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      Bon Iver Is Happy (and Sexy) Now. It Took a Lot of Work.

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      What you notice right away on “Sable, Fable,” Bon Iver’s fifth studio album and first since 2019, is its directness, its brightness and, in some places, its lust. Justin Vernon — the band’s frontman and creative engine — is singing more directly than ever before, and the production captures hope, thrills and a kind of unselfconscious exultation.These have not typically been hallmarks of Bon Iver albums, known as elegant but abstract statements of emotional claustrophobia and fantastical catharsis. They have made Vernon, 43, a much-lauded folk mystic, and also an in-demand collaborator for in-the-know superstars — including Kanye West (now Ye), Taylor Swift, Charli XCX and Zach Bryan.But those same qualities have also pigeonholed Vernon and his music as vessels for pain and anxiety — his own and, as it turned out, a lot of other people’s as well.Eventually, the weight of that burden became overwhelming. “I think there was a good 10 years where it felt like somebody had a boot on my chest from before I woke up until after I fell asleep,” Vernon told Jon Caramanica and Joe Coscarelli in a recent interview on Popcast, The New York Times’s music podcast.During the pandemic, Vernon began reckoning with the fact that Bon Iver — as acclaimed, popular and crucial to his social ties as it had become — might have been keeping him down as a person.So he made some changes: He wound down Bon Iver as a touring outfit; he quit smoking cigarettes (after a five-day rehab); and he began spending time away from his Wisconsin home, in Los Angeles, with no agenda other than to decompress.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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      6 (Up-tempo) New Songs You Should Hear Now

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      Get your blood pumping with the latest tracks from Chappell Roan, J Noa, Illuminati Hotties and more.Chappell RoanMario Anzuoni/ReutersDear listeners,It’s Lindsay’s editor, Caryn, here to kick off a round of guest newsletters with around 19 minutes of upbeat music from March. (If you missed Friday’s newsletter celebrating The Amplifier’s second birthday, a reminder that Lindsay will be taking a few months away to work on a book. The Amp will still arrive every Tuesday.)I’ve probably mentioned this before, but I sequence the Friday Playlists that provide the raw material for these monthly entries spotlighting new music, and one of my big challenges is tempo: With the critics Jon Pareles and Lindsay picking so many different types of tracks, folding them into a coherent mix is not always a cinch.So I’m cheating a little today, choosing a selection of songs at what I’ll call “walking in Manhattan” pace. (Whatever the Google Maps estimate is, I can beat it.) This rundown could provide some rapid strolling music, or maybe soundtrack a cycle on the treadmill accompanied by some spirited air guitar-ing. Either way, trust that this six-pack of songs is a worthy addition to your 2025 collection.Work it,CarynListen along while you read.1. J Noa and Lowlight: “Traficando Rap”The Dominican rapper J Noa spits at breakneck speed in Spanish, and it’s a lot of fun trying to keep up with her. This track, on which she pairs with her producer Lowlight, contains boasts comparing her rhymes to other addictive substances over horn blasts that, as Jon Pareles wrote, “hark back to Sugar Hill Gang’s ‘Apache’ and its source, the Incredible Bongo Band’s version of ‘Apache.’” The 19-year-old sounds bold and gleeful, “la-la-la”ing along to a head-spinner of a beat.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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      Girls to the Front: Punk Pioneers Are Coming to Lincoln Center

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      The institution’s annual American Songbook series honors “singer outsiders” including Fanny and Poly Styrene in events curated by Kathleen Hanna and Tamar-kali.For more than 65 years, Lincoln Center has hosted virtuoso concert musicians, opera singers and ballet stars.But a noise queen with ripped tights and a screeching guitar?Enter Kathleen Hanna and Tamar-kali, musicians with big bootprints in the punk scene, and curators of the latest iteration of Lincoln Center’s venerable American Songbook series. Their version honors “singer outsiders,” which includes a series of concerts and tributes to acts like the Slits, Poly Styrene of X-Ray Spex and more, this month and next. It’s the first time Lincoln Center has celebrated the raw, propulsive D.I.Y. genre of punk, let alone the women who kicked their way through.The idea was to introduce an uptown audience to “our canon,” as Hanna, the Bikini Kill and Le Tigre frontwoman, and riot grrrl originator, put it. They booked contemporary artists to showcase punk’s elasticity, and to highlight styles that have historically been overlooked.“As a songwriter, there’s a lot of delegitimizing of aggressive music,” Tamar-kali said. But curating for Lincoln Center offered validation: “It just feels like I’m real musician now,” Hanna said, and they both laughed.Tamar-kali, a Brooklyn singer and composer (born Tamar-kali Brown), helped found the New York collective Sista Grrrl Riot, an outlet for feminist Afropunk, in the late ’90s; she and Hanna met in the early aughts and have been seeking ways to work together since.“As a songwriter, there’s a lot of delegitimizing of aggressive music,” said Tamar-kali, one of the series’ curators.Jack Vartoogian/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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      Marty Callner, Director of Comedy Specials and Music Videos, Dies at 78

