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    Kim Deal Goes Solo, and 7 More New Songs

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    Hear tracks by Alan Sparhawk, Joy Oladokun, Ivan Cornejo and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Kim Deal, ‘Coast’“Coast,” a delightfully woozy solo single from the eternally cool Breeders frontwoman Kim Deal, begins with a kind of self-deprecating punchline: “I’ve had a hard, hard landing/I really should duck and roll out,” she sings in her inimitable voice, pausing to add with great comic timing, “Out of my life.” Deal has said that the song was inspired by a wedding band she saw cover “Margaritaville,” but part of the track’s charm is that despite its surf-rock lilt and buoyant horn section, she is never quite able to tap into those blissful vacation vibes. Instead, it is a song about shrugging and carrying on in spite of what bums you out; the fact that it was produced by Steve Albini, who died in May, adds an extra note of elegiac bittersweetness. LINDSAY ZOLADZJoy Oladokun, ‘Drugs’What seems like an idle complaint — “The drugs don’t work/Oh I can’t get high”— expands into a cry from the heart, as Joy Oladokun sings about no longer being able to numb herself from rage, loneliness and “running on empty and calling it strength.” Luckily, she has a bluesy backbeat and gospel-choir harmonies to lift her spirits. JON PARELESWe 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

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      in Television

      Johnny Canales, Tejano Music Singer and TV Host, Dies

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      He was known for booking new acts on his program, including Selena Quintanilla, who performed on his show in 1985 in what was one of her first live TV performances.Johnny Canales, the Mexican television host whose program introduced new musical acts to wide audiences, including a young Selena Quintanilla in the 1980s, has died. His death was announced on Thursday by his show’s Facebook account. No additional details were given. His wife, Nora Canales, said in a video update on May 20 that he had been ill. Mr. Canales was believed to be in his late 70s or early 80s, though his year of birth was unclear.For many rising acts beginning in the 1980s, to be invited to perform on Mr. Canales’s bilingual variety show was considered a milestone and a chance to gain new fans on a program that was watched by millions.Some acts that performed on his show went on to become household names. He also became a popular TV host, known for introducing performances with his catchphrase: “You got it. Take it away.”“The Johnny Canales Show” debuted on KRIS in Corpus Christi, Texas, in 1983. The program was later picked up by Univision, which expanded the show’s reach beyond South Texas.Mr. Canales had many groups and singers perform on his show over the years, including La Mafia, La Sombra, Los Temerarios and Ramon Ayala. But perhaps the one who went on to become the most popular was a teenage Selena Quintanilla, as Selena y Los Dinos, in 1985, in what was one of the singer’s first live TV performances.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

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      in Music

      Con ‘Houdini’, Eminem pierde la magia y otras 10 canciones nuevas

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      Nuestros críticos de música pop tienen una lista con los temas más destacados de las últimas semanas: Clairo, Nathy Peluso, Nick Cave & the Bad Seeds y más para escuchar.[Estamos en WhatsApp. Empieza a seguirnos ahora]Todos los viernes, los críticos de música pop de The New York Times comentan las nuevas canciones más destacadas de la semana. Escucha la playlist en Spotify aquí (o encuentra nuestro perfil: nytimes) y en Apple Music aquí, y suscríbete a The Amplifier, una guía quincenal de canciones nuevas y antiguas.Eminem, ‘Houdini’Eminem intenta recuperar glorias pasadas en su agotadora nueva canción “Houdini”, el primer sencillo de su próximo 12º álbum, The Death of Slim Shady (Coup de Grâce). Sobre un ritmo estridente y carnavalesco que interpola una muestra de “Abracadabra” de la Steve Miller Band, el craso alter ego del MC Slim Shady analiza el momento cultural actual y encadena algunos chistes en su rapeo de forma rebuscada, desesperado por ofender a cada paso. El truco más viejo de la historia. LINDSAY ZOLADZTwenty One Pilots, ‘Navigating’Clancy, el nuevo álbum de la banda Twenty One Pilots, es la cuarta entrega de una serie de álbumes conceptuales. Pero “Navigating” no necesita necesariamente una historia de fondo. Es una crisis psicológica, como canta Tyler Joseph, que se siente aturdido y disociado, incapaz de hablar pero desesperado por conectar: “Perdón por el retraso, estoy navegando por mi cabeza” es la mayor explicación que consigue dar. El tema es una fusión animada, galopante y vibrante de punk-pop y electrónica, que se abre con un “Hey-oh” que suena al coro de una tribuna en un estadio y trata de atravesar el punto crítico con puro ímpetu. JON PARELESWe 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

