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      George Michael Preferred Music to Fame. The Doc He Made Does, Too.

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      “George Michael: Freedom Uncut,” a film the musician worked on with his longtime collaborator David Austin, tells the story of his professional life via interviews and previously unseen footage.George Michael and David Austin were best friends who met because their mothers were best friends. Austin’s family lived at 67 Redhill Drive in the working class East Finchley area of North London, and Michael’s family was at 57. The two wrote songs together and remained close even as one became a global superstar and the other didn’t.Michael was a gifted and determined musical dynamo who became a star at the age of 19, first as a member of the British duo Wham! He won two Grammys in the solo career that followed, and collaborated with some of the greatest stars of the previous generation, including Aretha Franklin, Stevie Wonder, Paul McCartney and Elton John. He was a gifted writer, producer, arranger and musician, sometimes playing all the instruments on his songs. And as a singer, he moved fluidly from Motown pop to hard funk to Brazilian bossa nova, with a voice that was sure, expressive and flush with poignancy and drama.Neither Michael nor Austin had significant movie directing experience, but neither lacked confidence, so around 2014 they began directing a documentary detailing the vicissitudes of Michael’s career and life, including pop supremacy and international scandal, euphoric love and lacerating deaths.In December 2016, they’d picture-locked the film and planned a screening for their families, who’d gathered, as they often did, to celebrate Christmas together. “We were going to show it to our parents on Boxing Day,” Austin said. “George was immensely proud of it.” But Michael died in his sleep at 53 and was found by a lover, Fadi Fawaz, on Christmas morning. The cause was a heart condition.Austin trimmed Michael’s final cut to fit a TV time slot on Channel Four in England, where it aired in October 2017 as “George Michael: Freedom.” But he was dissatisfied with the edit because it didn’t tell the full story as Michael saw it. So in the following years, while resolving some worldwide rights issues, Austin restored the final cut and added an introduction by Kate Moss and tribute performances by Adele as well as Chris Martin of Coldplay. The film, now called “George Michael: Freedom Uncut,” debuts in theaters worldwide on Wednesday.“Freedom Uncut” was preceded in 2004 by the BBC’s “A Different Story,” which included interviews with Michael’s close friends as well as his father, a Greek immigrant who’d viewed his son’s dreams of stardom as juvenile and foolhardy. Throughout “A Different Story,” Michael discusses his private life with self-mocking candor, which was one of his most charming traits: “Oh my God, I’m a massive star and I think I may be a poof,” he says at one point, describing a time when he began coming to grips with being gay. “What am I going to do?”So for “Freedom Uncut,” Michael wanted to focus on his professional life. “He said, ‘This is a different film. This is about me and about the people I work with,’” Austin recalled in a phone call from his office in London. The documentary includes interviews with fellow music stars, including Elton John, Stevie Wonder and Mary J. Blige, the comedians Ricky Gervais and James Corden, the producer Mark Ronson and the supermodels Naomi Campbell, Linda Evangelista, and others who starred in his “Freedom! ’90” video. The film includes recently discovered 35 mm footage shot by the director David Fincher, who directed “Freedom! ’90” before his successful career in Hollywood, and unseen home videos Michael made of Anselmo Feleppa, his longtime boyfriend, who died in March 1993 of an AIDS-related illness.Michael was a self-described homebody who was happiest playing with his dogs at his country house, but his career brought him into contact with music and fashion’s biggest stars. “What struck me instantly was how down to earth and what a sweet, beautiful soul he was,” the supermodel Naomi Campbell wrote in an email. “He was unique, a one-of-a-kind divine personality of our time.”IN THE RAPID-ASCENT stage of his career, Michael was a remarkably prolific songwriter: Starting in 1982, Wham! (the duo he formed with Andrew Ridgeley) had four Top 10 U.K. singles in a row. The pair’s second album, “Make It Big,” gave them three No. 1 songs in the United States: “Wake Me Up Before You Go-Go,” “Careless Whisper” and “Everything She Wants.” When I interviewed Michael following the breakup of Wham!, he described the duo as a carefully plotted return to pop escapism. “I can understand why people wanted to punch me out,” he admitted.Everything Michael learned about craft and marketing conjoined on his first solo album, “Faith” (1987), which made him a star on the magnitude of Michael Jackson or Madonna. But the celebrity he’d desired and attained “had taken me to the edge of madness,” he says in “Freedom Uncut.”For the release of his next album, “Listen Without Prejudice