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      Review: At 95, a Conductor Is Still Showing New Facets

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      Herbert Blomstedt introduced the New York Philharmonic to a piece he premiered in Stockholm 59 years ago.At 95, the conductor Herbert Blomstedt is still showing new sides of himself to the New York Philharmonic.New sides that are also old ones. On Thursday at David Geffen Hall, he introduced the orchestra to Ingvar Lidholm’s “Poesis,” a work whose premiere he led 59 years ago as a rising maestro in Stockholm.Lidholm (1921-2017) was part of the European avant-garde that sought a fresh start for music in the rubble-strewn wake of World War II, advancing Schoenberg’s 12-tone theories as a way to decisively sweep aside Romanticism and the rest of a fraught cultural past. But, ever curious, Lidholm didn’t stay a doctrinaire serialist for long, and the 18-minute “Poesis” is an exploration of elemental sound and stark drama without reliance on stylistic rules.From an indelible, primordial start — pieces of rough sandpaper rubbed together in an unpredictable rhythm over a quivering haze in the strings — the work unfolds tensely, with groups of instruments that are not exactly in angry conflict but are all strong-willed and sharp-elbowed. Uneasy groans and light bruises of tone suddenly condense into buzzing clouds that explode in a storm of slapped bows on strings, glinting violins and roaring brasses before receding back to a mood of clenched hovering.A pianist (here the strong, unflappable Eric Huebner) provides pounding clusters — answered by shocks of percussion and woozy trombones — and shimmering plucks and strums of the strings inside his instrument. He sometimes softly strikes those strings with a mallet for the barest halo of sound, and at one point loudly blows a whistle directly at the audience; Lidholm doesn’t shy from arresting theatricality.In another passage, the players briefly whisper sibilants; a series of sliding glissandos in a double bass near the end, almost vocal, feels like a tiny, impeded aria. Alongside strict notation, Lidholm provides room for improvisation within bounds, giving the music a core sense of something seething and fertile.It’s a grandly stern piece, but, like the best of its space-age era, it pulses deep down with a kind of optimism that comes off as sweetly poignant today, the underlying conviction that a fresh postwar start was possible. There’s poised elegance to its savage volatility.So close did Blomstedt remain to “Poesis” and its composer over the decades that when Lidholm revised the piece in 2011 — making a wild central piano solo quieter and more reflective — the new version was dedicated to this conductor, whose career has continued past expectations to this age-defying, jaw-dropping point.Having missed some concerts last year after a fall, Blomstedt walked on and offstage on Thursday with assistance from the Philharmonic’s concertmaster, Frank Huang. But once seated on a piano stool placed on the podium, he hardly seemed frail; his gestures were, as usual, restrained and focused. He addressed the audience before “Poesis” with a down-to-earth wit that made Lidholm’s sometimes forbidding world more welcoming.And after intermission he was a gracious guide through Berlioz’s “Symphonie Fantastique.” This was a leisurely, mellow, thoroughly pastoral rendition of a piece that under other batons — like that, as my colleague David Allen recently observed, of Charles Munch — can be hair-raising. At Geffen Hall, terror didn’t infringe on even the final sections, the “March to the Scaffold” and “Dream of a Witches’ Sabbath.”But the playing was polished, lucid and natural, the work of a conductor with no need to prove himself with inflated intensity. Referring to Huebner, the pianist in “Poesis,” Blomstedt had earlier reassured the audience about that piece’s more outré techniques. “It’s music,” he said, “because he’s a musician.” In Blomstedt’s hands, too, everything is simply, sincerely musical.New York PhilharmonicThis program is repeated through Saturday at David Geffen Hall, Manhattan; nyphil.org. More

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      Raye Made ‘My 21st Century Blues’ After a Long Journey

