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      A Tour Through the Most Interesting Acoustics in New York

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      The composer Michael Gordon and members of Mantra Percussion tested the piece “Timber” in resonant spaces around the city. Here is what they learned.As three people struck wood with mallets under a viaduct in Queens during the morning rush hour one day in the fall, a man walked up and asked, “What do you call this music?” The players could have told him the title of the piece, Michael Gordon’s “Timber,” or given him some idea of the genre. But one, Caitlin Cawley, simply said, “Percussion.”Cawley and her colleagues from the ensemble Mantra Percussion were at the viaduct, which runs along Queens Boulevard and under the 7 train, to test the sound of its vaulted ceiling. It was part of a project to perform “Timber,” an hourlong work from 2009, in man-made sites with idiosyncratic acoustics around New York City.The result, called Resonant Spaces, begins on Sunday, with performances at three locations, followed by three more on April 21. In addition to the viaduct, they include Castle Clinton and Federal Hall in Lower Manhattan, and in Brooklyn, archways in Prospect Park and Dumbo, and a monument in Fort Greene Park. The free concerts will allow the public to hear New York the way percussionists do: as a limitless source of musical opportunity.“Timber” was originally written for the Dutch group Slagwerk Den Haag. Six percussionists struck amplified two-by-fours — a take on simantras, planks of wood shaped to create specific tones, which have a history of being used in the Eastern Orthodox Church.In the early performances of “Timber,” the simantras were made from pine, but Mantra Percussion has taken a different route. Michael McCurdy, a member, said that the score didn’t specify the wood. “When you are learning Xenakis, or anything,” he said, “when the composer says ‘wood block,’ the variety of sounds that can come from that instrument is vast.’”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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      Lost Tapes From Major Musicians Are Out There. These Guys Find Them.

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      For decades, recordings left at studios have languished in storage rooms and basements. Master Tape Rescue, a company of two industry vets, is coming to save them.In late 2020, Brian Kehew was working at the venerable Hollywood studio Sunset Sound when the owner asked him to help identify some tapes the Who had left behind. It was not an unusual request for Kehew, who has done tape transfers and mixes on hundreds of archival recording projects over the last 30 years, and serves as a tech and sometime backing musician for the band. He expected to find some overdubs or a safety copy of a master, nothing particularly important.When he got his hands on the reels, he was shocked: The studio was sitting on all the original two-inch multitracks of the group’s 1975 album, “The Who by Numbers,” as well as previously unreleased songs from those sessions.“I immediately contacted Pete Townshend, and we arranged to send the tapes back to England,” Kehew, a blond-haired Southern California native, said in a recent interview at his North Hollywood studio, which was lined with rare, vintage and obsolete tape machines. “The band had been looking for the tapes for years, but this was one place they hadn’t thought to check.”For Kehew, a producer of Fiona Apple’s “Extraordinary Machine” and an expert on both the Beatles and Moog synthesizers, the recovery of the Who recordings underscored the fact that significant tapes “might be sitting in someone’s attic or barn or basement” and not where they belong, in a record company vault or an artist’s archive. “The obstacle to getting these tapes back in the right hands has always been the time and effort involved,” he said. “But what if there was a facile way to connect everyone that doesn’t involve a lot of hassle or red tape?”The answer may be Master Tape Rescue, a company recently started by Kehew and his partner, Danny White, a fellow music industry veteran. The company acts as an archival matchmaking service of sorts, cataloging recordings from studios or private collections and then vetting and connecting rights holders with tape holders.Shelves of recordings in an archive room above Sunset Sound, a studio in Los Angeles.Tag Christof for The New York TimesWe 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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      How Khruangbin’s Sound Became the New Mood Music

