Latin Music

Subterms

    More stories

    • 163 Shares149 Views

      in Music

      The Cure’s First Fresh Music in 16 Years, and 9 More New Songs

      by

      Hear tracks by Lady Gaga, Rosalía, Stevie Nicks 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.The Cure, ‘Alone’“This is the end of every song we sing,” Robert Smith laments in the stately, dire, seven-minute “Alone.” It’s the first preview of “Songs of a Lost World,” the Cure’s first studio album since 2008, which is due Nov. 1. The first half of the track is instrumental, establishing a lugubrious pace with thick, sustained chords punctuated by slamming drums. It sets up Smith to deliver a threnody for just about everything: not just music but love, nature, hope, dreams, even the stars. “Where did it go?” Smith wonders amid the emptiness.Stevie Nicks, ‘The Lighthouse’Stevie Nicks has re-emerged, righteous and adamant, with “The Lighthouse,” a post-Dobbs call for action on women’s rights. “You better learn how to fight,” she sings. What starts as a dirge — “All the rights that you had yesterday are taken away” — quickly snowballs into a march, a latter-day sequel to “Stand Back” that insists on standing up instead.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

    • 150 Shares179 Views

      in Music

      Bad Bunny and Karol G Are Most Nominated Artists for Latin Grammys

      by

      These streaming titans earned eight nods apiece for the 25th annual awards, although the Mexican American songwriter and producer Edgar Barrera received the most nominations overall, with nine.When the first Latin Grammy Awards were held in 2000, they celebrated the diversity of sounds from throughout Latin America, and arrived with the hype — and hope — that a new generation of stars would cross over into the American pop mainstream. Among the big names that year were Ricky Martin, Marc Anthony and a rising young singer-songwriter named Shakira.Now, for the show’s 25th annual iteration, the indefinably broad category of Latin music represents a sprawling segment of the industry that, thanks largely to streaming, has become a truly global phenomenon. The latest nominations, announced on Tuesday by the Latin Recording Academy, are dominated by Bad Bunny and Karol G, who sell out arenas, draw clicks by the billions and have eight nods apiece.Juan Luis Guerra, a veteran Dominican songwriter, has five nominations. Coming in with four each are Kany García, a Puerto Rican singer; Feid, from Colombia; Carin León, from Mexico; and Kali Uchis, a Colombian American singer-songwriter. For the second year in a row, however, the top nominee overall is a behind-the-scenes figure: Edgar Barrera, a Mexican American songwriter and producer, who has a total of nine nods.Another songwriter, Kevyn Mauricio Cruz, known as Keityn, who often works with Barrera, has six nominations.A mere list of the nominees gives a sense of the geographic diversity of the Latin field, and of the cross-pollination among genres and regions that has become increasingly common (and popular).Barrera — also known as Edge — has worked closely with Karol G, the neon-maned Colombian singer who has quickly become an A-list pop star. (At the MTV Video Music Awards last week, she danced in the audience with Taylor Swift and Camila Cabello while performing a recent track, “Si Antes Te Hubiera Conocido.”) Among the nominations that Barrera and Karol G share are song and record of the year for her track “Mi Ex Tenía Razón” (“My Ex Was Right”).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

    • 63 Shares189 Views

      in Music

      Sergio Mendes: 10 Essential Songs

      by

      The bandleader and musician, who died on Thursday at 83, was a bridge from Brazilian music to the world — and back.Sergio Mendes earned a lasting place in international pop as a conduit between Brazilian music and the wider world. He had the genial stage presence, arranging skills and musical standards of an expert bandleader. He also had the A&R savvy and crossover instincts to latch onto potential hits and collaborate with musicians across multiple generations.Mendes carried songs from Brazil’s master songwriters — among them Antonio Carlos Jobim, Jorge Ben Jor and Carlinhos Brown — to listeners worldwide, often in English translations. He also found American and British songs that could dovetail with Brazilian rhythms. His music chose suaveness over bite, and it sometimes shaded into slick easy listening or sought an over-processed American pop sheen. Yet while he spent much of his career living in the United States, his foundations in Brazilian music stayed strong.Here, in chronological order, are 10 worthwhile songs from Sergio Mendes’s huge catalog. Listen on Spotify or Apple Music (or via YouTube links on each song title).Sergio Mendes, ‘Oba-là-là’ (1961)Mendes thought he was headed for a career in jazz on his 1961 debut album, “Dance Moderno,” which mingled Brazilian songs and American jazz standards. It opens with “Oba-là-là” by João Gilberto, an upbeat bossa nova with Mendes’s piano plinking out crisp chords and a zigzagging solo.Sergio Mendes & Brasil ’66, ‘Mas Que Nada’ (1966)Sergio Mendes & Brasil ’66 was the lineup that would bring Mendes hits through the 1960s, with women’s voices carried by breezy Brazilian rhythms. The band’s international breakthrough featured the irresistible melody of the Ben Jor song “Mas Que Nada.” The song’s lyrics, in Portuguese, praise the deep Afro-Brazilian tradition of samba. But Mendes’s finger-snapping version, with Lani Hall’s lead vocals, also uses thick, bluesy piano chords to add a touch of Nuyorican boogaloo. He remade the song repeatedly through the decades — all the way up to an EDM update this year — but his first one endures.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