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      The British musician spent years writing for other artists, eventually sharing her frustrations online. After speaking her truths about the industry, she shares personal revelations on her debut.When the British artist Raye performed “Ice Cream Man.” during a January concert at the cavernous Utilita Arena in Birmingham, England, many of the young women in the audience began to cry.“Everything you did, it left me in a ruin/And no I didn’t say a word/I guess that proves it/I’m a woman,” she sang, her voice assertive, but with a quiver of vulnerability. The intimate, spare track recounts her experience of sexual assault, and was one of several unflinchingly personal songs in her set as the opening act on Lewis Capaldi’s tour.As she belted out “Escapism.,” a collaboration with 070 Shake that earned Raye her first U.K. No. 1 last month, the crowd screamed the lyrics back to her. Even that track, which exploded on TikTok and recounts a nihilistic night out with glib humor, is “actually quite a sad song,” Raye said, sitting in the bedroom she’d created on her tour bus after the show, a burning Le Labo candle nearby. But she chose to put the melody over “this fat beat with this fat bass,” adding sirens, synths and strings, which “makes me feel powerful in my pain,” she said.Transforming her pain into power is a recurring theme on Raye’s debut album, “My 21st Century Blues,” which arrives on Friday, nine years after the 25-year-old musician signed her first record deal.“When you think, ‘I want to be an artist,’ there are a few things you think of, the first thing being: album,” she said. But waiting became as much a part of her journey as creating.Raye joined the roster of Polydor Records in 2014, and in the subsequent years wrote on tracks for artists including Beyoncé, John Legend and Charli XCX. While she worked on her own music, she said that the label encouraged her to make chart-friendly dance tracks with D.J.s like Joel Corry and David Guetta, which she now believes pigeonholed her as “the girl who sings on dance songs” that she didn’t even like. She wanted to create a body of work, but, “From a business perspective, they decided for me that I was this, and this was all I would ever be,” she said.Sitting in her tour bus in stage makeup and sweatpants, Raye recalled the moment in June 2021 when, as she was about to record a performance for N.Y.C. Pride, a member of her team told she wasn’t going to be able to release an album with Polydor after all. “I freakin’ lost it,” she said. After bursting into tears, she wiped her eyes, recorded the broadcast and later posted a string of tweets about her frustration with the industry that drew loud support from other artists. Three weeks later, she announced that she had parted ways with the label.“It’s important to be honest about those things I kept in the darkness for so many years,” Raye said.Alexander Turner for The New York TimesA Polydor spokesman declined to comment on Raye’s description of her time with the company, and said, “We’ve loved seeing Raye having all of this well-deserved success and wish her the very best.”Raye was determined to carry on. Last year, she signed a deal with the distribution service Human Re Sources. Its founder and chief executive, J. Erving, who is also an executive vice president at Sony, said in a video interview that Raye could have gotten more money upfront — “the bag, so to speak” — if she had signed with a traditional label. But instead she “bet on herself,” choosing to release her album as an independent artist who owns her masters.For Raye, creative control was the key to continuing in an industry that had nearly broken her down. “I’m not interested in being a ‘singles’ girl, it’s the last thing I ever wanted to be,” she said. For her, the album format is not about “selling records” but telling stories.Raye (born Rachel Keen) has known what kind of artist she wanted to be from a young age. At 10, she was determined to attend the BRIT School, the performing arts institution known for famous alumni, including Amy Winehouse and Adele. Four years later, she won a place at the school, which is near the home in south London she shared with her parents and three younger sisters.Raye said she was so devoted to her budding career, she gave up her social life to write music after school and on weekends with professionals she met through her guitar teacher: “I’d get the train up to whatever address in my calendar and I would go into a room full of middle-aged men and be like ‘Hey, I’m going to write a song.’”Growing up, her Ghanaian-Swiss mother and English father “worked stupidly, exceptionally hard,” she said, as a nurse and in insurance. Church, where her father played piano and her mother sang in the choir, was a big part of family life.But Raye’s private time with the records she loved inspired her to dream big. Every day after school, she would lie on the living room floor and play “The Diary of Alicia Keys‌,” the singer’s 2003 album, “like a religion,” ‌she said. With its hip-hop overture, spoken-word interludes and vivid storytelling, Raye said “Diary” made her excited to one day write her own liner notes, order her own track listing‌ and tell people who she was through her music‌.Raye’s vision for her debut album began with its title. “I wanted to tell my blues,” she said, which she defined as both a “12-bar phrase” but also “the stories on top.” Heartbreak, so often a focus in pop music, was just one small part of the human experience, she added, and the album also explores disordered eating and addiction.“As a woman, it’s so taboo, and so unattractive, and so like, ‘God, she’s such a mess’ to even discuss having a problem,” Raye said. She described “Body Dysmorphia.” as the album’s most revealing track. “I’m so hungry I can’t sleep/But I know if I eat/Then I’ll be in the bathroom on my knees” she sings, her voice staccato over a trip-hop beat.Making music out of hard truths has become as central to her mission as speaking them when she felt the industry was holding her back. And rather than using metaphors to keep such experiences hidden, Raye said it now feels “important to be honest about those things I kept in the darkness for so many years.”It may be therapy for her listeners, but it helps her, too: “I want to create stuff that will make me feel better.” More

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      Gary Glitter Is Released From Prison After Serving Half of His Sentence

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      The disgraced former glam rock singer was found guilty in 2015 of sexually abusing three young girls in the 1970s. He had been given a 16-year sentence.LONDON — The former glam rock singer Gary Glitter has been released from prison after serving half of a 16-year sentence for sexually abusing three young girls decades ago, Britain’s Ministry of Justice said on Friday.The singer, whose real name is Paul Gadd, will serve the remainder of his sentence under probation, a common arrangement in Britain.Mr. Gadd will be fitted with a GPS tag and will face other restrictions, the ministry said in a statement. “If the offender breaches these conditions at any point, they can go back behind bars,” it noted.The 78-year-old former star rose to fame in the 1970s after a string of hits, including “Rock and Roll Part 2,” which has been widely featured in films and at sporting events in the United States.Mr. Gadd was arrested in 2012 as part of an inquiry set up to investigate accusations of sexual abuse against Jimmy Savile, a longtime BBC host.That arrest led to Mr. Gadd’s conviction on one count of attempted rape, four counts of indecent assault and one count of sexual intercourse with a girl under the age of 12. During his 2015 trial, prosecutors described how he had abused his access to young fans as he became an international star in the 1970s.In his sentencing remarks, Judge Alistair McCreath said that he had found no evidence that Mr. Gadd had done anything to atone for his crimes and that, after reading statements from the three victims from the 1970s, it was “clear that in their different ways, they were all profoundly affected by your abuse of them. You did all of them real and lasting damage.”Before his 2015 conviction, Mr. Gadd had been convicted in separate cases of sexually abusing minors and possession of child pornography.In the late 1990s, he served two months in jail after admitting to possessing 4,000 images of child pornography. In 2006, he was sentenced to three years in prison in Vietnam for molesting two underage girls at a seaside villa he was renting.In 2019, the music label that owns “Rock and Roll Part 2” said that Mr. Gadd would not receive any royalties from the use of his song in “Joker,” one of the year’s top-grossing films.The British government enacted a law last year that required criminals serving sentences for violent or sexual offenses to spend longer in prison, with the automatic release point occurring two-thirds through their sentences, not halfway. More

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      How BMG Secretly Signed a Rapper Dropped for Antisemitic Lyrics

