Listen to songs from Portishead and Cibo Matto, plus inheritors like Fcukers and a.s.o.Beth Gibbons of Portishead onstage in 2008.Oliver Hartung for The New York TimesDear listeners,Over the past couple of years, it’s started to feel like every out-of-favor electronic music style from the 1990s is returning at once. PinkPantheress is singing pop songs over drum-and-bass beats. Oklou uses trance synths. Hyperpop has made “uncool” taste a creative virtue. (On the less-out-of-favor, more-commercially-successful end of things, there’s Beyoncé and Charli XCX’s love for “Show Me Love.”)Signs have been building that trip-hop, a genre that reached popularity in the mid-90s by mixing atmospheric hip-hop beats with moody pop vocals, was next up for a resurgence. In one sense, it’s a sound that never fully went away — step into any swanky hotel bar over the past few decades — but it was seen as a creative dead end. “Today, trip-hop is the most toothless of beats-based styles,” the critic Jody Rosen wrote in a 2003 article in The New York Times about Massive Attack, one of the genre’s standard-bearers. “It’s easy listening for hipsters in space-age sneakers.”Well, lace up my space-age sneakers, because this music is sounding good again. Confirmation that I wasn’t imagining things hit my inbox via a recent edition of the always perceptive Herb Sundays music newsletter, which found ample evidence that trip-hop is in the zeitgeist, like Logic1000’s new, low-B.P.M. mix for the long-running DJ-Kicks series. (They referred to the sound as “downtempo,” one of a few related labels, but let’s not get lost in the subgenre soup and just vibe, OK?)Here are six classics from trip-hop’s initial wave and four tracks from current artists who are picking up the torch.A woman in the moon is singing to the earth,DaveListen along while you read.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 famed Amateur Night at the Apollo enters its 89th year, and audiences are as outspoken as ever. More

Since Europe’s clubs reopened after pandemic lockdowns, young partygoers have been drawn to a hard, driving style of techno. It’s changing the way people dance.It was Friday night, and the clubgoers at the Sputnikhalle nightclub in Münster, Germany, were primed to go hard. Decked out in black clothes and sunglasses, despite the dim light, the young crowd chanted the name of Héctor Oaks, a Spanish D.J., as he began playing his signature muscular, fast techno. Standing on top of the club’s risers, the crowd barely tried to keep up with the beat. Instead of moving their legs, many just oscillated their hips.Neele Hoyer, 21, a college student attending the event, explained that most other German techno fans of her age had developed affinity for such breathless music. “It’s gone totally mainstream,” she said. Dancing to such a fast beat could sometimes be strenuous, she added, but “this is what’s normal to us.”In recent years, Oaks, 32, has become a prominent figure in a broader trend in electronic music. While conventional techno is often played at around 120 to 130 beats per minute, Oaks and other D.J.s often play at 145 or above. The resulting hard-charging, breakneck sound has become the defining sound of Europe’s dance floors since the lockdown phase of the pandemic.Dancing to such a fast beat could sometimes be challenging, said Neele Hoyer, a college student. However, she added, “This is what’s normal to us.”Valentin Goppel for The New York TimesAlthough fast electronic music is not new, its broader dominance is. A data analysis by the German public broadcaster RBB this summer found that the top electronic music tracks of 2022 had much faster tempos than similar songs in 2016. Specialist dance music publications like Mixmag and Beatportal have noted the trend, and many of the buzzy D.J.s of the moment, like Ukraine’s Daria Kolosova and the Polish D.J. VTSS, are known for cranking up the speed.“I see it everywhere,” said Casper Tielrooij, the founder of Dekmantel, a label and annual electronic music festival in Amsterdam. “It’s not only techno, but jungle and trance and drum and bass.” He argued that although the zeitgeist had started to change before Covid, the faster, harder genre of techno had “exploded during the pandemic” and tastes were partly being shaped by young people who had spent their late teens or early twenties in lockdown.Luigi Di Venere, a techno and house D.J. who often plays at Berghain, the Berlin techno club, said that “there’s this idea that they need to speed things up to make up for it, and in case it happens again.” He added that the less “organic” and more “robotic” fast music suited a generation of clubgoers more connected to online culture.While conventional techno is often played at around 120 to 130 beats per minute, many