Vol. 1,” he insisted his name and face not appear on the cover. He refused to promote the record or appear in his own videos. And in his song “Freedom! ’90,” he deconstructed pop stardom and exploded the foundational illusion of fandom: “I don’t belong to you, and you don’t belong to me.” It was, regardless of its message, a massive hit.Michael felt that his record company, Sony, was not promoting his new album avidly enough, and in 1992, he sued in the hope of terminating his contract. By then, he’d met Feleppa and felt loved for the first time in a sexual relationship. “I was happier than I’d ever been in my entire life,” he says in a “Freedom Uncut” voice-over.Andrew Ridgeley and Michael performing as Wham! in 1985, supporting their second album.Michael Putland/Getty ImagesHis disenchantment with stardom collapsed into depression over the following years. In June 1994, a little more than a year after Feleppa died, Michael lost the Sony case. In 1997, his beloved mother, Lesley, died of cancer. And in 1998, he was arrested in a Beverly Hills park for committing a “lewd act” with an undercover policeman, which is when he came out as gay and declared, “I don’t feel any shame whatsoever.”In the midst of these troubles, he released a 1996 album, “Older,” which included the Top 10 hits “Jesus to a Child,” written in tribute to Feleppa, and “Fastlove.” (Michael called “Older” “my greatest moment,” and an expanded edition will be reissued on July 8.) But he made only one more album of original songs in the following 20 years before his death.“Freedom Uncut” vivifies Michael for younger generations that didn’t live through the Pop Star Wars of the ’80s. He loved and emulated Black music, which created controversy in the moment — George Benson’s eyes nearly rolled back into his head when he announced Michael’s 1989 American Music Award win in the favorite soul/R&B album category. But time often engenders empathy, and the singer is now viewed as an ally. “Michael’s journey as a working-class gay white man from London who loved Black music and Black culture gave him an intersectional legacy that few artists (save Prince) will ever achieve,” Jason Johnson wrote in The Root, a website that focuses on African American issues, two days after the singer died.The fact that Michael was able to write, arrange and produce at such a high level places him in “the rarefied air of Sly Stone, Prince or Shuggie Otis,” Mark Ronson added in a phone interview. “It’s crazy, because he made incredible R&B music, but he didn’t go to America to record it” with Black musicians, he noted. “There wasn’t the insecurity of being a white soul boy from England.”Ronson also hears melancholic or even mournful qualities in Michael’s music: “A lot of our favorite artists sound catchy and peppy, but when you peel back one or two layers, you see somebody who’s dealing with serious inner demons.”Michael onstage accepting an American Music Award. The musician won two Grammys for his solo work.Alan Greth/Associated PressIN 1984, WHEN Michael was already a gleaming pop phenom in England, he went on TV and introduced David Austin, who was singing his debut single, “Turn to Gold,” which Michael wrote with Austin and produced. “I’ve known this young man since he was 2 years old,” Michael said, before declaring his pal “the biggest star of 1984.”Austin recalled, “He was telling a porky pie,” and laughed, using Cockney rhyming slang for a lie. “We’d known each other since he was the grand old age of 6 months, and I was 11 months older. From early childhood, right through to our late teens, we were together all the time.”David Austin is a stage name; he was born David Mortimer, to Irish parents. George Michael was born Georgios Panayiotou, to an English mother and an industrious Greek Cypriot father who worked in a fish and chips shop and became a restaurateur.Austin doesn’t often give interviews. Although he’s sometimes described as Michael’s manager, he wasn’t — he was a collaborator, an adviser, a deputy and since his friend’s death, he’s been in charge of the estate’s artistic decisions. In the course of a 70-minute phone call, he talked warmly about Michael, sometimes referring to him in the present tense, and joked about his own modest recording career. (“What career?”)His father made trumpets and other instruments for the British music company Boosey & Hawkes. Their home was full of instruments, and Austin learned clarinet and guitar, while Michael played drums. “We both aspired to be pop stars,” he said.By age 6, Austin had learned to use a Revox recording machine, and he recorded four or five songs with Michael, including “Crocodile Rock” by Elton John, “Wig Wam Bam” by the Sweet, who were Michael’s favorite band, and their first co-written original, called “The Music Maker of the World.” (“I’m never going to tell you what the lyrics are, because I’m going red talking about it,” he said, and chuckled.)The two friends had a band called Stainless Steel, and they decorated Michael’s bass drum with the band’s initials. “But they were slanted S’s,” Austin recalled, which made them look like the Nazi Schutzstaffel logo. “One of the parents came up — ‘Right, off with that!’ We were like, ‘What?’ We hadn’t been taught about World War II yet.”After that, Michael and Austin played in a five-piece ska band called the Executive, with their pal Andrew Ridgeley. “We were terrible, but everyone loved us,” Michael had told me years ago.But when the Executive broke up, Michael and Ridgeley kept working together, finding almost immediate success as Wham! while Austin chased a solo career. “It was very hard at the time, watching my two best friends have enormous success,” Austin admitted. “It took me a few years to accept.”The success of Wham! “opened the door to the industry for me,” Austin continued. But he turned out not to be the biggest star of 1984. After Wham! broke up in 1986, he and Michael went to the south of France and tried to write Austin’s next single. Michael wrote “I Want Your Sex,” which Austin demoed, and the two wrote “Look at Your Hands” together. But Austin’s label didn’t love the songs, so Michael held on to them and released them on “Faith.” (That album has gone 10 times platinum, giving Austin considerable publishing royalties.)As a director, Austin’s strength was his rapport with Michael, and his inside understanding of the singer’s feelings and fears, going all the way back to Redhill Drive. He even knew Michael during his awkward phase: “People have no comprehension of what I looked like as a kid,” the singer had told me, laughing wildly. “I was such an ugly little bastard.”Austin confirmed his friend’s self-effacing analysis: “George didn’t feel attractive as a child,” he said. “People who go on to have extraordinary careers, quite often there’s something lacking in their life. The career is filling a void, and that’s what the extra drive is about.“When you initially get there, it’s everything you want.” he added. “Then when it becomes huge, you realize fame will never, ever fill that void.”Rather than repairing anyone’s bad feelings, fame is more likely to exacerbate them. Michael figured this out, Austin said, which is why he spent his last two decades among friends and family, more than in front of fans. “Now I’m gonna get myself happy,” he sang, and he did.“George and I used to fight as kids, and even as adults,” Austin said. “But we were incredibly close. Music, family, close friendships — those are the things in life that fill the void.” More

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      BTS’s ‘Proof’ Is No. 1 as the K-Pop Group Takes a Break

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      The boy band’s new compilation marks its sixth time atop the Billboard 200 chart. The group’s seven members will focus on solo projects.On June 10, the K-pop powerhouse BTS released a three-disc compilation album, “Proof.” It was sure to be a hit, and this week it opens at No. 1 on the Billboard 200 album chart, with the equivalent of 314,000 sales in the United States, according to the tracking service Luminate.But BTS’s importance to Hybe, the South Korean entertainment company behind the group, was underscored when BTS announced four days later that it was taking a break to let its seven members focus on solo projects. The next day, Hybe’s stock price dropped 28 percent, trimming $1.7 billion market value from the company; since then the share price has improved only slightly.BTS accounts for nearly a third of Hybe’s sales in the United States, according to company disclosures, and as recently as 2020, nearly 90 percent of Hybe’s revenues were related to BTS and its music. (That was before Hybe bought Ithaca Holdings, the company led by the American music executive Scooter Braun, the manager of Justin Bieber and Ariana Grande, in a deal that was reported be worth as much as $1 billion.)But BTS’s impact is not limited to its management company’s account books. This month, the group spoke at the White House against anti-Asian hate crimes, and was hosted by President Biden in the Oval Office. Fans worldwide, who act as indomitable cheerleaders under the collective name Army, swarmed social media to commiserate and discuss the announcement.The success of “Proof” followed a marketing playbook that has become standard for K-pop groups, with fans rushing to buy collectible releases in physical formats. Of the 314,000 “equivalent” sales for the album — a figure that incorporates physical sales, downloads and streams — 259,000 were for CD versions sold for as high as $70. The 48-track CD iteration includes 13 songs not available for streaming or download. In addition to the CD sales, the album sold 6,500 copies as digital downloads and had 53 million streams. It is the group’s sixth album to top the Billboard chart.Also this week, Bad Bunny’s “Un Verano Sin Ti” falls to No. 2 and Harry Styles’s “Harry’s House” is No. 3. Post Malone’s new “Twelve Carat Toothache” drops two spots to No. 4 in its second week out, and Future’s “I Never Liked You” is No. 5.Next week, Drake’s surprise new LP, “Honestly, Nevermind,” released on Friday, is likely to open at No. 1. More

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      Drake’s ‘Honestly, Nevermind’ Review: Now It’s Time to Dance