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      In 2021, the global music company BMG was looking for a hit in France’s growing hip-hop market when its executives came up with a strategy: They would sign Freeze Corleone, a rising rapper on the Parisian scene with an aura of mystique, a hit album and more than a million monthly listeners on Spotify.There was one problem. Freeze Corleone had been widely condemned in Europe for antisemitic lyrics. “I arrive determined like Adolf in the 1930s,” he rapped in French in one 2018 song, and, in another, “Everything for the family, so that my children live like Jewish rentiers,” a word often associated with landlords. Other tracks have included conspiracy theories about 9/11 and a shout-out to “the Aryans.”Just a year before BMG’s deal with him, Freeze Corleone had been dropped by his previous label, the French arm of the giant Universal Music, which said that his music “amplified unacceptable racist statements.”“In order to mitigate the risk of possible controversy,” BMG executives wrote in a memo, they had a workaround. The contract with Freeze Corleone stipulated that the label had the right to approve his lyrics and that it would keep BMG’s involvement with his career hidden, according to documents and internal emails reviewed by The New York Times.“No BMG logo anywhere on the release,” Dominique Casimir, one of the company’s most senior executives, emailed to a company lawyer and other executives.She also demanded there would be no announcement heralding the deal. “No signing picture,” Ms. Casimir wrote. “Sorry to be this strict.”A few weeks later, in October 2021, BMG signed a one-album deal with Freeze Corleone worth more than one million euros, or about $1.1 million.In the end, BMG didn’t put out the album. In a recent interview, Ms. Casimir said that she had decided to cancel the deal the day before the release of its first single.But the story of BMG and Freeze Corleone raises questions about why BMG executives had signed him in the first place while going to great lengths to conceal the relationship. And it offers an object lesson in the temptations and risks corporations face when they seek to capitalize on the notoriety of pop-culture figures. That tension played out on a bigger stage last year when, amid a rising tide of antisemitism, Adidas ended its lucrative partnership with Kanye West after he made antisemitic comments.In the interview, Ms. Casimir spoke about the challenges of monitoring a large pipeline of content at a multinational company; said that the decision to omit BMG’s name from the album had been made mutually with the artist; and described BMG’s ultimate decision to scrap its deal with Freeze Corleone as a sign that its content moderation policies had worked.“People make mistakes,” she said. “We caught the mistake. And whatever the outcome of that mistake is, we have to deal with that.”A Fraught HistoryThis was not the first time that BMG, and Ms. Casimir, had to scramble to minimize damage over antisemitic lyrics.In 2018, the company was at the center of a media firestorm over an album it had released the year before, “Jung Brutal Gutaussehend 3” (“Young Brutal Good-Looking 3”), by a pair of German rappers, Kollegah and Farid Bang. Despite lyrics like “My body is more defined than Auschwitz prisoners” and “make another Holocaust, show up with a Molotov,” the LP had become a monster hit.When that record (which BMG executives now refer to as “JBG”) won best hip-hop/urban album at the Echo awards, Germany’s equivalent of the Grammys, other artists revolted. Some, like the classical conductor Daniel Barenboim and Klaus Voormann, the musician and artist who worked with the Beatles, returned their prizes in protest. The media and politicians in Germany — where there are strict laws against hate speech and Nazi propaganda — zeroed in on the uproar. The Echo awards were discontinued permanently.The rebuke was felt particularly strongly at BMG, which is part of the German media conglomerate Bertelsmann. In 2002, Bertelsmann had apologized for its past ties to the Nazi regime.In response to the uproar, BMG said it would give 100,000 euros to a campaign against antisemitism. It sponsored a series of songwriting workshops centered on opposing hate speech through music.Ms. Casimir, who had overseen the deal for “JBG” as the managing director of BMG’s German market, became a public face of the company’s campaign. “Given Germany’s history, it is everyone’s responsibility to take a stand against antisemitism and hate,” she said in a news release.The company enlisted the help of Ben Lesser, a Holocaust survivor who speaks to groups around the world through his Zachor Holocaust Remembrance Foundation. Soon after the awards, Mr. Lesser spent about three hours at a theater in Berlin, sharing his wrenching personal story with BMG employees and local schoolchildren, he and his daughter Gail Lesser-Gerber said in an interview.BMG asked Mr. Lesser, now 94, to take part in a songwriting workshop in Los Angeles in early 2019. At the five-day event, he consulted with musicians as they wrote and recorded tracks with uplifting messages, including “Letter to the World,” sung by Emily Vaughn.The label let Mr. Lesser know that to support his efforts to eradicate antisemitism, it would give the foundation the revenue generated by the songs.