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      The Texan trio’s vibes have spawned countless imitators, but their magic isn’t so easy to replicate.I worry that the word “vibes” is overused, but in what follows it is unavoidable: The band Khruangbin, a trio from Houston, has become so popular that there now exists an entire subgenre of music broadly known as “Khruangbin vibes.” If you have walked into a relatively hip coffee shop in a major or even minor city lately, you have probably encountered Khruangbin vibes. They’re marked by low-key, reverb-heavy, often guitar-forward instrumentals — music that’s groovy and pleasant, bewitchingly exotic yet comfortingly familiar, inoffensive and instantly graspable as existing within a particular sonic space. A vibe, as it were.Listen to this article, read by MacLeod AndrewsOpen this article in the New York Times Audio app on iOS.That such music has come to have a real toehold on the culture says as much about the way music is listened to today as the sound itself. Music now exists primarily within the stream, which is to say passively: We turn it on, like a faucet, and out pour songs representing some mood, or emotion, or any of the other words we used before we had “vibes.” Perhaps it’s an aura, like “chill.” Or a vague, evocative mind-set, like “always Sunday.” The tap turns and out pour songs we already liked, along with burbles of what is a little new and different yet fits in beautifully. This is the arrangement in which “Khruangbin vibes” excel. Such music is extremely slippery, genrewise. (Is it psychedelic lounge dub? Desert surf rock? The sound you hear inside a lava lamp?) As such, it pairs well with a huge span of music, across genres and eras; it has a kind of algorithmic inevitability to it. But this slipperiness also means that quite a lot of the bands now producing Khruangbin-vibesy music are entirely forgettable.Fortunately, being the three musicians who popularized a sound that so many others are chasing is not the same thing as chasing that sound yourself. To the members of Khruangbin — pronounced krung-bin, and featuring Laura Lee Ochoa on bass, Donald Johnson on drums and Mark Speer on guitar — that sound is not so much a goal as a result: It is what happens when they play music together. And while many others have tried, and are still trying, to identify and replicate what is so particular about Khruangbin’s sound, this is not really possible, because what happens among people when they play music together cannot really be quantified. Often, when it works, it is more — well, it’s more vibey than that.Khruangbin onstage in London in 2022.Jim Dyson/Getty ImagesSteve Christensen, Khruangbin’s longtime producer, explained it to me like this: Just about every day, he gets hit up on Instagram by folks asking how to achieve a particular Khruangbin sound. He responds, keeping no secrets, readily giving away everything, because Ochoa, Johnson and Speer have used pretty much the exact same setup for well over a decade now. Their gear and their instruments are simple and straightforward to the point of being borderline ascetic. (Ochoa, for example, has not changed the strings on her bass since 2010, when the group first formed.) When people write back to Christensen, which they often do, they will tell him that they now have all the same gear, and have learned all the songs perfectly, and still cannot get quite the same sound. “Well, I’m sorry,” he tells them, “but that’s just how they play.” Someone might copy Speer’s rig down to the last knob setting, and play his guitar melodies note for note, but without Ochoa and Johnson playing, too, the Khruangbin sound cannot be duplicated. “I know it sounds so simple,” Christensen says, “but if they’re not playing as a trio, it just doesn’t sound like KB.”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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      Scientists at The Pasteur Institute in Paris Are Forming Musical Groups

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      The Pasteur Institute in Paris, known for its world-altering scientific research, has been making advancements in another field: the musical arts.The Pasteur Institute, since opening in the 15th Arrondissement in Paris in the late 1880s, has been recognized for world-altering scientific discoveries. The institute, named for Louis Pasteur, the pioneering French scientist who founded it, has contributed to the production of vaccines for tetanus and the flu and was at the forefront of discovering the virus that causes AIDS.In recent years, the Pasteur Institute has made advancements in another field — the musical arts — as some of its scientists have formed bands and other acts involving colleagues as well as students who have studied there. That cohort has honed its musical passion and ability at an on-site studio they call the music lab.On a Friday evening in March, three acts developed in the lab headlined an event held at the institute’s cafeteria. They included Polaris and also Billie and the What?!, both blues-rock bands, and an a cappella group, Les Papillons, or “the butterflies” in English.Some performers in the a cappella group Les Papillons, or “the butterflies” in English, accessorized their outfits with wings. Cedrine Scheidig for The New York TimesGermano Cecere, a director at the institute, center rear on the drums, performed with his band Billie and the What?!Cedrine Scheidig for The New York TimesMoody purple light bathed the room, which was decorated with balloons and streamers in shades of pink, gold and white. It was filled with more than a hundred people, as well as with an array of equipment, including mics, speakers, guitars and an elaborate drum kit.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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      J. Cole Apologizes for Kendrick Lamar Diss Track