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      On his seventh album, “Honestly, Nevermind,” the pop disrupter who rethought rap’s relationship with melody opts for a new direction: nightclub abandon.For more than a decade, the Drake factory has been operating at full capacity — recalibrating the relationship between hip-hop, R&B and pop; balancing grand-scale ambition with granular experimentation; embracing the meme-ification of his celebrity. But in recent years, for the first time, it’s felt like the machines might be grinding to a pause. Maintaining the throne is hard work, and the wear and tear were beginning to show.What Drake has needed is an opportunity to refresh, a chance to be unburdened of old assumptions. It’s the sort of renewal you only really find after-hours.“Honestly, Nevermind,” Drake’s seventh solo studio album, which was released on Friday just a few hours after it was announced, is a small marvel of bodily exuberance — appealingly weightless, escapist and zealously free. An album of entrancing club music, it’s a pointed evolution toward a new era for one of music’s most influential stars. It is also a Drake album made up almost wholly of the parts of Drake albums that send hip-hop purists into conniptions.The expectations Drake is seeking to upend here, though, are his own. For almost the entire 2010s, hip-hop — and most of the rest of popular music — molded itself around his innovations. Blending singing and rapping together, making music that was unselfconsciously pop without kowtowing to the old way of making pop, Drake has long understood that he could build a new kind of global consensus both because he understood the limitations of older approaches, and because the globe is changing.Nevertheless, the bloated “Certified Lover Boy,” released last year, was his least focused album, and also his least imaginative — he sounded enervated, fatigued with his own ideas. What’s more, the people who have come up behind him may have exhausted them, too.Those conditions force innovation, though, and “Honestly, Nevermind” is a clear pivot, an increasingly rare thing for a pop icon. Drake fully embraces the dance floor here, making house music that also touches on Jersey club, Baltimore club, ballroom and Amapiano. Each of these styles has trickled up from regional phenomenon to tastemaker attention in recent years, and like the skilled scavenger he is, Drake has harvested bits and pieces for his own constructions.Part of why this is so striking is that Drake has made a career out of caress. His productions — always led by his longtime collaborator, Noah Shebib, known as 40 — were emphatically soothing. But the beats here have sharp corners, they kick and punch. “Currents” features both the squeaky-bed sample that’s a staple of Jersey club, and a familiar vocal ad-lib that’s a staple of Baltimore club. “Texts Go Green” is driven by jittery percussion, and the piano-drizzled soulful house buildup toward the end of “A Keeper” is an invitation to liberation.This approach turns out to be well-suited to Drake’s singing style, which is lean and doesn’t apply overt pressure. It’s conspiratorial, romantic, sometimes erotic — he’s never singing at you so much as he’s singing about you, in your ear.Most of the songs are about romantic intrigue, and often Drake is the victim. In places, this is a return to Instagram-caption-era Drake. “I know my funeral gonna be lit ’cause of how I treated people” he intones on the hard-stomping “Massive.” On the slurry “Liability,” he moans, “You’re too busy dancing in the club to our songs.”But part of the trade-off of this album is in lyrical vividness — on most songs Drake is alluding to things more than describing them. The words are prompts, suggestions, light abstractions that aim to emulate the mood of the production. (Also, social media moves too fast now, and doesn’t reward the same kinds of patient emotional poignancy that he excels at.)There is recent precedent for Drake’s choices here: Kanye West’s “808s & Heartbreak” and the more fleet parts of “Yeezus”; Frank Ocean’s flirtations with dance music.But music like this has always been a part of Drake’s grammar: think “Take Care” with Rihanna from 2011, with its Gil Scott-Heron/Jamie xx breakdown. Or the serene sunrise anthem “Passionfruit” from 2017 (which also had a Moodymann sample); “Fountains,” from “Certified Lover Boy,” a blissed-out duet with the Nigerian star Tems, was in this vein, too, but seemed to portend that the next hard Drake pivot would be toward Afrobeats, which he’s long engaged with, including collaborations with Wizkid.But Drake opted for club music — the average b.p.m. here is over 100 — building an explicit musical bridge to Black and queer musical subcultures. That said, the sweaty, countercultural house music that he’s taking influence from has also in recent years become a template for music of privilege — it is the soundtrack of the global moneyed elite, the same in Dubai and Ibiza as Miami and Mykonos. It’s music that’s inviting but also innocuous; it’s filled with meaning and reference, but also smooth to the touch.Drake is in an unenviable position only a handful