“Altogether, it’s been less than $100,” Ms. Lesser-Gerber said. But she said that money was not the incentive. “The motivation was to get the message out.”Lyrics About Hitler and JewsFreeze Corleone rarely speaks to the news media. His real name is Issa Lorenzo Diakhaté, and he was born in a suburb of Paris in 1992. His father is Senegalese and his mother Italian. The rapper did not respond to numerous messages sent by email and social media requesting comment for this article. A business associate who helped him arrange his deal with BMG declined to comment.Yet he speaks through his music. Rapping in a low voice, over minor-key piano figures, he performs a variation of drill, a hip-hop style often filled with dark tones and violent imagery.Many of his lyrics feature standard hip-hop tropes, like allusions to sports and pop culture. On one track he rhymes the name of Larry Bird, the Boston Celtics legend, with that of Marty Byrde, the money launderer played by Jason Bateman on Netflix’s “Ozark.” But a thread of antisemitism runs throughout his work, manifested in Nazi references, dismissals of the Holocaust, and slurs and stereotypes about Jews.He has boasted of having “the propaganda techniques of Goebbels” and “big ambitions” like “the young Adolf.” In one song, “Le Chen,” from 2016, he rapped: “I’ve got to get the khaliss moving in my community like a Jew.” In Wolof, a language spoken in Senegal, where he spent time growing up, khaliss means money.Olivier Lamm, a music critic for the French newspaper Libération, said that “the thematic substance of Freeze Corleone’s rap is obsessively antisemitic.” He cited an example from one of the rapper’s early tracks in which he used a profanity in dismissing the Shoah — a term for the Holocaust — and pointed to lines on his latest album, “Riyad Sadio,” that seem to refer to Israel and Jews, with key words bleeped out.In 2020, Universal Music France released “La Menace Fantôme” (“The Phantom Menace”), which went double platinum in France, selling the equivalent of 200,000 copies there. Lyrics highlighted “Aryans,” though did not explicitly address Jews.But the album’s popularity drew attention to Freeze Corleone’s earlier lyrics about Hitler and Jewish landlords, and in the resulting controversy, he was dropped by Universal.“Finally free,” the rapper tweeted.Freeze Corleone’s name on a marquee continues to draw protests. A concert planned for late last year in Montreal was canceled after it drew condemnation from some leaders in the local Jewish community. Local officials in Rennes, France, have asked organizers to remove him from a festival next month.The Fine PrintBMG executives knew that signing Freeze Corleone could result in blowback, according to internal documents, but they were attracted to his market potential. “This signing will strengthen BMG France’s position on the strategic market of urban music and hopefully bring our first platinum local record, a key milestone to sign bigger urban acts later,” read an internal investment request memo.The memo, sent in September 2021 by two executives in the company’s French office, weighed the risks of hate speech against the financial upside of working with him.Pro: “Freeze Corleone is France’s fastest growing artist in the last 2 years,” the executives, Sylvain Gazaignes and Ronan Fiacre, wrote in the memo. “Riyad Sadio,” his album with Ashe 22, another French rapper, was ready to go and “would really help us meet our revenue target,” another document read, and it projected revenue of 1.2 million euros from the project and profit of 155,000 euros.Con: “Freeze Corleone faced controversy when releasing his first album in 2020,” the BMG memo noted, with understatement. An investigation, the memo added, had been opened by French authorities “on the grounds of incitement to racial hatred,” but had concluded “there was no ground for prosecution.”In fact, that investigation was closed with no charges brought because the statute of limitations had passed, a spokesman for the Paris prosecutor’s office told The Times.According to BMG documents, no money would be paid until executives had listened to and approved the lyrics. There would be none of the usual publicity at the time of signing the deal and “the release will be white-labelled” — meaning that no BMG logo would appear on the music or marketing materials.The contract was executed a few weeks later, with BMG stipulating that the new album had been listened to and approved. Under the terms of the contract, that should have guaranteed Freeze Corleone at least his initial payment of 500,000 euros. BMG declined to comment about whether it had paid him the money.When the two BMG employees in France approached her about the deal, Ms. Casimir, who by then had been given oversight of most of the European market, said she told them that it can be difficult to draw the proper line between artistic freedom and language that crosses lines of propriety.“You have to check the back story,” she said she told them. “You have to understand you work for a German company. You have to understand the history, because ‘JBG’ is a history. I mean, I lived in that moment.”The French employees assured her that the lyrics would be “clean,” she said, and that they would vet them before paying Freeze Corleone. Neither Mr. Gazaignes nor Mr. Fiacre responded to text messages seeking comment.BMG executives cleared the lyrics of Freeze Corleone’s album, “Riyad Sadio,” and prepared to release its first single, “Scellé Part. 4,” in late October.At the last minute, the label abruptly pulled back. Ms. Casimir said that days before the song’s scheduled release, she decided to have her team in Germany review Freeze Corleone’s past lyrics.“I must say, that was a very fast decision, the moment we translated some of those lyrics,” Ms. Casimir said. “We called the French team, said, ‘You have to end this relationship.’”She said she had alerted Hartwig Masuch, the BMG chief executive, about the termination, and that “he agreed with the next steps.” BMG did not make Mr. Masuch available for comment.After BMG canceled the deal, Freeze Corleone released the album independently. It has had modest success, drawing more than 40 million streams on Spotify.Ms. Casimir said that two of her employees in France no longer work for BMG as a result of the episode. “It has consequences,” she said. BMG executives declined to name which employees left the company; Mr. Gazaignes remains a top executive in the French division.In 2022, Ms. Casimir was promoted to chief content officer, and was given a seat on BMG’s board. More