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      At HBO in the late 1970s, he established the template for presenting stand-up on the small screen. He then became a mainstay of MTV in its early days.Marty Callner, a pioneering director of comedy specials who set the template for the genre at HBO in the 1970s before going on to make music videos infused with humor during the early heyday of MTV, died on March 17 at his home in Malibu, Calif. He was 78.His son Jazz Callner said the cause was not yet known.Over a half-century, Mr. Callner worked with some of the biggest names in popular culture, including Jerry Seinfeld, Madonna, Robin Williams, George Carlin, the Rolling Stones and Chris Rock.Mr. Callner, who preferred to stay in the background but was far from shy, “might be the most successful director you have never heard of,” Jason Zinoman of The New York Times wrote in 2022.One day in the early 1980s, Mr. Callner had an epiphany. While watching television at his home in Beverly Hills, he found himself enraptured by a music video. It was Kim Carnes’s “Bette Davis Eyes” — and he couldn’t take his eyes off it.“I said, ‘This is unbelievable,’” he recalled on the “HawkeTalk” podcast in 2021. He called it “the most artistic and entertaining thing I’ve ever seen” and recalled thinking, “I’ve got to go do this.”Marty Callner in his home office in 2022 with a Sports Emmy Award that he won for the football reality series “Hard Knocks.”Peter Fisher 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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      Brian James, Pioneer of Punk Rock, Is Dead at 70

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      As the guitarist and main songwriter for the Damned, he helped spark an explosion on the British music scene in the 1970s.Brian James, who helped spark the punk-rock revolution in Britain in the 1970s as the lead guitarist and chief songwriter of the British band the Damned, bringing a rare degree of musicality to a genre known for its chain-saw attack, died on March 6. He was 70.His death was announced on his Facebook page. The announcement did not cite a cause or say where he died.Mr. James formed the Damned in London in 1976 with Dave Vanian, a former gravedigger, on lead vocals; Captain Sensible on bass, and Rat Scabies on drums. The band was part of Britain’s original punk vanguard.The Damned never shook British society, or the rock world at large, like the Sex Pistols, who sneered at the queen, hurled obscenities on television talk shows and had pundits mulling the collapse of Western values. Nor did they play the part of political revolutionaries like the Clash, who were billed as “the only band that matters.”Nevertheless, the Damned made history. They were the first British punk band to release a single: “New Rose,” written by Mr. James, in October 1976 (the Sex Pistols’ anthemic “Anarchy in the U.K.,” soon followed); the first to release an album, “Damned Damned Damned,” in 1977; and the first to tour the United States.The Damned in 1977, from left: Captain Sensible, Mr. James, Dave Vanian and Rat Scabies.Jorgen Angel/Redferns, via 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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      Mayhem Has the Wildest Story in Black Metal. Somehow, It’s Turning 40.

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      A few weeks before the pioneering Norwegian black metal band Mayhem set off for a North American tour celebrating its 40th anniversary, the frontman Attila Csihar sounded contemplative.“The band has, of course, a long history, and lots of things happened,” he said in a video chat from his home in Budapest last October, wearing a necklace of skulls from a Kali temple in India.As if to prove the point, Csihar, 53, soon underwent emergency surgery, and the tour was canceled. (“Death is the ultimate glorious crown of life, now he understands it even more,” he wrote in a Facebook post.)Now Mayhem is back on the road (with a New York stop on Monday) to finally deliver its anniversary blowout, this time as the headliner of the Decibel Magazine Tour.Still, this was all a mere hiccup compared to the group’s extraordinary travails. For fans of extreme music, Mayhem released black metal’s defining album, “De Mysteriis Dom Sathanas,” in 1994. Everybody else might just vaguely remember lurid early ’90s tabloid headlines.The band, created by a bunch of teenagers in 1984, was starting to make wavelets in its tiny musical niche when its first singer, Per Ohlin (nom de metal: Dead), died by suicide in 1991, at age 22. The first person to turn up at the scene was the guitarist Oystein Aarseth, a.k.a. Euronymous, who posed Dead’s body to snap more dramatic photos. Two years later, Euronymous was murdered by a one-time bandmate, Varg Vikernes. He was 25.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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      Japanese Breakfast’s Shimmering Sadness, and 8 More New Songs