D.J.s in Europe are playing at 145 or above.Valentin Goppel for The New York TimesHe argued that the brisk sound is partly sustained by a kind of feedback loop: As some D.J.s play faster, their co-headliners imitate their style to keep up the energy in the club. “You can’t just be a grandma and go, ‘Tra-la-la, 120 B.P.M.,’” he said, adding that he believed the trend still hasn’t reached its peak.In an interview, Oaks said that he began developing his sound in 2013, by melding traditional techno sets with other genres, including trance. Music played at a higher speed, he said, causes dancers’ hips, rather than their feet, to resonate, fostering a movement more akin to hovering than dancing. “I’ve thought about this a lot,” he added.He recalled that the music he played was an outlier on the European club scene a decade ago. But he partly grew a following at Herrensauna, a Berlin-based queer party known for its harder sound. The Herrensauna D.J.s’ 2018 appearance on the influential Boiler Room platform, which hosts livestreamed sets, was a “turning point” for his kind of music, he said. “After that, you could see everything switched.”Héctor Oaks said an appearance on the streaming platform Boiler Room was a “turning point” for his kind of music.Valentin Goppel for The New York TimesThe style’s success was likely fueled by other developments, including the proliferation of online D.J. streams, like Hör, during the pandemic’s lockdowns. According to Di Venere, because these streams were often shorter than normal club sets, D.J.s were pushed to squeeze in as much energy as possible, and the high-octane results became a staple at Europe’s illegal pandemic-era raves.Since coronavirus-prevention measures were relaxed last year, the sound has now transitioned to the continent’s clubs, including in smaller cities like Münster, which has a population of around 300,000. Oaks is now regularly booked at venues in Ibiza, for instance, which were previously known for their softer, warmer sound.Tahliah Simumba, 25, a Scottish musician who D.J.s as TAAHLIAH, grew her following during the pandemic with pop-inflected sets that often culminated at 170 B.P.M. In a recent phone interview, she said that TikTok, the video app, has been crucial in shaping post-pandemic club culture. The app, which focuses on snappy clips, has a large user base of techno fans, and its short videos favor fast-paced music.She added that, as a younger D.J. raised in an online environment, her sound was largely developed in isolation from the dance floor. “I try not to be held back by hierarchical idea of what D.J.ing is,” she said. “I want to be having as much fun as possible, and what is D.J.ing, after all, other than playing music you like?”Instead of moving their legs, many dancers at the Sputnikhalle just oscillated their hips.Valentin Goppel for The New York Times More

As an artist and exponent of American traditional songs, he sought to blur the lines between outsider and insider art, and became a guiding force in the Athens, Ga., scene.ATLANTA — Art Rosenbaum, a painter and folk musician acclaimed for a half-century of field recordings of American vernacular music, including old-time Appalachian fiddle tunes and ritual music imported from Africa by enslaved people, died on Sept. 4 at a hospital in Athens, Ga., his adopted hometown. He was 83.His son, Neil Rosenbaum, said the cause was complications of cancer.Art Rosenbaum’s passion for documenting a broad range of American musical traditions as they were passed down and performed at work camps, church gatherings and rural living rooms expanded upon the famous field recording work of the ethnomusicologist Alan Lomax. An important inspiration was Pete Seeger, another high-profile 20th-century champion of folk music. Mr. Rosenbaum wrote that Mr. Seeger had once told him, “Don’t learn from me, learn from the folks I learned from.”Mr. Rosenbaum called it “good advice, and the kick in the rear that got me going.”“Outside Carnesville,” oil on linen, 1983-84. Mr. Rosenbaum’s paintings often depicted the musicians he recorded, as he did here, with Mabel Cawthorn on the banjo.Art RosenbaumIn 2007, the Atlanta-based label Dust-to-Digital released the first of two box sets of compilations from Mr. Rosenbaum’s trove, “Art of Field Recording Volume I: Fifty Years of Traditional American Music Documented by Art Rosenbaum,” which won a Grammy Award for best historical album.The pop music website Pitchfork called the release “revelatory” and “an indispensable counterpoint to Harry Smith’s ‘Anthology of American Folk Music,’” a reference to the 1952 song compilation that remains a canonical touchstone for folk musicians.Like Mr. Smith, the bohemian polymath who compiled the “Anthology,” Mr. Rosenbaum was an