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      Karol G and Romeo Santos’s Sensual Goodbye, and More New Songs

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      Hear tracks by Morgan Wallen, Yves Tumor, Lankum and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Karol G and Romeo Santos, ‘X Si Volvemos’Two Latin pop songwriters who thrive on breakup drama — Karol G, from Colombia, and Romeo Santos, a stadium-scale headliner from the Bronx with Dominican and Puerto Rican roots — arrange a last tryst in “X Si Volvemos.” Karol G points out “No funcionamos” — “We don’t work” — and “We’re a disaster in love,” but she admits, “In bed we understand each other.” He tells her their relationship is toxic, but wonders if he’s addicted to their intimacy. The musical turf, a reggaeton beat, is hers, but the temptation is mutual. JON PARELESMorgan Wallen, ‘Last Night’The distance between acoustic-guitar sincerity and electronic artifice is nearing zero. Morgan Wallen, the canny country superstar, has what sounds like a loop of acoustic guitar — three chords — backing him as he sings about a whiskey-fueled reconciliation: “Baby, baby something’s telling this ain’t over yet,” he sings, sounding very smug. PARELESSunny War, ‘No Reason’Sunny War, a songwriter from Nashville born Sydney Lyndella Ward, sings about a flawed but striving character — maybe herself — in “No Reason,” from her new album, “Anarchist Gospel.” She observes, “You’re an angel, you’re a demon/Ain’t got no rhyme, ain’t go no reason,” as folk-rock fingerpicking, a jaunty backbeat and hoedown handclaps carry her through the contradictions. PARELESYves Tumor, ‘Echolalia’There’s a dreamlike quality about “Echolalia,” the breathy, percussive new single from Yves Tumor’s wildly titled upcoming record “Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds).” Basically a three-minute swoon, “Echolalia” finds the 21st-century glam rocker dazed with infatuation and, however briefly, cosplaying conventionality: “Just put me in a house with a dog and a shiny car,” Tumor sings breathlessly. “We can play the part.” LINDSAY ZOLADZJames Brandon Lewis, ‘Someday We’ll All Be Free’When Donny Hathaway sang his “Someday We’ll All Be Free,” it was determinedly encouraging. On his new album, “Eye of I,” the tenor saxophonist James Brandon Lewis makes it both militant and questioning. Chris Hoffman’s electric cello snarls distorted drones and Max Jaffe’s drumming moves between marching-band crispness and rumbling eruptions, while Lewis and Kirk Knuffke, on cornet, share the melody, go very separate ways simultaneously and then reunite, contentious but comradely. PARELESUnknown Mortal Orchestra, ‘Layla’The New Zealander Ruban Nielson, leader of the tuneful lo-fi psych-rockers Unknown Mortal Orchestra, is known for being a prolific songwriter, so it makes sense that the band’s forthcoming “V,” its first release in five years, will be a double album. “Layla” is full of warmth, with a soulful vocal melody, Nielson’s nimble guitar playing and the band’s signature fuzzy tones all contributing to an enveloping atmosphere. “Layla, let’s get out of this broken place,” Nielson sings, conjuring an alluring elsewhere. ZOLADZTemps featuring Joana Gomila, Nnamdï, Shamir and Quelle Chris, ‘Bleedthemtoxins’“Do not fear mistakes,” floating voices advise for the first minute of “Bleedthemtoxins,” a bemused miscellany overseen by James Acaster, an English comedian, actor and podcaster turned musical auteur. His debut album as Temps, “Party Gator Purgatory,” is due in May. The studio-built track is loosely held together by a loping beat, but it rambles at will through Beach Boys-like harmonies, free-form raps and small-group jazz, all thoroughly and cleverly whimsical. PARELESDebby Friday featuring Uñas, ‘I Got It’“I Got It,” from the Toronto musician Debby Friday, is an explosive, pounding, relentlessly calisthenic dance-floor banger with attitude to spare. A pulsating beat flickers like a strobe light as Friday and Chris Vargas of the duo Pelada, appearing here as Uñas, trade braggadocious bilingual verses. “Let mama give you what you need,” Friday shrieks before calmly assuring, “I got it.” ZOLADZCaroline Polachek, ‘Blood and Butter’Sheer, euphoric infatuation courses through “Blood and Butter,” the latest single previewing the album Caroline Polachek is releasing on Valentine’s Day: “Desire, I Want to Turn Into You.” Polachek and her co-producer, Danny L Harle, constructed a song that starts out in wonderment — “Where did you come from, you?” — on its way to declarations like “What I want is to walk beside you, needing nothing.” Springy hand percussion, a bagpipe solo and multilayered la-las sustain the bliss. PARELESRaye, ‘Environmental Anxiety.’Most of the songs on “My 21st Century Blues,” the impressive new album by the English songwriter Raye, are about personal struggles: with romance, with the music business, with drugs, with exploitation. But “Environmental Activity” views the generational big picture: a poisoned planet, a toxic online culture, a rigged economy. The song is elegant in its bitterness, opening with a sweetly sung indictment — “How did you ever think it wasn’t bound to happen?” — leading to a snappy dance beat, a matter-of-fact, half-rapped list of dire situations and a poised chorale sung over church bells and sirens: “We’re all gonna die/What do we do before it happens?” PARELESYuniverse, ‘L8 Nite Txts’Yuniverse, an Indonesian-Australian songwriter, collaborated with the producer Corin Roddick, of Purity Ring, to make a familiar situation shimmery and surreal: “You’re smiling through your lies again/You’re telling me she’s just a friend,” she sings. Her voice is high and breathy, with hyperpop computer tweaks; it floats amid harplike plinks and fragments of deep, twitchy, drill-like beats. Even in the synthetic soundscape, heartache comes through. PARELESJana Horn, ‘After All This Time’The Texas folk singer Jana Horn makes music of arresting delicacy; her songs take shape like intricately woven spider webs. “After All This Time,” from a new album due in April, is a hushed, gently off-kilter meditation full of Horn’s peculiar koans: “Looking out the window,” she sings in a wispy voice, “is not the same as opening the door.” ZOLADZLankum, ‘Go Dig My Grave’The Irish band Lankum amplifies the bleakest tidings of Celtic traditional songs, leaning into minor modes and unswerving drones, harnessing traditional instruments and studio technology. “Go Dig My Grave,” an old song that traveled from the British Isles to Appalachia, is death-haunted and implacable. It begins with Radie Peat singing a cappella, insisting “tell this world that I died for love.” The band joins her with somber vocal harmonies, tolling drone tones, clanking percussion and baleful fiddle slides, a crescendo of dread. PARELES More

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      How the R&B Innovator Kelela Unlocked a New Level