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      J. Cole also vowed to update the track, “7 Minute Drill,” or remove it from streaming services after it was featured on his new album, “Might Delete Later.”The rapper J. Cole apologized on Sunday for releasing a diss track about Kendrick Lamar, saying he felt “terrible” and vowing to update the song or remove it from streaming services.The apology followed an exchange of verses that began in October, when J. Cole and Drake ranked themselves, with Lamar, as the “big three” in hip-hop in the song “First Person Shooter.” In March, Lamar dismissed that comparison in a guest verse on the song “Like That” by Future and Metro Boomin, rapping that there was no big three, “it’s just big me.”In response, J. Cole on Friday released the diss track “7 Minute Drill” on his surprise new album, “Might Delete Later.” It includes the lines: “I got a phone call, they say that somebody dissing / You want some attention, it come with extensions / He still doing shows but fell off like ‘The Simpsons.’”Two days after the song was released, J. Cole apologized for it while onstage at his Dreamville Festival in Raleigh, N.C., according to videos posted on social media. During his headlining performance, he said that when he saw the response to the song after it came out, it didn’t “sit right with my spirit,” and that he was speaking about it at the concert to end the beef.He also called Lamar one of the “greatest” to ever use a microphone and said he hoped Lamar would forgive him.“The past two days felt terrible,” J. Cole said. “It let me know how good I’ve been sleeping for the past 10 years.”As of early afternoon on Monday, “7 Minute Drill” was still available on major streaming services.J. Cole released “Might Delete Later” on his Dreamville Records label, an imprint of Interscope Records, which is owned by Universal Music Group. Universal did not immediately respond to a request for comment.Lamar does not appear to have addressed the track or the apology publicly. Representatives for Lamar did not immediately respond to a request for comment.Drake seemed to respond to Lamar’s verse at a concert in Sunrise, Fla., in late March, according to Complex. He told the crowd that people had been asking him how he was feeling and that he had his “head up high,” and felt as if no one could mess with him.Lamar, Drake and J. Cole have worked together in the past and have individually received numerous awards for their music, including multiple Grammy Awards and nominations. In 2018, Lamar received the Pulitzer Prize in music for his album “DAMN.” More

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      Lizzo Says She Is Not Leaving Music Industry After ‘I Quit’ Post

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      Lizzo clarified that she was not quitting music after writing on Instagram last week that she was “starting to feel like the world doesn’t want me in it.”Lizzo, the Grammy Award-winning singer, clarified on Tuesday that she was not quitting the music industry, days after her social media post saying “I QUIT” led some fans to speculate that she was ending her music career.In a video posted on social media, Lizzo said she was not leaving the music business and instead was quitting “giving any negative energy attention.”“What I’m not going to quit is the joy of my life, which is making music, which is connecting to people, cause I know I’m not alone,” she said in the video. “In no way shape or form am I the only person who is experiencing that negative voice that seems to be louder than the positive.”She continued: “If I can just give one person the inspiration or motivation to stand up for themselves, and say they quit letting negative people win, negative comments win, then I’ve done even more than I could’ve hoped for.”Speculation that Lizzo was leaving the industry arose after she posted a message on Instagram on March 30 that ended with the words: “I QUIT.”“I’m getting tired of putting up with being dragged by everyone in my life and on the internet,” she wrote in the initial post. “All I want is to make music and make people happy and help the world be a little better than how I found it. But I’m starting to feel like the world doesn’t want me in it.”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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      5 Minutes That Will Make You Love Shirley Horn