accomplished visual artist. As an art teacher, he spent the bulk of his career at the University of Georgia, in Athens, where his energetic paintings, often depicting the musicians he recorded, and his ideas about the democratization of culture had an influence that resonated far beyond the classroom.Michael Stipe, the visual artist and singer with the Athens rock band R.E.M., who was a student of Mr. Rosenbaum’s in the early 1980s, said Mr. Rosenbaum’s goal “was to blur the lines between what is outsider and insider, and to bring together this untrained music and art with trained music and art, and acknowledge that each have immense power, and that they’re not that far apart.”A portrait of Michael Stipe, the R.E.M. singer, a student of Mr. Rosenbaum’s, as well as a subject of his paintings.Art Rosenbaum, Collection of the Peasant CorporationArthur Spark Rosenbaum was born on Dec. 6, 1938, in Ogdensburg, N.Y., in St. Lawrence County. His mother, Della Spark Rosenbaum, was a medical illustrator who encouraged her children’s artistic inclinations. His father, David Rosenbaum, was an Army pathologist who sometimes sang what his son described as “Northern street songs.” Arthur later recorded one of these songs, his father’s a cappella version of the ribald 18th-century Child ballad “Our Goodman,” and included it in the 2007 box set.The family eventually moved to Indianapolis, where Mr. Rosenbaum, entranced by traditional music, absorbed the Harry Smith anthology and the contemporary folk stars of the day. In high school he won an art contest at the Indiana State Fair and spent the $25 prize money on a five-string banjo. He went on to become a pre-eminent expert on traditional banjo playing and tunings and to record several albums.In the mid-1950s Mr. Rosenbaum moved to New York City, then the epicenter of the burgeoning folk revival, earning an undergraduate degree in art history and a master’s degree in fine arts from Columbia University. In the summers he worked at a resort hotel on Lake Michigan, where he began making recordings of nearby field workers from Mexico and the American South.In 1958, Mr. Rosenbaum tracked down and recorded in Indianapolis a musician named Scrapper Blackwell, whom he described as “one of the best and most influential blues guitarists of the 1920s and ’30s.” Back in New York, as Mr. Rosenbaum was fond of recalling, a fellow roots music obsessive named Bob Dylan would pester him for any details he could muster about Mr. Blackwell’s life and playing style.“Shady Grove,” 2009. Mr. Rosenbaum sought out traditional Black and white musicians, revealing a shared cultural history.Art RosenbaumIt was in New York that Mr. Rosenbaum met the artist Margo Newmark, who became his wife and lifelong collaborator. She survives him.In addition to her and his son, Neil, a filmmaker and musician, he is survived by a sister, Jenny Rosenbaum, a writer; and a brother, Victor Rosenbaum, a concert pianist.After eight years of teaching studio art at the University of Iowa, Mr. Rosenbaum in 1976 took a similar job at the University of Georgia’s Lamar Dodd School of Art. With Athens as a home base, he and Ms. Newmark Rosenbaum continued making field recordings, many of them in and around Georgia, and giving the musicians they met opportunities to play before new audiences.“As these traditional musicians were identified and then brought out,” said Judith McWillie, an emerita art professor at the university, “and as there were more festivals and opportunities for them to play, people began to envision an identity for Georgia that was somewhat different from the one that it had. This was the 1970s, and coming off some extremely difficult times in the South.”Folk music, she said, revealed a shared cultural history: “The musicians Art brought out were Black and white.”In 1984, Mr. Rosenbaum recorded an album of stories and songs by Howard Finster, the self-taught artist, preacher and self-proclaimed “man of visions” whose work has become indelibly associated with 20th-century Georgia after its use on album covers by R.E.M. and the band Talking Heads.Untitled Diptych, 2014. Many of Mr. Rosenbaum’s paintings are allegorical works in which the old and the new cohabitate, with traditional musicians sharing space with modern-day hipsters.Art RosenbaumHe also recorded the McIntosh County Shouters, an African American group from coastal Georgia who performed the “ring shout,” which Mr. Rosenbaum described as “an impressive fusion of call-and-response singing, polyrhythmic percussion and expressive and formalized dancelike movements.” The ring shout, he asserted, was “the oldest African American performance tradition on the North American continent.”Brenton Jordan, a member of the group, said of the Rosenbaums, “It’s their