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      In mid-January, Kelela Mizanekristos emailed over the document she shares with everyone who plans to work with her. It’s a syllabus for the university of her mind, a guide to help the 39-year-old R&B musician’s collaborators understand the foundation on which she builds her art: her experiences, good, bad and in-between, as a queer Black woman.There are readings (“Decolonizing Love in a World Rigged for Black Women’s Loneliness,” by Shaadi Devereaux), audiobook recommendations (“Minor Feelings,” by Cathy Park Hong), films (“The Last Angel of History”) and websites (make techno black again).“You can’t be advocating for me properly unless you do some homework,” she said, adding an expletive, over lunch at Sisters Restaurant in Brooklyn a few weeks earlier.Six years have passed since Mizanekristos, who records simply as Kelela, released her debut album of intimate, intricate R&B, “Take Me Apart.” Fans have been clamoring for a follow-up, but Kelela has been taking her time and doing the work — researching, digesting, synthesizing, curing, living — accumulating experiences to write about, and finding the knowledge to process them.“I’m committed to understanding what’s at the bottom of things, and so I’m always wanting to engage in what’s really going on,” she said, half a Lambrusco in her hand. (Later, she admitted, “I’m a nerd.”) Dressed in black track pants and a Telfar sweatshirt, Kelela bloomed and drooped like a flower over our conversation, her hoodie alternately moving up and down to match her passionate and more contemplative moments.The result of those years of deep thinking is “Raven,” out Feb. 10. Building off the spacey synth beats from her previous work, Kelela’s second album explores textures and tempos that burrow deep into the listener’s core. Its single “Happy Ending,” a bass-heavy Euro-pop dance track, sounds like a missive from the future, or perhaps a soundtrack for an alluring life on Mars. The whole project is connected by an underlying vibe: “I really want to be sexy in a nuanced way,” she said. “We want our sexy moments to feel one of a kind, that’s why it feels sexy — because you don’t think that it’s run of the mill.”Conscious of — and often feeling isolated by — the dearth of Black women leading in the dance world, Kelela makes music she wants everyone to move to, but for certain groups to really feel. “She doesn’t even have to be saying a word, but you feel her,” said Asma Maroof, a longtime friend and collaborator. “Not many girls can do that. It doesn’t need to be spelled out.”KELELA WAS BORN in Washington, D.C., and grew up in nearby Gaithersburg, Md. Her parents immigrated from Ethiopia in the 1970s, and she still felt close to their culture, largely because her family rebuked the assimilation narratives of immigration.“My mom’s side was not buying that,” she said with a laugh. “They were just like, ‘You’re going to learn Amharic. If you want something from me right now, ask in Amharic.’”Her parents never married and instead co-parented from separate apartments in the same building. By the time Kelela was ready for kindergarten, she and her mother moved to the suburbs in hopes of finding a better school.Her mother’s record collection skewed jazzy, leading Kelela to discover the smooth vocalists Natalie Cole and Sarah Vaughan. At her father’s, she fell in love with Tracy Chapman’s first album when she was only 5. That same year, he took her to see “Sarafina!,” the South African musical set during the Soweto student uprising of 1976, introducing her to the powerful, political music of Miriam Makeba.“Even now, when I’m writing lyrics, I’m not, like, ‘This album is gonna be about this,’” Kelela said. “I am trying to fill in the blanks of the phrasing riddle that I’ve created.” Gioncarlo Valentine for The New York TimesAt school, she took violin lessons and sang in the choir. While at home she indulged her love of pop goddesses like Whitney Houston and Mariah Carey, to fit in with her classmates, she listened to emo and punk. Over time, via file-sharing services like Napster, she was able to discover new genres, like grime.College proved unsatisfying and Kelela didn’t finish her degree, but during that time she decided to pursue music seriously. She was struck by the work of Amel Larrieux and began singing jazz standards at open-mic nights.Jazz started to feel too restrictive, all that emphasis on the standards. By chance, she met Yukimi Nagano, the lead singer of the Swedish band Little Dragon, who inspired her to start writing her own songs. Kelela began spending time in Mount Pleasant, a D.C. neighborhood with a strong punk scene, and formed the indie soul-rock band Dizzy Spells with Tim George, a guitarist.True inspiration came when she started to make music on her laptop: ripping a song she liked from Myspace, recording a verse over it and sending it back to producers in the hopes they could start working together. Eventually, she quit her job as a telemarketer and moved to Los Angeles to devote herself to music full-time.One of her demos ended up in the hands of Teengirl Fantasy, the dance-electronic duo Nick Weiss and Logan Takahashi, and the three collaborated on the airy, percussive track “EFX.” From there, she met Ashland Mines, a D.J. and producer who performs under the name Total Freedom, who made a fateful introduction, connecting Kelela to producers from Fade to Mind and Night Slugs, two indie labels at the center of underground dance music.The rocket ship took off: Their collaborations resulted in “Cut 4 Me,” a glitchy, moody mixtape that mashed up make-out jams, booty-shakers and crooned love songs, all flecked