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  • WENN

    The ‘You Oughta Know’ hitmaker reveals the weird effect that the Christmas carols have on her, claiming she gets gloomy listening to those holiday songs.

    Dec 26, 2020
    AceShowbiz – Christmas carols have a really weird effect on musician Alanis Morissette – and even her kids are starting to notice.
    The “You Oughta Know” singer notes festive music has always made its mark on her.
    “I have a seasonal affect thing (sic),” she tells “Live with Kelly and Ryan”, “so as soon as it gets dark at five pm my mood (changes).”
    And once the holidays kick in, the Canadian even finds some of the seasonal tunes “devastating.”

      See also…

    “The chord changes in some of the Christmas songs are really actually really devastating,” she sighs, revealing even her children remark on the change in mum.
    “I notice it in my kids’ faces,” she admits. “I’ll start playing Christmas songs and something happens (to me).”
    “My mum used to have to pull over to the side of the road when so many of the Christmas carols were being played because I would get really emotional – like existential ache,” she adds.
    Despite Christmas songs making her sad and gloomy, Alanis Morissette joined the Christmas song rush by putting her own spin on John Lennon and Yoko Ono’s classic holiday track “Happy Xmas (War Is Over)”.
    “It is an honour to cover this heartwarming song,” she said. “The lyrics feel more pertinent than ever and this year has been a year of great resilience and adapting and feeling all the feelings. May this song serve as a big hug to you and your sweet families and friends. Everything is going to be OK in the end, and if it’s not OK, it’s not the end.”

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  • John Eliot Gardiner, who hit a singer during a tour in France last year, said he was starting a new choir and orchestra.The renowned conductor John Eliot Gardiner, who has faced widespread criticism since he struck a singer during a tour in France last year, announced on Monday that he had formed a new choir and orchestra as he attempts a comeback on the global stage.Gardiner said his new ensembles, the Constellation Choir and the Constellation Orchestra, would be made up of prominent musicians and singers from across Europe and would embark on a tour in December with stops in Germany, France, Austria and Luxembourg.“More than anything else,” Gardiner said in a statement, “I am so excited and grateful to be working with such exceptional musicians once again, not forgetting the important lessons I have learned and needed to learn from the past year.”Gardiner, 81, a major figure in classical music, is known for founding three acclaimed period ensembles over the past six decades: the Monteverdi Choir, the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. He has released celebrated recordings, written a book about Bach and conducted at the coronation of King Charles III of Britain.But since the incident in France, he has largely been absent from the global stage. In July, the board of the Monteverdi Choir & Orchestras, the nonprofit that oversees the three ensembles, said it had decided that Gardiner would not return to the organization. (Gardiner has sought to frame that decision as his own.)Gardiner struck the singer, William Thomas, a rising bass from England, on the face last year after a performance of the first two acts of Berlioz’s opera “Les Troyens” at the Festival Berlioz in La Côte-St.-André. He was apparently upset that Thomas had headed the wrong way off the podium at the concert, people at the festival said at the time.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • The rapper’s collaboration LP with Ty Dolla Sign debuted atop the Billboard 200 with the equivalent of 148,000 in sales.A year and a half ago, the career of Ye — the rapper, producer and controversy generator formerly known as Kanye West — seemed all but dead. After a series of antisemitic remarks in late 2022, Ye lost his major-label record deal and booking agent, along with lucrative fashion partnerships with Adidas, Balenciaga and other brands.But he was never quite abandoned by many of his fans. And now Ye has the 11th No. 1 album of his career with “Vultures 1,” a joint LP with the singer Ty Dolla Sign that Ye released on his own, after previewing it this month with arena events in Chicago and Long Island where tickets went for $140 and up. Ye and Ty Dolla Sign’s new LP beats “Coming Home,” the comeback release by Usher, who had perhaps the greatest platform available to any performer: the Super Bowl halftime show.Ye had been teasing “Vultures 1” since late last year, and, fitting a pattern that long preceded his recent industry-pariah status, the album’s rollout was stumbling and chaotic. After its release to digital services following a listening event on Feb. 9, the LP’s availability briefly flickered, and Ye was quickly accused of borrowing music by Black Sabbath and Donna Summer without permission.Last week, “Vultures 1” again disappeared for a short time from Apple Music and was made unavailable as a download, while behind the scenes there was a switch in the distribution platform that Ye’s brand YZY used to supply the album to digital services. The song “Good (Don’t Die),” which appears to borrow a melody from Summer’s hit “I Feel Love,” was also removed from online versions of the album.“Vultures 1” ended its first week with the equivalent of 148,000 sales in the United States, which includes 168 million streams and 18,000 copies sold as a complete package, according to the tracking service Luminate. It is Ye’s first No. 1 album since “Donda” in 2021.Usher scores his highest-charting album in 12 years, with “Coming Home” arriving at No. 2 after the R&B veteran’s performance at the Super Bowl on Feb. 11, with guests including Alicia Keys, Lil Jon and Ludacris. “Coming Home,” also released independently, had the equivalent of 91,000 sales, including 46 million streams and 53,000 traditional sales. Usher’s last studio album, “Hard II Love,” went to No. 5 in 2016, and “Looking 4 Myself” reached No. 1 in 2012.Also this week, Noah Kahan’s “Stick Season” is No. 3, Morgan Wallen’s “One Thing at a Time” is No. 4 and SZA’s “SOS” is No. 5. More

  • For his Carnegie debut, the fast-rising Yunchan Lim gave a confident and dazzling performance of Chopin’s 27 fiendishly difficult études.It was that rare occasion on Wednesday: There was an encore at Carnegie Hall.I mean a literal, French-for-“again” encore, when a musician, brought back at the end of a concert by applause and more applause, gives another rendition of a piece he has already played.Bowing modestly after making his Carnegie debut with a confident, supple, eventually dazzling performance of Chopin’s 27 études, the teenage pianist Yunchan Lim had given three eloquent encores of other Chopin works. But the ovation continued. So he returned to the stage and started the gentle undulations of the A-flat major étude he had played some 40 minutes earlier — now with even more flowing naturalness.Lim was courting comparison with himself after a concert spent courting comparison with the canon. Chopin’s complete études are only an hour of music, but that hour is one of the most difficult and storied in the piano repertoire, a daunting yet irresistible gantlet for musicians who model themselves after the old school.Even precociously old school. At 19, the same age as Chopin when the earliest of these pieces was written, Lim has already shown boldness in taking on standards. When, in June 2022, he became the Van Cliburn International Piano Competition’s youngest winner, his victory was secured with a wholly unafraid version of Rachmaninoff’s Third Piano Concerto. The Cliburn and Steinway have since released a live recording of his electrifying semifinal round, playing Liszt’s “Transcendental Études.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music“The Tortured Poets Department,” the new album from Taylor Swift, will have the biggest opening week of any album this year. Critical reaction to the release has been mixed, but fan interest has remained extremely high. And questions about Swift’s music and motivations abound.On this week’s Popcast, a listener mailbag episode full of questions prompted by Swift’s latest turns, includingHow does “TTPD” mark the return to an earlier, far more personal version of Swift’s music?What are the pros and cons of turning “TTPD” into a sudden double album?To what degree is Swift in dialogue with the leading indie-rock songwriters of the day?How does Swift engage with criticism, and with fans who lash out on her behalf?Could it be, despite the decidedly mixed response, that this album is Swift’s best?Will Swift ever voluntarily step away from the spotlight?Guests:Caryn Ganz, The New York Times’s pop music editorTom Breihan, senior editor at StereogumConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at [email protected]. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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