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      in Music

      Eminem Loses the Magic, and 10 More New Songs

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      Hear tracks by Clairo, Nathy Peluso, Nick Cave & the Bad Seeds and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Eminem, ‘Houdini’Eminem attempts to recapture past glories on his exhausting new song “Houdini,” the first single from his upcoming 12th album, “The Death of Slim Shady (Coup de Grâce).” Atop a garish, carnivalesque beat that interpolates a sample of the Steve Miller Band’s “Abracadabra,” the M.C.’s crass alter ego Slim Shady surveys the current cultural moment and strings together some stiltedly rapped jokes, desperate to offend at every turn. Oldest trick in the book. LINDSAY ZOLADZTwenty One Pilots, ‘Navigating’“Clancy,” the new album by the two-man band Twenty One Pilots, is the fourth installment in a series of concept albums. But “Navigating” doesn’t necessarily need a back story. It’s a psychological crisis, as Tyler Joseph sings about feeling dazed and disassociated, unable to speak but desperate for connection: “Pardon my delay — I’m navigating my head” is his closest explanation. The track is a buzzing, galloping, pumping merger of punk-pop and electro, opening with an arena-sized “Hey-oh” chant and trying to get through the crisis on sheer momentum. JON PARELESGirl Scout, ‘I Just Needed You to Know’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

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      in Music

      Carin León Is Bringing Música Mexicana and Country Ever Closer

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      “There are no limits for music,” the Mexican singer-songwriter said.“There’s just good music and bad music.”In January 2023, the música Mexicana star Carin León was preparing for a concert at Nashville’s Bridgestone Arena when he decided he needed to do something special for an encore.León grew up in Hermosillo, the capital city of Sonora, Mexico, about 250 miles from Tucson, Ariz. Music was always playing around his home, often from border radio stations that piped in a wide variety of American hits, and his father was known to listen to David Allen Coe’s “Tennessee Whiskey” on cassette over and over.“Me and my brother would sing the song as kids, but we would make up different lyrics because we didn’t know English back then,” León said. The country giant Chris Stapleton turned his R&B-slow-dance cover of “Tennessee Whiskey” into a career breakthrough, and León, a Stapleton superfan, worked up his own powerfully soulful version for the largely Latino audience in Nashville.“The next day, the performance went viral,” León said. “People were saying, he can sing country music, he can sing in English. So that gave me a little spark.”León, 34, was already a Latin Grammy-winning artist with billions of streams on Spotify before he covered “Tennessee Whiskey” — and before he released bilingual collaborations with the country star Kane Brown and the soul singer Leon Bridges; wrote with the Nashville veterans Jon Pardi, Cody Johnson and Natalie Hemby; earned a standing ovation at the Grand Ole Opry with a set entirely in Spanish; became the first Latin artist to perform at both the Coachella and Stagecoach festivals; and opened for the Rolling Stones in early May.“My comfort zone is being outside of my comfort zone,” León said from his shopping-bag-strewn suite at a swank Beverly Hills hotel in California, his girlfriend and team at his side. “There are no limits for music. There’s just good music and bad music.”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