of pop superstars have been in before — he is one of the most famous musicians on the planet, and his fame is premised upon being something of a chameleon. But it’s hard for a juggernaut to be nimble. Nevertheless, “Honestly, Nevermind” is the work of someone unbothered by the potential for alienating old allies. The last two years have been unmooring, and the pandemic has freed artists to do the unexpected simply by removing the old reward structures. (Structurally, “Honestly, Nevermind” is a similar turn to the Weeknd’s electro-pop experiment “Dawn FM,” released in January.)The coronavirus era has also nurtured the rise of hip-hop scenes that thrive in the virtual chaos of social media. That’s been most evident in the rise of drill, which has been recentering hip-hop in grit and nerve. Even though Drake has toyed with drill before, collaborating with Fivio Foreign and Lil Durk, among others, “Honestly, Nevermind” is an anti-drill record. Drake is 35 now, and undoubtedly reckoning with how to live alongside his children’s children.He only truly raps on two songs here: “Sticky,” which verges on hip-house (“Two sprinters to Quebec/Chérie, où est mon bec?”), and “Jimmy Cooks,” the final song, which features 21 Savage, samples Playa Fly and feels like a pointed coda of bluster after 45 minutes of sheer ecstatic release.That’s the sort of hip-hop insider wink that Drake albums have long flaunted, but as he and his fans age, they may not be the stuff of his future. Whether “Honestly, Nevermind” proves to be a head fake or a permanent new direction, it’s maybe an indication that he’s leaving the old Drake — and everyone who followed him — in the rear view. Like a great quarterback, he’s throwing the ball where his receivers are already heading, not where they’ve been.Drake“Honestly, Nevermind”(OVO/Republic) More

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      Bartees Strange Ponders Success in Dire Times

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      On his second album, “Farm to Table,” the indie-rock singer and songwriter finds no easy comforts in his own ascent.By chance, choice and artistic inclination, Bartees Strange has been a lifelong outlier — a position his songs grapple with, exult in and constantly question on his second studio album, “Farm to Table.”His father served in the Air Force, often overseas, and Bartees Leon Cox Jr. was born in England and lived in Greenland and Germany, among other places, before his family settled in Mustang, Okla. He sang in church choirs with his mother, who also performed opera, and he started producing music in a homemade studio in his teens. He began releasing songs on SoundCloud a decade ago, and he played in hardcore bands in Washington, D.C. and in the self-described “post-hardcore” Brooklyn band Stay Inside.Instead of following a Black musician’s stereotyped path into hip-hop or R&B — though he draws on both — Strange, now 33, found his own voice in indie-rock, adopting the churning guitars and destabilizing synthesizers of bands like TV on the Radio, Bloc Party, Radiohead and the Cure. Most of the tracks on his debut EP as Bartees Strange, “Say Goodbye to Pretty Boy,” which was released in March 2020 just as pandemic restrictions began, were moody, volatile, radically reworked versions of songs by the long-running indie-rock band the National.Forging an indie-rock career is an uncharted, self-conscious path at the best of times, navigating revelation and obfuscation, rawness and craftsmanship, instincts and commercial objectives. “I could give the pain for the bankroll,” Strange sang in “In a Cab,” on his debut album, “Live Forever,” released in October 2020. Anything but tentative, “Live Forever” introduced Strange in all his multiplicity. He constructed hurtling rockers (“Boomer”) and pulsating electronic beats (“Flagey God”); he examined yearning and rage, confessions and inventions. “I lie for a living now/that’s why I can’t really tell you stuff,” he sang in “Mustang,” named after his longtime hometown.The pandemic delayed an indie-rocker’s usual next step: touring. But by the time concerts resumed, “Live Forever” had been embraced by listeners and fellow musicians. Strange played opening slots for Phoebe Bridgers, Lucy Dacus, Courtney Barnett and the National; he recorded a fervid band performance that was released in 2021 as “Live at Studio 4”; he did remixes and guest appearances with Bridgers, Illuminati Hotties and others.