    • 150 Shares129 Views

      in Music

      Sergio Mendes, 83, Dies; Brought Brazilian Rhythms to the U.S. Pop Charts

      by

      A pianist, composer and arranger, he rose to fame with the group Brasil ’66 and remained a force in popular music for more than six decades.Sergio Mendes, the Brazilian-born pianist, composer and arranger who brought bossa nova music to a global audience in the 1960s through his ensemble, Brasil ’66, and remained a force in popular music for more than six decades, died on Thursday in Los Angeles. He was 83.His family said in a statement that his death, in a hospital, was caused by long Covid.Mr. Mendes released more than 30 albums, won three Grammys and was nominated for an Academy Award in 2012 for best original song (as co-writer of “Real in Rio,” from the animated film “Rio”).His career in America took flight in 1966 with Brasil ’66 and the single “Mas Que Nada,” written by the Brazilian singer-songwriter Jorge Ben. The Mendes sound was deceptively sophisticated rhythmically but gentle on the ears, suavely amplifying the original guitar-centered murmur of bossa nova with expansive keyboard-driven arrangements and cooing vocal lines that usually included Mr. Mendes himself chiming in alongside a front line of two female singers.Signed by Herb Alpert, Mr. Mendes’s group, Brasil ’66, scored a gold record with its first release on his label, A&M Records.A&MThe group’s lilting, sensual pulse came to embody an adult contemporary cool in the 1960s that contrasted pointedly with the ascendant youth culture dominating the pop charts in the wake of the Beatles.“It was completely different from anything, and definitely completely different from rock ’n’ roll,” the Latin music scholar Leila Cobo observed in the 2020 HBO documentary “Sergio Mendes in the Key of Joy.” “But that speaks to how certain Sergio was of that sound. He didn’t try to imitate what was going on.”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

    • 138 Shares179 Views

      in Music

      20 Pop and Jazz Albums, Shows and Festivals Coming This Fall

      by

      Anticipated debuts and long-awaited follow-ups are due this season. Our critics plucked out a list of the most notable.Some of the year’s buzziest artists (Charli XCX, Chappell Roan) are headlining tours and festivals this fall, and a bevy of new albums from established stars (Shawn Mendes, Jelly Roll) and up-and-comers (Flo, Nemahsis) are on the way. Dates and lineups are subject to change.SeptemberNILÜFER YANYA The British musician Nilüfer Yanya makes pensive, intricately layered songs that revel in unexpected textural jolts. On “Like I Say (I Runaway),” the lead single from her third album, “My Method Actor,” the deadpan, Sade-like cool of Yanya’s vocals is interrupted by a sudden eruption of PJ Harvey-esque guitar distortion. A melodically rich meditation on identity, desire and the reverberations of heartache, “My Method Actor” is a confident and hypnotic follow-up to her 2022 release, “Painless.” (Sept. 13; Ninja Tune) LINDSAY ZOLADZNEMAHSIS Nemahsis — the songwriter Nemah Hasan, who has Palestinian roots — sings about seizing her tangled identity as an independent artist, a Muslim, the daughter of immigrants and a self-questioning but determined individualist. On her debut album, “Verbathim,” her producers include Drake’s regular collaborator Noah (40) Shebib, with songs that can be folky or test the electronic edges of hyperpop. (Sept. 13; Verbaithim) JON PARELESSEXYY RED Fresh off several high-profile collaborations with Drake, Sexyy Red, the 26-year-old St. Louis rapper, makes the leap to headlining arenas on her Sexyy Red 4 President tour, on which she’s playing songs from her latest mixtape, “In Sexyy We Trust.”. That’s one way to kick off election season. (Sept. 17; Barclays Center) ZOLADZSexyy Red’s tour started in late August and comes to Brooklyn in September.Torben Christensen/Ritzau Scanpix Denmark, via ReutersCHARLI XCX AND TROYE SIVAN Most live performances by the British pop singer, songwriter and producer Charli XCX tend to feel more like semi-legal warehouse raves than highly choreographed arena shows, but the breakout success of her sixth album, “Brat,” means that, on the Sweat Tour that she is headlining with the Australian pop star Troye Sivan, the 32-year-old industry veteran will be playing some of the largest venues of her career. Bid farewell to Brat Summer in style starting Sept. 14 in Detroit. (Sept. 23; Madison Square Garden) ZOLADZWe 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

    • 100 Shares149 Views

      in Music

      Gloriously Noisy Latinas Are Coming to Lincoln Center

      by

      The free Ruidosa Fest is a showcase for innovative female musicians that has injected its founder “with a lot of energy and love and connection.”In Spanish, “ruidosa” means noisy, loud, roaring, rumbling and attention-grabbing. The final “a” makes it a feminine adjective.It’s the name that Francisca Valenzuela, an American-born Chilean songwriter, chose when she decided to create a festival, and an organization, dedicated to getting Latina musicians heard — and defying the gender imbalance across the music business. Since 2016, Ruidosa Fests have taken place across Latin America, presenting female-led acts from multiple countries and gathering industry figures for panel discussions and strategic networking.On Saturday, New York City gets its first Ruidosa Fest, with 10 acts on multiple stages at Lincoln Center, followed by a silent disco D.J. set. At 3 p.m., before live music begins at 4:30, journalists and media executives will speak on a panel titled “Latinx to the Front: Nuestro Ruido (‘Our Noise’) Is Worldwide.” The festival is part of Lincoln Center’s Summer for the City series, and the day’s admission is free.Ruidosa’s lineup is filled with genre-stretching musicians: electronic experimenters, pop adepts and songwriters bringing new thoughts to traditional forms.In a video interview, Valenzuela said she wanted to present “artists that have sounds and careers that are very authentic and unique, and you see that there’s a point of view.”She added, “One of the things we say at Ruidosa all the time is that there’s not one way to be a woman. There’s no one way to be successful, or to be Latina identified.”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

    • 113 Shares189 Views

      in Music

      Kim Deal Goes Solo, and 7 More New Songs

      by

      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

    • 113 Shares149 Views

      in Television

      Johnny Canales, Tejano Music Singer and TV Host, Dies

      by

      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