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      Hear tracks by Marianne Faithfull, the Waterboys featuring Fiona Apple, Debby Friday and more.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.Japanese Breakfast, ‘Here Is Someone’Plucked string tones from all directions create a magical, shimmering cascade around Michelle Zauner’s voice in “Here Is Someone” from the new album by Japanese Breakfast, “For Melancholy Brunettes (& Sad Women).” The lyrics hint at tensions and anxieties, but the track radiates anticipation: “Life is sad, but here is someone,” Zauner concludes. Jon ParelesMarianne Faithfull, ‘Burning Moonlight’Marianne Faithfull, who died in January at 78, kept recording almost to the end. She brought every bit of her scratchy, ravaged, tenacious voice to “Burning Moonlight,” a song she co-wrote that holds one of her last manifestoes: “Burning moonlight to survive / Walking in fire is my life.” Acoustic guitars and tambourine connect the music to the 1960s, when she got her start; her singing holds all the decades of experience that followed. Jon ParelesThe Waterboys featuring Fiona Apple, ‘Letter From an Unknown Girlfriend’“Letter From an Unknown Girlfriend” is from the Waterboys album due April 4, “Life, Death and Dennis Hopper,” and was written by Mike Scott. But it is sung and played by Fiona Apple, alone at the piano, delivering a remembrance of an abusive boyfriend: “I used to say no man would ever strike me,” it begins, “And no man ever did ’til I met you.” She admits to the charm of the “satyr running wild in you,” but her voice rises to a bitter, primal rasp as she recalls the worst. It’s a stark, harrowing performance.Jon ParelesTamino featuring Mitski, ‘Sanctuary’Diffidence turns into resolve in the course of “Sanctuary,” a waltzing duet from “Every Dawn’s a Mountain,” the new album by the Belgian songwriter Tamino-Amir Moharam Fouad. In separate verses, Tamino and Mitski sound fragile, contemplating uncertainty and loss; “I reside in the ruins of the sanctuary,” Mitski sings. But when they connect — asking “Is it late where you are?” — and harmonize, an orchestra rises behind them to offer hope. Jon ParelesMorgan Wallen, ‘I’m a Little Crazy’“I’m a little crazy, but the world’s insane,” the disturbed narrator of Morgan Wallen’s new single contends. His character is a drug dealer who keeps a loaded gun nearby. He’s sustaining himself “on antidepressants and lukewarm beers” and yelling at his TV, “but the news don’t change.” Over steadfast acoustic guitar picking and lightly brushed drums, Wallen sings with chilling, sociopathic calm. 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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      The Power of ‘Two’: An Anniversary Playlist

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      Celebrate two years of this newsletter with songs by Dolly Parton, Stacey Q, Mitski and more.Dolly PartonCharlie Riedel/Associated PressDear listeners,Surprise: There’s a birthday party in your inbox! Today we’re celebrating two years of The Amplifier, with — what else? — a themed playlist.On March 21, 2023, I sent out the first installment of this newsletter, introducing myself with 11 songs that explain my musical perspective and asking readers to submit some of their own favorite tracks. In the time since, I’ve sent out nearly 200 playlists, shared thousands of songs and received countless submissions when I’ve asked Amplifier readers to generate their own soundtracks. The community we’ve created together is vibrant and reciprocal: I may have discovered as much new music through your recommendations as you have through mine.Today’s playlist honors the Amplifier’s second birthday with eight tracks that feature the word “two” in the title. In keeping with The New York Times style guide, I stuck with songs that spell out the word “two,” so my apologies to Sinead O’Connor’s “Nothing Compares 2 U” and Beyoncé’s “II Hands II Heaven,” among plenty of other greats that didn’t make the cut. But you will hear classics from the Beatles, Dolly Parton and Bruce Springsteen, as well as more recent and lesser-known tracks from indie singer-songwriters like Mitski and Flock of Dimes.This anniversary is also ushering in a new chapter for this newsletter. Starting next week, I’ll be taking a few months off to finish the manuscript of a book I’ve been working on. I’ll miss making these playlist and corresponding with you all, but I’m incredibly excited to get one step closer to a lifelong goal of publishing my first book. Once I’m back, I’ll update you on my progress — and probably share my writing playlist with you, too.While I’m out, I have a wonderful lineup of guest writers who will be sending out their own newsletters and playlists each Tuesday, and I’m thrilled for you to see (and hear) what they have in store.Thanks to each and every one of you who has read this newsletter, sampled our playlists and reached out to give us feedback. As always, happy listening.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