“Farm to Table” reflects all the conflicting feelings of personal success during dire times. “There’s reasons for heavy hearts/This past year I thought I was broken,” Strange sings in “Heavy Heart,” as the album begins. But the music evolves from lament to gallop, with guitars pealing and piling on as Strange glances through a whirlwind year: travel, loneliness, someone’s death, a romance, growing up: “Some nights I feel just like my dad/Rushing around,” he sings, troubled yet surging ahead.His past also looms in “Tours,” as Strange picks an acoustic guitar and juxtaposes fragmented childhood memories of military postings and family separations — “Where is Kuwait? Is that in the States?” — with his own life on the road. Not that he’s complaining too much; in “Cosigns,” he flaunts and marvels at his ascending career, name-checking his tour mates, but he also worries over his own rising expectations. The track opens with bleary synthesizers and mock-casual rapping, then gathers echoing guitars and a heftier beat until Strange is belting, “Hungry as ever/there’s never enough!”The album’s most richly moving song is “Hold the Line,” an elegy for George Floyd that he recorded in October 2020. “What happened to the man with that big ol’ smile/He’s calling to his mother now,” Strange sings with tender desolation, answered by a keening slide guitar; later, he imagines himself in Floyd’s place.Nothing goes unmixed in Strange’s songs. His productions metamorphose as they unfold, restlessly shifting among idioms; his lyrics refuse easy comforts. In “Mulholland Dr.,” he sets up a skein of guitar patterns like a latter-day Laurel Canyon production, gleaming prettily even as he sings about misgivings and mortality: “I’ve seen how we die/I know how we lose.” And in “Wretched,” he’s desperately missing someone, feeling lost and abandoned, blurting out that “My life feels wrong without you.” But the music carries him, a spiraling crescendo with guitars and synthesizer swells, kicking into a four-on-the-floor beat, pumping toward a final realization: “Sometimes it’s hard, but you know I’m thankful.”Bartees Strange“Farm to Table”(4AD) More

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      Drake Looks for Love, Repeatedly, and 9 More New Songs

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      Hear tracks by beabadoobee, Perfume Genius, the Beths 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.Drake, ‘Falling Back’Less than 10 months after “Certified Lover Boy,” Drake has returned to monopolize summer. His surprise-released seventh album, “Honestly, Nevermind,” is a balmy mood piece —somewhere between a D.J. mix and one very long song — and after a series of weighty, overstuffed albums, it’s refreshing to hear him return to a lighter register, à la the 2017 mixtape “More Life.” (As I type this, “Passionfruit” is trending on Twitter.) Drake showcases his softer side on highlights like the club-ready, house-influenced “Massive,” and the pensive, tuneful “Overdrive,” one of several tracks partly produced by the South African D.J. Black Coffee. And though “Honestly, Nevermind” finds Drake singing more often than not, those who prefer his rapping will appreciate the relentless flow of “Sticky” and the cheeky closing track “Jimmy Cooks,” which features a sharp verse from 21 Savage.But it’s the kinetic “Falling Back,” the album’s first proper track and single, that best sets the scene: A throbbing electronic beat (produced by the D.J.s Rampa, &Me, Alex Lustig and Beau Nox) allows Drake the space for some Auto-Tuned crooning about — what else — a once-promising relationship turned sour. “How do you say to my face, ‘Time heals?’” he sings in a reedy, vulnerable falsetto, “Then go and leave me again, unreal.” The track’s video, though, is more of a lark, playfully sending up Drake’s heartbreaker reputation and imagining a time when he finally settles down and gets married — to 23 different women. Quips his mother, Sandi Graham, “I think he’s really taking these ones seriously!” LINDSAY ZOLADZRhys Langston featuring Fatboi Sharif, ‘Progressive House, Conservative Ligature’The polysyllables fly fast, then go on to accelerate wildly in “Progressive House, Conservative Ligature” by the Los Angeles rapper Rhys Langston, from a coming album called “Grapefruit Radio.” The producer Opal-Kenobi supplies loops of blurry, undulating piano chords and synthesizer swoops, shifting pitch every so often. Langston syncopates his verbal abstractions in double time and then triple time, delivering conundrums like: “Creative manners to skip and erase from moment to moment/abstract, realist, most problematic version of futurism.” It’s both virtuosic and defiantly nonchalant. JON PARELESbeabadoobee, ‘10:36’“I didn’t think you’d fall in love — you’re just a warm body to hold,” Bea Kristi sings on “10:36,” a tale of an emotionally lopsided relationship that will appear on her upcoming second album, “Beatopia.” Her feelings may be indifferent, but the song itself is exuberant — a bright, hooky blast of lo-fi pop propelled by punchy percussion and a bouncy chorus. ZOLADZThe Beths, ‘Silence Is Golden’Elizabeth Stokes is desperate for some peace and quiet on “Silence Is Golden,” the latest track from the New Zealand rockers the Beths and the first single from their forthcoming third album, “Expert in a Dying Field.” Antic percussion and squalling guitars mimic the anxiety induced by an avalanche of urban distractions, like sirens, jet planes and “6 a.m. construction”: Sighs Stokes, “It’s building and building and building until I can’t function at all.” She finally gets what she’s after in the final moments of the song, when the instruments suddenly cut out and she’s left to repeat the chorus contentedly a cappella. ZOLADZJulia Jacklin, ‘I Was Neon’The Australian songwriter Julia Jacklin doesn’t get very