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Rufus Wainwright by Rakesh Satyal
R Wainwright In Color Cropped

Wainwright talks about his tenth studio album, the “anemic” state of pop lyrics, and why Leonard Cohen—not Bob Dylan—should have won the Nobel Prize.

Rufus Wainwright by Rakesh Satyal
R Wainwright In Color Cropped

Wainwright talks about his tenth studio album, the “anemic” state of pop lyrics, and why Leonard Cohen—not Bob Dylan—should have won the Nobel Prize.

Anthony Roth Costanzo by Justin Vivian Bond
191031 Anthony Roth Costanzo Akhenaten 177

A look behind the scenes of Akhnaten, Philip Glass’s 1983 opera now playing at the Metropolitan Opera, in which the countertenor plays an ancient Egyptian pharaoh who defied gender conventions.

Circuit des Yeux & Bitchin Bajas

Barbecues, Night Train, and La Monte Young.

Weyes Blood by Tobias Carroll
Some Winters Natalie Mering

Landscapes, lo-fi, and the uncanny.

Kate Soper’s Here Be Sirens by Andrea Ray
Kate Soper Here Be Sirens Bomb130

Kate Soper’s Here Be Sirens explores, through beautiful harmonies and curious discords, the constraint of fixed roles and the desire to release oneself from them through the activity of research—finding the origin of the fixed identity being key to redefining and freeing oneself.

Paola Prestini by Helga Davis
Paola Prestini 01

Composer Paola Prestini is the creative director of the soon-to-open Original Music Workshop. With vocalist Helga Davis, she elaborates on her Italian and Mexican background and her collaborations with artists of other disciplines.

Richard Dawson by Cian Nugent
Richard Dawson

On being nothing, looking outward, and the obstinant relevance of that popular art form, song.

Will Oldham by Gary Canino
Will Oldham

Performance, reinvention, and alternate realities.

Joanna Newsom by Roy Harper
Joanna Newsom 1

I first learned of Joanna Newsom when I read a review in the UK’s Observer six years ago. I was initially struck by her beauty, and I was inspired by knowing that she was “in the world.”

Dave Tompkins’s How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks by Douglas Singleton
Dave Tompkins 01

A review of How to Wreck a Nice Beach, a new book that tells the history of that most mysterious of musical instruments, the vocodor.

Auto-Tune by Ben Lerner

The phase vocoder bends the pitch of
  my voice toward a norm.

Young@Heart by Ariana Venturi

To be “young at heart” one must ostensibly be old at everything else: old hat, old fashioned, old guard. 

Howe Gelb by Bill Carter
Article 2647  Gelb 01

Howe Gelb has jet lag. In fact he spends so much time touring and traveling between Europe and his hometown of Tucson that he has taken up residence in his wife’s native Denmark four months a year.

Martirio’s Mucho corazón by Ned Sublette
Article 5524  Martirio

Something is—and has been, for a long time—happening in Spain, something largely unheard by English speakers, that brings together the nuevo flamenco movement with the music of the grand Iberian diaspora. 

Mísia by Eugene Hütz
Misia Body

“I try to fight against the temple of fashion, you know. In terms of different interpretations and music being made there is the freedom to do everything, but you must feel it, not do it because it’s fashionable.”

Virginia Rodrigues’s Nós by Minna Proctor
Virginia Rodrigues

Virginia Rodrigues showcases a near-godly voice on her album Nós, evoking love, blind faith, and a reaching beyond the self.

Songs in the Key of Fate by Katherine Vaz

Katherine Vaz recounts her experiences seeing Madredeus in Portugal, as well as the band’s haunting style.

The Melancholy Pseudo-Symphony of 69 Love Songs by Jennifer Bluestein
The Magnetic Fields

The Magnetic Fields’s 69 Love Songs is a “carnivalesque compendium of remorse, self-deprecation, pining, and pure adoration, with three singers, four instruments, and beats ranging from rumba to country” writes reviewer Jennifer Bluestein.

Macy Gray’s On How Life Is by Rone Shavers
​Macy Gray

Singer Macy Gray’s smoky, scratchy, full-bodied voice is paradoxical. Let it be said that she can belt it like Aretha, growl it like Tina, and is as unmistakable as Dinah, Eartha, or Nina in her range, tone, and delivery.

Robert Earl Keen by Gary Fisketjon

What can I say? Robert Earl Keen played my wedding party last Christmas time—on CD, alas—and inaugurated the prancing with “Gringo Honeymoon,” in which the newlyweds cross over the Rio Grande and encounter a cowboy “running from the DEA.”

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