legwork that actually kind of introduced the McIntosh County Shouters to the world.” He noted that the ring shout, once on the verge of extinction, has in recent years been performed by his group in Washington at the John F. Kennedy Center for the Performing Arts and the National Museum of African American History and Culture.The Rosenbaums published a book on the ring shout in 1998. With drawings of the performers by Mr. Rosenbaum and photos of them by Ms. Newmark Rosenbaum, it depicts a place and a culture that seems beguilingly out of phase with modern life.Many of Mr. Rosenbaum’s other paintings and drawings are loose allegorical works in which the old and the new clash and cohabitate, with traditional musicians sharing space on the canvas with modern-day hipsters, skateboarders and documentarians (often Mr. Rosenbaum himself).As a painter, he was inspired by Cezanne and Max Beckmann, the German Expressionist. At times his work recalls the painting of Thomas Hart Benton, the American regionalist. Some of Mr. Rosenbaum’s works are large murals on historical themes.Pete Seeger once told Mr. Rosenbaum, “Don’t learn from me, learn from the folks I learned from.” That advice set him on a decades-long project of seeking out unrecorded musicians.via Rosenbaum familyBeginning in the late 1970s, Athens saw an explosion of forward-thinking rock musicians, many of whom, like Mr. Stipe, had ties to the Georgia art school. Mr. Rosenbaum’s passions always ran to traditional music, but he remained an inspiration for contemporary musicians.Lance Ledbetter, the founder and co-director of the Dust-to-Digital label, recalled Vic Chesnutt, the brilliant, idiosyncratic Athens-based songwriter who died in 2009, speaking of Mr. Rosenbaum, quoting him as saying:“When you move to Athens, and you hear about this guy who plays banjo and knows all of these songs, you just follow him around like a puppy dog. And I’m not the only one who did that.” More

No. 2 is occupied by Miley Cyrus’ ‘Plastic Hearts’ which serves as the former Disney star’s highest charting effort since ‘Bangerz’ that bowed at No. 1 back in 2013.

Dec 7, 2020
AceShowbiz – Bad Bunny makes history with his new album “El Ultimo Tour del Mundo”. The set arrives atop Billboard 200 chart, marking the first all-Spanish-language album to debut at No. 1 in the 64-year history of the all-genre chart. Bad Bunny’s new studio effort earns 116,000 equivalent album units in the U.S. in the week ending December 3, according to Nielsen Music/MRC Data.
Of the sum, SEA units comprise 103,000. Meanwhile, album sales comprise 12,000 and the rest are in TEA units. Prior to this, the highest-charting all-Spanish-language album was hold by his other album “YHLQMDLG”. The album bowed at No. 2 on the chart dated March 14 with 179,000 units earned.
Back to this week’s Billboard 200 chart, No. 2 is occupied by Miley Cyrus’ “Plastic Hearts” as it launches with 60,000 equivalent album units. “Plastic Hearts” serves as the former Disney star’s highest charting effort since “Bangerz” that bowed at No. 1 back in 2013. Later at No. 3 is former leader BTS (Bangtan Boys)’s “Be” that earns 55,000 equivalent album units.

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Meanwhile, Ariana Grande’s “Positions” falls from No. 3 to No. 4 after earning 53,000 equivalent album units. Also descending this week is Pop Smoke’s “Shoot for the Stars Aim for the Moon” which dips one spot to No. 5 with a little over 48,000 equivalent album units.
As for No. 6, it is taken by Michael Buble’s 2011 album “Christmas” which soars back to the top 10 from No. 13 with 48,000 equivalent album units. The album always returns to the Top 10 in every Christmas season ever since its release. Megan Thee Stallion’s “Good News” follows at No. 7, dropping 5 rungs with 47,000 equivalent album units in its second week on the chart.
Rounding out the Top 10 are Taylor Swift’s “Folklore”, Carrie Underwood’s “My Gift” and Juice WRLD’s “Legends Never Die”. “Folklore” ascends from No. 6 to No. 8 with 45,000 equivalent album units. “My Gift” also raises one spot to No. 9 with 44,000 units. Falling from No. 9 to No. 10 is “Legends Never Die” that earns 36,000 equivalent album units.
Top Ten Billboard 200:
“El Ultimo Tour del Mundo” – Bad Bunny (116,000 units)
“Plastic Hearts” – Miley Cyrus (60,000 units)
“Be” – BTS (Bangtan Boys) (55,000 units)
“Positions” – Ariana Grande (53,000 units)
“Shoot for the Stars Aim for the Moon” – Pop Smoke (a little over 48,000 units)
“Christmas” – Michael Buble (48,000 units)
“Good News” – Megan Thee Stallion (47,000 units)
“Folklore” – Taylor Swift (45,000 units)
“My Gift” – Carrie Underwood (44,000 units)
“Legends Never Die” – Juice WRLD (36,000 units)

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