specific about the relationship she’s apparently left behind in “I Was Neon.” All she offers are hints like, “I was steady, I was soft to the touch/Cut wide open, did I let in too much?” Midway through the song, she arrives at the more important question: “Am I gonna lose myself again?” She repeats it more than a dozen times over an unswerving drumbeat and a language of rock obsession that dates back to the Velvet Underground — two drone-strummed electric guitar chords — with more guitars and voices arriving to wrangle over whether she’ll stay trapped in past habits. PARELESPerfume Genius, ‘Photograph’Mike Hadreas’s sixth and most abstract album as Perfume Genius, “Ugly Season,” is a work that entwines sound and movement, as he began composing it as an accompaniment to the choreographer Kate Wallich’s 2019 piece “The Sun Still Burns Here.” The beautifully spooky “Photograph” has the feel of a ghostly waltz: Drifting synthesizer riffs and groaning ambience provide the backdrop for Hadreas’s darkly romantic croon — “no fantasy, you were meant for me,” he sings — that adds yet another layer to the song’s lush, beguiling atmosphere. ZOLADZFKA twigs, ‘Killer’Even if FKA twigs weren’t suing Shia LaBeouf for sexual battery, “Killer” would be chilling. “I don’t want to die for love,” she sings in her highest, most fragile register. The track is starkly transparent — keyboard chords, electronic blips and drums, sustained bass lines, multitracked vocals, dub echoes — with a terse pop structure of short phrases and repeated intervals; she sings about attraction, intuition, self-doubt, denial and gaslighting. It’s an elegant crystallization of pain. PARELESRöyksopp featuring Jamie Irrepressible, ‘Sorry’The Norwegian electronic duo Röyksopp periodically sets aside dance beats for ballads. That’s what it does on “Sorry,” an abject apology that arrives as a preview of its next album, “Profound Mysteries II.” It begins with melancholy piano chords reminiscent of Erik Satie, then opens up a bassy abyss as Jamie Irrepressible — the British singer Jamie McDermott — thoroughly indicts himself for abandoning a lover: “I hate myself for running scared,” he croons. “No heroics, I know, will bring you back.” For the last half of the song, all he can do is repeat, “I’m sorry.” PARELESAlanis Morissette, ‘Heart — Power of a Soft Heart’Alanis Morissette arrived in the 1990s as a voice of righteous wrath and determined self-rescue. Her pandemic project has been “The Storm Before the Calm,” an album of wordless meditation tracks striving for serenity. It’s a collaboration with Dave Harrington, who has worked with Nicolas Jaar in the psychedelic rock project Darkside. “Heart — Power of a Soft Heart” has uplift built into its foundation — three slow, ascending piano notes that are repeated throughout the track and enfolded in other tones: chimes, cymbals, hovering guitar notes and Morissette singing “ah,” sustaining a magnificent hush. PARELESVadim Neselovskyi, ‘Waltz of Odesa Conservatory’Vadim Neselovskyi’s third-stream pianism shares the qualities of a sculpture carved in ice: finely wrought detail, sharply traced; glinting elegance; coolness to the touch; refractions of light. His right and left hands converse with each other in eager, enchanted dialogue. Since moving to the United States two decades ago, Neselovskyi has collaborated with leading elders in jazz, like Gary Burton and John Zorn, but on his new album, “Odesa: A Musical Walk Through a Legendary City,” he sits alone at the piano. The record is a tribute to the Ukrainian seaport where he was raised, and although he composed the suite in 2020 based on personal inspirations — remembering his childhood there, as his father, a Ukrainian Jew, fought cancer — the album inevitably takes on a different cast now that this Russian-speaking, cosmopolitan city is in the throes of war. Before he joined the New York jazz world, Neselovskyi was a classical prodigy; “Waltz of Odesa Conservatory” calls back to the 1990s, by way of some Baroque piano turns, when he was the youngest student ever admitted to the school. GIOVANNI RUSSONELLO More

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      Digging Into Bob Dylan and Lou Reed’s Archives

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherLast month, the Bob Dylan Center opened in Tulsa, Okla., offering researchers unparalleled access to Dylan’s archives and peeling back the layers on his songwriting process, long the object of study and fascination. And this month, “Lou Reed: Caught Between the Twisted Stars” opened at the Library for the Performing Arts at Lincoln Center — it’s the first exhibition drawn from Reed’s archive, which was acquired by the New York Public Library.Both of these seek to offer deeper understandings of these rock icons, but they also offer the opportunity for alternate narratives to emerge. Dylan and Reed always carefully tended to their own mythologies — now the behind-the-scenes tools are available for all to see.On this week’s Popcast, a conversation about the value of even the unlikeliest ephemera, the difference between public and private archives and the specific ways Dylan and Reed found methods to distance themselves from their pasts.Guest:Ben Sisario, The New York Times’s music business reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Rolling Stones Concert Postponed After Mick Jagger Tests Positive for Virus