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      The pianist and vocalist was at once magnetically powerful and laid-back, glamorous and understated. A mix of musicians, writers and radio personalities share their favorites.We’ve spent five minutes with icons of the avant-garde, big-band heroes and saxophone titans. This time around, we’re putting the spotlight on one of jazz history’s rarest talents, the pianist and vocalist Shirley Horn, who would have turned 90 next month.Horn was at once magnetically powerful and laid-back, glamorous and understated. A daughter of Washington, D.C.’s Black bourgeoisie, Horn often attired herself in furs and white gloves, but she could outlast even the hardiest barfly as the night wore on. Her claim to fame will always be her way with a ballad — slow, smoothly poetic, not exactly beckoning but fully inviting — but she also had a ferocious knack for swing rhythm. As influenced as her musical language was by the French Romantics, like Ravel and Debussy, the blues was always her mother tongue.Born, raised and stationed throughout her life in the nation’s capital, educated in classical piano at Howard University, Horn developed a reputation in Washington by her mid-20s, but she had little interest in chasing the spotlight. She remained only a rumor in New York until Miles Davis — after hearing her 1960 debut album for the small Stere-O-Craft label — convinced Horn to bring her trio for an extended run opposite him at the Village Vanguard. The club’s owner had never heard of her, but Davis insisted: “If she don’t play, I ain’t gonna play.” Her showing there led to a contract with Mercury Records, and a solid run of recordings followed, including the Quincy Jones-arranged “Shirley Horn With Horns.”But Horn prized the comforts of hearth and community, and she had the benefit of plentiful local scene in Washington, where she had become a linchpin. For most of the 1970s she barely recorded. But she kept working, holding together the same trio of expert D.C. musicians for decades, with the bassist Charles Ables and the drummer Steve Williams. The three developed a joyous dynamic, not so much telepathic as alert from moment to moment, so that Horn’s suave but intensely improvised playing always had a plush bed to land in.Here the fact of her immense slowness — Horn often played at tempos so draggy that, at 30 or 40 seconds in, it felt like the song had barely begun — became an asset: You’ll often hear Ables reroute gamely in response to a rhythmic choice she’s made or a transitional chord she’s adjusted. The famed vocalist Carmen McRae loved the sound of that trio so much, she hired them as her backing group; on McRae’s final album, from 1991, Horn can be heard tossing glittery harmonies on ballads and driving the band on up-tempo tunes. It was around this time that Horn swept back into the spotlight, thanks to a deal with Verve Records, and enjoyed one of the great late-career renaissances in jazz history, in particular with her Grammy-winning 1992 album, the now-canonical “Here’s to Life.”Below, read a selection of appreciative takes on Horn’s distinctive sound from a mix of musicians, writers and radio personalities, some of whom knew Horn personally by way of the Washington scene. You can find a playlist at the bottom of the article, and be sure to leave your own favorites in the comments.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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      Why Did Matt Farley Put a Song About Me on Spotify?

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      I don’t want to make this all about me, but have you heard the song “Brett Martin, You a Nice Man, Yes”?I guess probably not. On Spotify, “Brett Martin, You a Nice Man, Yes” has not yet accumulated enough streams to even register a tally, despite an excessive number of plays in at least one household that I can personally confirm. Even I, the titular Nice Man, didn’t hear the 1 minute 14 second song until last summer, a full 11 years after it was uploaded by an artist credited as Papa Razzi and the Photogs. I like to think this is because of a heroic lack of vanity, though it may just be evidence of very poor search skills.Listen to this article, read by Eric Jason MartinOpen this article in the New York Times Audio app on iOS.When I did stumble on “Brett Martin, You a Nice Man, Yes,” I naturally assumed it was about a different, more famous Brett Martin: perhaps Brett Martin, the left-handed reliever who until recently played for the Texas Rangers; or Brett Martin, the legendary Australian squash player; or even Clara Brett Martin, the Canadian who in 1897 became the British Empire’s first female lawyer. Only when the singer began referencing details of stories that I made for public radio’s “This American Life” almost 20 years ago did I realize it actually was about me. The song ended, “I really like you/Will you be my friend?/Will you call me on the phone?” Then it gave a phone number, with a New Hampshire area code.So, I called.It’s possible that I dialed with outsize expectations. The author of this song, whoever he was, had been waiting 11 long years as his message in a bottle bobbed on the digital seas. Now, at long last, here I was! I spent serious time thinking about how to open the conversation, settling on what I imagined was something simple but iconic, on the order of “Dr. Livingstone, I presume.” After one ring, a male voice answered.I said: “This is Brett Martin. I’m sorry it’s taken me so long to call.”The man had no idea who I was. More