alomar, his guitarist for the next 30 years, and a pre-fame Luther Vandross, who created the vocal arrangements. A complete stylistic break from glam rock, Bowie self-deprecatingly called his new sound “plastic soul” – even in 1974 he was wise to the risks of what would now be called cultural appropriation.

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Image of black child in a hoodie reading ‘coolest monkey in the jungle’ described as ‘deeply offensive’ and ‘disturbing’ by musicians who had collaborated with the clothing company

Musicians The Weeknd and G-Eazy have each cancelled partnerships with H&M, after the clothing retailer was accused of racism over a promotional image of a black child dressed in a hoodie reading “coolest monkey in the jungle”.

Related: H&M apologises over image of black child in 'monkey' hoodie

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After the singer said the band’s lawyers ‘have been relentless’ in their pursuit of publishing rights to her song Get Free, a representative has said no lawsuit has been filed

Radiohead have refuted Lana Del Rey’s claim that they have filed a lawsuit against her that demands publishing rights to her song Get Free, thanks to its similarity to their song Creep.

After rumours of the lawsuit circulated, Del Rey had tweeted: “It’s true about the lawsuit. Although I know my song wasn’t inspired by Creep, Radiohead feel it was and want 100% of the publishing – I offered up to 40 over the last few months but they will only accept 100. Their lawyers have been relentless, so we will deal with it in court.”

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A potentially dangerous situation was deftly defused by the Canadian singer during her concert residency at the Colosseum in Las Vegas

Céline Dion has been praised after deftly handling a stage invader during a concert in Las Vegas. An apparently inebriated woman climbed on stage, embraced Dion and wrapped her leg around her during a pause between songs, almost toppling the pair to the ground. But rather than the woman being escorted off by security, Dion told her: “I thought you just wanted to come closer to me. But you know what, I’m glad you came closer to me.”

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