with enough grime and synths to build a new kind of R&B. Finally, at 30, Kelela had arrived. She picked up famous fans like Björk and Solange and fielded offers from major record labels, ultimately signing with the indie Warp because it offered the most artistic freedom.Her next project, “Hallucinogen” from 2015, expanded her palette further, adding collaborations with DJ Dahi, a hip-hop producer, and Arca, an experimental artist and producer with a vast sense of what electronic music can be. Intensely personal, the roughly 20-minute EP featured the work of 12 producers alongside Kelela as she explored the wounds of romantic and existential heartbreak. “Take Me Apart,” her first full album, teamed her with Romy Madley Croft from the xx and the pop producer Ariel Rechtshaid alongside Night Slugs’ Jam City and Bok Bok, and others, as Kelela reveled in the space between the fringes and the mainstream.“RAVEN” IS ONCE again a feat of elaborate collaboration, featuring contributions from 15 producers, including Yo van Lenz, LSDXOXO and Florian T M Zeisig. Maroof, who was also involved, said work in the studio evolved in layers: Kelela would tinker with an idea, Maroof would add to it, then additional producers like Bambii or Kaytranada would sprinkle more on top.“Looking back on it, you’re like, how did we do that?” Maroof said.Racism, sexism and misogyny have always been at the forefront of Kelela’s mind, but not always reflected in her music. As she was building up to “Raven,” her primary goal was expanding the canon of Black female emotional art. The album delves into the existential heartbreak of a marginalized identity: betrayal from inside the house. “White supremacy isn’t just operating through white people,” Kelela said. “And patriarchal women can do the most damaging things to your spirit because you let your guard down.”Setting and breaking boundaries was a priority, after decades of learning how to establish them. The social justice uprisings of the summer of 2020, spurred by the murder of George Floyd, resulted in an atmosphere in which the singer’s community, particularly white people, were anxious and clamoring to have the hard conversations.On songs like the sparse, ethereal “Holier,” she declares that Black women can depend most on themselves, and in our conversation she cited the writer Amber J. Phillips’s “choose the Blackest option” — a conscious choice to avoid the sanitized, commercialized delivery of Blackness often employed to help those still becoming comfortable with race.Kelela said she supposed there are three or four musicians, whom she didn’t name, who really uphold the theory. “Everyone else is like, ‘I gotta make this coin,’” she said. “It feels like so few people are willing to put something on the line at all.”She had other plans, focusing on lyrics that “help Black femmes heal,” she said. “It’s gotta be a lyric that Black and brown women and nonbinary people, marginalized people, can scream in their cars on the way to work a job that they actually don’t want to do.”Kelela said “Raven” is connected by an underlying vibe: “I really want to be sexy in a nuanced way.”Gioncarlo Valentine for The New York TimesKelela’s lyrics arrive rhythm first, the words coming later. She compared her writing style to how her mother and her friends would try to approximate English when they were growing up in Ethiopia — trying to speak in a language you don’t yet know, wading through the feelings anyway.She avoided listening to any of the initial tracks before entering the studio, to maintain the purity of her impulses, and recorded her improvisations. “Even now, when I’m writing lyrics, I’m not, like, this album is gonna be about this,” she said. “I am trying to fill in the blanks of the phrasing riddle that I’ve created.” Playing her improvisations back, she asked herself what it sounded like she was saying: “What is real for me? What’s the relationship to the feeling that I have about the sound? And how does that relate to anything that I’m actually experiencing?”Water, as a theme, runs through the album in various permutations: lust, ebbing as slowly as a waning ice cube; isolation as vast as the sea; anticipation dotted on the brow like sweat. The album’s first and last songs, “Washed Away” and “Far Away,” flow into each other, giving the album the effect of a full sonic circle. “I want to convey, melodically, this wonder and discovery,” Kelela said. “I’m finding my way, as you are when you’re here for the first time.”Maroof, who collaborated on the record from Zurich, praised “the sonic world” that Kelela builds with each album. “She can bring all sorts of different sounds together,” she said, “and you can even hear how they mix, as one fluid thing as an album, and in that way you have a deeper understanding of the music.”The issues Kelela sought to explore on the record — justice, safety, the value of Black life — are ones she’s been grappling with for years. The difference now is the conversation is leaping from the Google doc to her listeners’ ears.She doesn’t want anyone to think that her work was in response to anything but her own experiences, though she appreciated the tangible changes that were brought forth. “I’ve been wanting to engage critically about all these things within my friend groups,” she said, “and there wasn’t a culture to support that.”Though those appetites lessened, in recent years, she’s noticed a newfound ability for people from marginalized communities to be able to draw boundaries and voice their social discomfort — her included. Black people “were able to be like, ‘I don’t like that anymore,’” she said. “And for those Black people, it had lasting effects.” More