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      in Music

      F1: Organizers Hope Music Puts the Miami in the Miami Grand Prix

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      The entertainment lineup for this weekend’s Formula 1 race has been infused with Latin music and nightclub-like electronic beats.Organizers at Hard Rock Stadium near Miami have hosted some of the biggest spectacles in American sports in the past five years, including the Super Bowl and college football’s national championship game.Now they want to turn the Miami Grand Prix, the Formula 1 race being held on a serpentine racetrack around the stadium on Sunday, into appointment viewing like the Kentucky Derby and the Masters are.Tom Garfinkel, the race’s managing partner, said that the city’s tropical locale and reputation as a party center were important facets, and that organizers were intentionally infusing the entertainment lineup with regional music, including Latin heritage and nightclub-like electronic beats.“We’re trying to make this a destination that people mark on their calendar in the United States and around the world and say, ‘That’s something I need to attend,’” said Garfinkel, who is also the president of the N.F.L.’s Miami Dolphins.At the third annual Miami Grand Prix, Marc Anthony, the four-time Grammy-winning Latin singer, will perform the national anthem; Kaytranada, an EDM producer born in Haiti, will play at the end of the race. Weekend performances at a festival-like venue near the racetrack included the Puerto Rican rapper Don Omar and the Miami-born D.J. Steve Aoki.The attempt to distinguish the race also includes visual artists. The Brazilian street artist Eduardo Kobra, whose work has been featured at Art Basel, painted a mural near the track.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

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      in Music

      Shakira on the Pain Behind Her New Album, ‘Las Mujeres Ya No Lloran’

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      With “Las Mujeres Ya No Lloran,” her first album in seven years, the Colombian superstar said she “transformed pain into productivity.”For Shakira, 2022 was a year of heartbreak. Decades of hit singles and groundbreaking Latin-pop crossovers couldn’t insulate the Colombian pop star from personal upheavals. In the glare of celebrity coupledom, she broke up with the soccer player Gerard Piqué, her partner for 11 years and the father of her two sons, Milan and Sasha. Her father was hospitalized twice for a fall that caused head trauma; he went on to require further brain surgery in 2023.Shakira was also facing charges of tax evasion in a long-running case disputing whether she had lived primarily in Spain from 2012 to 2014; she declared residency there in 2015. Last November, she settled for a fine of 7.5 million euros (about $8.2 million), citing “the best interest of my kids.” Just days earlier, Shakira had collected the Latin Grammy for song of the year for “Shakira: Bzrp Music Sessions, Vol. 53,” a collaboration with the Argentine producer Bizarrap with wordplay clearly aimed at Piqué and his girlfriend.The song was one of a string of singles Shakira released that referred directly to the breakup: the sarcastic “Te Felicito” (“I Congratulate You”); the regretful “Monotonía” (“Monotony”); the Bizarrap session, “Acróstico,” a ballad promising her children that she’d stay strong; and “TQG” (“Te Quedó Grande,” roughly translated as “I’m Too Good for You”), a taunting reggaeton duet with the Colombian star Karol G, who had been through her own public breakup. “TQG” has racked up more than a billion streams.Those songs reappear on Shakira’s first album since 2017, “Las Mujeres Ya No Lloran” (“Women No Longer Cry”), due Friday. All but one of its tracks deal with romantic ups and (mostly) downs, honed into crisp, tuneful pop structures. The LP continues Shakira’s career-long penchant for pulling together music and collaborators from across the Americas, dipping into rock, electro-pop, trap, Dominican bachata, Nigerian-style Afrobeats and regional Mexican cumbia and polka. Her guests include Cardi B, Ozuna and Rauw Alejandro. Not one of them upstages Shakira, who’s playful or raw as each moment demands.Shakira spoke about the album from her white-walled kitchen at her home in Miami, where an air fryer sat on the counter behind her; a pet bunny in a pen was at her side. Unlike Barcelona, Miami is a hub of Latin pop where, she said, “I have the feeling I’ll be making a lot more music now.” Wearing a black tank top, with her hair in long blond waves, Shakira spoke happily and volubly about an album that, for her, was “alchemical.” These are edited excerpts from the conversation.Shakira faced charges of tax evasion in a long-running case disputing whether she had lived primarily in Spain from 2012 to 2014. Last November, she settled for a fine of 7.5 million euros (about $8.2 million).Josep Lago/Agence France-Presse — Getty ImagesWe 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