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      The Rolling Stones postponed a stadium concert in Amsterdam on Monday, after Mick Jagger tested positive for the coronavirus.According to a statement from the band, Jagger — who has said in interviews that he was vaccinated, and urged fans to get their shots — tested positive “after experiencing symptoms” upon arriving at the Johan Cruijff Arena. The announcement came shortly before the show was to begin, and The Associated Press reported that some fans were already in the stadium when the announcement went out. Jagger, 78, had posted a short video to Twitter on Sunday saying he was looking forward to the show.The band said the Amsterdam show would be rescheduled. The next date on its 60th anniversary tour is set for Friday in Bern, Switzerland.The music industry has been moving forward at full steam for the return of concerts and festivals, after two years when live events were shut down entirely or held in reduced numbers. While new tours are being announced regularly, artists as varied as the Strokes, Ringo Starr, J Balvin and Haim have canceled individual shows and even entire tours.Broadway has also rebounded. And at least one show will go on despite the news that its star has been infected: Hugh Jackman, who plays Professor Harold Hill in a strong-selling revival of “The Music Man,” on Monday said he had tested positive for the coronavirus, one day after he attended and performed at the Tony Awards. The producers of “The Music Man” said that the actor Max Clayton, who is Jackman’s standby, would play Harold Hill, the character ordinarily played by Jackman, through June 21.This is the second time he has tested positive; he previously did so in late December, when the show was forced to cancel several dates, just after its opening. More

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      Kate Bush Rides ‘Stranger Things’ to a New High on the Singles Chart

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      “Running Up That Hill (A Deal With God)” hit No. 4 on the U.S. singles chart this week, 37 years after its release. Harry Styles’s “As It Was” is still No. 1.Thirty-seven years ago, the British singer-songwriter Kate Bush released the song “Running Up That Hill (A Deal With God)” as part of her album “Hounds of Love.” The single went to No. 3 in Britain and No. 30 in the United States, and took its place as a signature piece of Bush’s catalog — an intense ballad with a driving beat, a playful synthesizer melody and Bush’s dramatic vocals.Then came “Stranger Things.”After “Running Up That Hill” was featured prominently in the latest season of “Stranger Things,” the 1980s-period horror-drama on Netflix, the song began to climb the charts again, posting huge numbers on streaming services and catching fire on TikTok. It has now reached No. 2 in Britain — held off only by Harry Styles’s “As It Was” — and this week climbed four spots to reach No. 4 on the Billboard Hot 100, the standard U.S. pop singles chart, Bush’s highest position ever. It was Spotify’s most streamed track throughout the world last week, with 57.2 million clicks (about a million more than “As It Was”), and is showing no signs of slowing down.While “Running Up that Hill” has been big on streaming services, radio stations have been slow to play it, giving Styles an advantage when it comes to the Billboard chart. “As It Was” holds at No. 1 on the Hot 100 — which is computed from a song’s success in streaming, sales and airplay — for a sixth week.“Running Up That Hill” is the latest example of a decades-old song finding surprising success. In 2020, Fleetwood Mac’s “Dreams” became a streaming hit after an Idaho potato worker made a TikTok video of himself listening to it while drinking Cran-Raspberry juice. And this year, Nirvana’s 31-year-old “Something in the Way” made its first appearance on the Hot 100 after the song was used in “The Batman.”In a note on her website, Bush, who rarely gives interviews, wrote, “How utterly brilliant!” in response to the song’s chart success. “So many young people who love the show, discovering the song for the first time.” She added:The response to “Running Up That Hill” is something that has had its own energy and volition. A direct relationship between the shows and their audience and one that has stood completely outside of the music business. We’ve all been astounded to watch the track explode!On this week’s album chart, the Puerto Rican reggaeton star Bad Bunny jumps one spot to claim his second week at No. 1 with “Un Verano Sin Ti,” beating out Post Malone’s new “Twelve Carat Toothache,” which opens at No. 2 with the equivalent of 121,000 sales, including 128 million streams. Styles’s “Harry’s House,” the top seller for the last two weeks, fell to No. 3. Future’s “I Never Liked You” is No. 4, and Kendrick Lamar’s “Mr. Morale & the Big Steppers” is in fifth place. More