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      Facing Death, a Pianist Recorded Music of Unspeakable Emotions

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      Lars Vogt, for one of his final albums made before dying from cancer, turned to chamber music by Schubert with Christian and Tanja Tetzlaff.There are recordings that are meant for the ages, that are intended to sound definitive. There are recordings that document a fleeting interpretation, that inspire or provoke, that accept the impossibility of a final word. And then there are the rare recordings whose circumstances defy the ordinary routines of an artist, that capture a high or a low moment in that person’s life and, matched to the right music, transcend it.In February 2021, Lars Vogt probably should not have traveled to Bremen, Germany, to join his close friends, the violinist Christian Tetzlaff and his sister, the cellist Tanja Tetzlaff, in recording Schubert’s Piano Trio No. 2 in E flat. Vogt, a widely beloved pianist and a conductor on the rise, arrived in pain; his doctors had asked him not to go, but to check into a hospital to await a conclusive diagnosis of the cancer that would take his life, at just 51, last September.Instead, Vogt sat down at a keyboard.“He did the most incredible things,” Christian said in an interview, adding that Vogt, his colleague of 26 years, suddenly played as if he had reached a kind of fulfillment or liberation. “Even on a technical level,” he continued, “I’d never heard him in this kind of perfection, exuberance, lightness. He was everything at the same time.”Vogt, who spoke openly about his illness, continued to perform until not long before his death; he was making plans for a U.S. tour with the Tetzlaffs this spring, on which they will now be joined by one of Vogt’s dearest students, Kiveli Dörken.Vogt’s remaining recordings include concertos by Mendelssohn and Mozart, as well as a Schubert album with the tenor Ian Bostridge.Anna VogtThe Schubert — to which Vogt and the Tetzlaffs added an earlier trio and other works by the composer for a double album, out on the Ondine label this week — was far from the pianist’s valedictory recording. With the Orchestre de Chambre de Paris, of which he was music director, he taped Mendelssohn and Mozart concertos; with the tenor Ian Bostridge, Schubert’s “Schwanengesang.”But the E flat trio — a piece in which Schubert, a year short of his own death, peers into the darkness yet finds joy — became particularly significant to Vogt. “Feels a little bit like everything, at least in my life, has developed toward this Trio in E flat major,” he wrote after hearing the recording, in a message to the Tetzlaffs that is quoted in the album’s liner notes. “If not much time remains, then it’s a worthy farewell.”Schubert: Piano Trio in E Flat, finaleChristian Tetzlaff, Tanja Tetzlaff, Lars Vogt (Ondine)As Tanja tells it, an awareness of mortality was not entirely new in Vogt’s personality or artistry, though he necessarily felt it more strongly as his cancer treatment progressed.“It was always this strange mixture of feeling, ‘OK, there is death somewhere, and there is despair, frustration, whatever, it’s there because we’re human beings’ — and then, next moment, he would be the most silly and joyful person,” she said. “That’s what always made his playing so incredibly touching, because you see the whole range of the human tragedy, and the lightness of life.”Judging by his recordings, Vogt was a heartfelt soloist, excelling in the Bach-Schubert-Brahms lineage, yet he was arguably at his finest as a chamber musician; even the tone he gleaned from a piano — compassionate, never domineering — seems to invite collaboration. The Schubert album is the latest in a peerless series of releases with the Tetzlaffs that bears witness to a relationship not just between three artists of stature, but among intimates with a common, fearless commitment to expression.“It’s something that’s a bit hard to understand totally from the outside; there was a very strong symbiosis,” Reijo Kiilunen, the founder and managing director of Ondine, said of the trio’s recording sessions, in which they appeared to speak “a special language” with one another. “You simply hear it in their playing.”Before the Schubert, Vogt and the Tetzlaffs had essayed the three Brahms trios, as well as two by Dvorak; with Christian alone, there were accounts of sonatas by Mozart, Beethoven, Schumann and Brahms. There is never the feeling, in any of those interpretations, that the instrumentalists are competing for the limelight or trying to impress anyone, least of all the listener; they are sharing the music with one another.One of those recordings has become especially poignant since it was made in 2015: a searing reading of Brahms’s Violin Sonata in G, which was also the last piece that Vogt and Christian played together, as nurses gathered to hear them perform a week or so before the pianist’s death.There is one passage, in the first movement, that movingly illustrates their partnership. It seems simple enough — the violin strums, like a guitar, as the piano adopts the searching main theme — and most duos play it simply, as a basic question of foreground and background. Yet Vogt’s tone is soft, withdrawn, as if he does not want the attention to fall entirely on himself, but would rather draw the ear to the support that Christian is offering, the essential accompaniment to his mournful song. There is no ego.Brahms: Violin Sonata in G, first movementChristian Tetzlaff, Lars Vogt (Ondine)“In Lars’s words, which I think we all share,” Christian said, “the incredible difference between Schubert and Brahms is that Schubert shows you the absurdity, the horror and the beauty of everything, and Brahms actually takes you by your hand, and tries to give solace.” With Brahms, he added, “you have somebody at your side who is very much like you, and suffering like you. Whereas you are next to Schubert, and say, ‘Who is this giant?’”For the Tetzlaffs, Schubert’s E flat trio represents Vogt’s emotional landscape, as well as the strength he showed in the face of his illness. Finished in November 1827, the piece dwells on Beethoven’s death earlier that year: It is in the same key as Beethoven’s “Eroica” Symphony, and it likewise centers on a funeral march, in C minor, whose shadow is cast off only in a finale that takes consolation, of a sort, in compositional virtuosity, delighting as it layers themes on top of one another.“This is like a psychodrama with Lars dealing with the situation,” Christian said. “He would still have the loudest laughter and the wildest demeanor, engaging with us. But this is also what Schubert is doing in that slow movement: dealing with pain in a way that is not hiding, and not getting smaller, but getting bigger.”The funeral march, with moments of dignified hope that are interrupted by outbursts of extreme turmoil, is clearly a reckoning with the abyss, so much so that Schubert demands the impossible from the people playing it, much as grief asks of its sufferers. There is one point where the string lines are marked triple forte, yet crescendo from there, accents spiking the way. It’s unplayable writing, for unspeakable emotions.“He says, ‘Deal with it; say something,’” Christian explained of Schubert in those moments. “But how?”Schubert: Piano Trio in E Flat, Andante con motoChristian Tetzlaff, Tanja Tetzlaff, Lars Vogt (Ondine)For Vogt, music remained, to the end, a means of saying something. The Tetzlaffs said that he timed his chemotherapy treatments to fit his concert and recording schedule, and that playing helped keep him going.“It reminds me of a Ukrainian woman I know,” Tanja said. “She said, in Ukraine — because from one side, from the other side, it was always conquered by different people — there is a saying: When things get bad, we start laughing, and when things get unbearably bad, we make music; we sing.”Making music, “you are away, somehow, from real tragedies, but you can canalize everything that you are feeling and suffering from into something that becomes a moment,” Tanja continued. “It’s so incredibly important that we have this. I mean, what a miracle.” More

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      ‘Dionne Warwick: Don’t Make Me Over’ Review: A Trailblazer Gets Her Flowers

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      This documentary tries to do justice to a six-decade career in 95 minutes, which proves challenging.Before a late-career revival as a Twitter powerhouse, Dionne Warwick cultivated a music career that changed the game for Black people in America. Her influence as a crossover artist is brought to light in the new documentary, “Dionne Warwick: Don’t Make Me Over.”The film’s directors David Heilbroner and Dave Wooley admiringly chart Warwick’s musical ascension from childhood gospel singer to multiple Grammy Award winner. But doing justice to a six-decade career in 95 minutes proves challenging.As the film winds down, Warwick’s experiences are presented like footnotes on a page: a little about how she scolded Snoop Dogg and Tupac Shakur for their misogynist lyrics, a little less about her cousin Whitney Houston’s death and a lot less about her involvement in The Psychic Friends Network.Throughout, Warwick offers amusing and amused commentary on her long history. Alongside Bill Clinton and Elton John, she looks back on her AIDS activism in the 1980s, when other stars stayed silent about the virus. Another part shows her holding up her 1963 record, “This Empty Place,” which portrayed her as a white woman on the cover in France. Hilariously, she cackles and says, “Have I changed?”Overall, “Don’t Make Me Over” gets the job done, albeit in a formulaic, straightforward fashion. But there’s pure joy in just seeing Warwick radiate the kind of charisma and grit you’d hope for from a living legend who has always stayed true to herself. In this ordinary film about her extraordinary life, it’s clear she’s not stopping now.Dionne Warwick: Don’t Make Me OverNot rated. Running time: 1 hour 35 minutes. Watch on HBO Max. More