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      in Music

      Kamasi Washington’s Ecstatic Return, and 9 More New Songs

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      Hear tracks by 4batz featuring Drake, Salt Cathedral, Swamp Dogg and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Kamasi Washington, ‘Prologue’“Prologue” is actually the final track on Kamasi Washington’s coming album, “Fearless Movement,” and it’s dense and bustling. Double time drumming, frenetic percussion and hyperactive keyboard counterpoint roil around a melody that rises resolutely over descending chords, while breakneck solos from Dontae Winslow on trumpet and Washington on saxophone exult in sheer agility and emotional peaks. JON PARELESShabazz Palaces and Lavarr the Starr, ‘Take Me to Your Leader’Shabazz Palaces — Ishmael Butler from Digable Planets — sets up a sci-fi scenario in “Take Me to Your Leader” from his album due March 29, “Exotic Birds of Prey.” He and a guest rapper, Lavarr the Starr, have to convince a powerful, mysterious queen that “our race deserves to survive.” Amid blipping electronics and slow-pulsing bass, with voices warped by echoes and effects, they set out a strategy of gifts, philosophizing, seduction and “a steady-bumping beat she can freak with.” PARELESSalt Cathedral, ‘Off the Walls’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

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      in Music

      Residente’s ‘Las Letras Ya No Importan’: A Troublemaker Reveals His Heart

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      The Puerto Rican rapper from Calle 13 places romance alongside resistance on “Las Letras Ya No Importan.”Residente — the Puerto Rican songwriter René Pérez Joglar — is lying, or at least misdirecting, with the title of his second solo album, “Las Letras Ya No Importan” (“The Lyrics Don’t Matter Anymore”). Words still matter to Residente, and they pour out of him. As always, he’s a blunt, far-reaching, fast-talking rapper who’s determined to engage on multiple fronts: political, cultural, mythmaking, cybernetic, sardonic and — now more than ever — personal.Residente arrived in the early 2000s as the frontman of Calle 13, his duo with his half brother Eduardo Cabra (a.k.a. Visitante). With Residente rapping and Visitante overseeing the musical backdrops, Calle 13 conquered the Americas with rebellious, hard-hitting and sonically omnivorous songs. Residente’s virtuosic raps in Spanish flaunted impeccable diction and a compulsion to push boundaries. He was often crudely raunchy, science-minded and ideologically sophisticated in the same song. As Calle 13’s popularity and ambitions grew, the group formed international musical and activist alliances with songs like the Pan-American manifesto “Latinoamérica” in 2011. The duo went separate ways in 2015.For his first solo album, “Residente” in 2017, Pérez took a DNA test and followed the results to his ancestral homelands, drawing on local musical traditions and, in some places, visiting conflict zones. The new album isn’t so tidily conceptual.With 20 songs that Residente has amassed over the last seven years, “Las Letras Ya No Importan” is a huge harvest of assorted ideas, from minimalistic to lavish, from cocky to righteous to humble to unexpectedly romantic.The album is packed with collaborators including the rappers Busta Rhymes, Big Daddy Kane and Vico C (a Puerto Rican reggaeton pioneer) and the singers Rauw Alejandro and Christian Nodal, among many others. It dips into rock, old-school hip-hop, flamenco, Cuban son, Palestinian music, electro and — with tongue in cheek — pop. (“Quiero Ser Baladista” — “I Want to Be a Ballad Singer” — suddenly switches from a belligerent rap over electric-guitar chords to an ardent love-song chorus from none other than Ricky Martin.)The set reclaims Residente singles like the fiercely percussive “This Is Not America” from 2022, which insists “America isn’t only the U.S.A.,” and “Problema Cabrón,” a blues-rock rap that revels in being a troublemaker. The album concludes with Residente’s 2020 single “René,” a gut-spilling seven-minute confessional that sets his fears and self-doubts to somber, sustained chamber-music strings — until Rubén Blades shows up for a conga-driven coda.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