I didn’t really want to get too sentimental on this project because I didn’t feel like it was the time. Everybody’s frustrated right now. Nobody’s in the sentimental mode. Everybody wants to rip their hair out, so they want to hear some s*** that they can be like, 'Oh, yeah, I can relate to this. This is dope.' | | | | Matty Healy of the 1975 in Melbourne, Australia, Feb. 8, 2020. "Notes on a Conditional Form" is out today on Dirty Hit/Interscope.
(Martin Philbey/Redferns/Getty Images) | | | | |  | “I didn’t really want to get too sentimental on this project because I didn’t feel like it was the time. Everybody’s frustrated right now. Nobody’s in the sentimental mode. Everybody wants to rip their hair out, so they want to hear some s*** that they can be like, 'Oh, yeah, I can relate to this. This is dope.'”
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| | rantnrave:// It's FRIDAY, and in the second half of this paragraph you'll find links to about 40 albums coming out today. It's an overwhelming list of music, for me anyway. As I do every Friday, I'll put as many of them as I can on a SONOS playlist that will shuffle through my house all day and into the weekend, but some of them I'll probably never hear. Not today, not this week, not ever. And these are just the ones I consider the most noteworthy, newsworthy, interesting, etc. There are many, many multiples of 40 also coming out today that are important to someone or some bubble somewhere—hip-hop fans, metal fans, techno fans, cumbia fans, Canadian rock fans, pop fans—that won't get my attention, through no fault of their own. I won't even know I'm not hearing them. There are hundreds (I'm probably underestimating) of singles and scores of mixtapes. There are lists everywhere I look and it's an almost frightening barrage of content, content and more content. Except it isn't content. Every title on every list is somebody's art, somebody's vision, somebody's life's work, somebody's gift. Somewhere in the world someone has a list of 40 albums coming out today that has no overlap with mine. I kind of want to hear *that* list today, and I apologize to every artist and every album I've left out, this and every week... It's that time of the week again, and that means new music from the 1975, YOUNG M.A (seven-track EP written and recorded in quarantine), GUNNA, WOODS, CARLY RAE JEPSEN (surprise-released Thursday), MOODYMANN, NÍDIA, the AIRBORNE TOXIC EVENT, TIM BURGESS, THROWING MUSES, NATION OF LANGUAGE, MATTHEW SHIPP (inaugural release of new free jazz label TAO FORMS), ARCHIE SHEPP/RAW POETIC/DAMU THE FUDGEMUNK, DEJ LOAF, FLORIDA GEORGIA LINE, STEVE EARLE & THE DUKES (album featuring six songs Earle wrote for the Off Broadway play COAL COUNTRY), OWEN PALLETT, INDIGO GIRLS, RECKLESS KELLY, KSI, MXXWLL, KOTA THE FRIEND, SECH, CARLOS VIVES, LUIS CORONEL, DEBI NOVA, NETO BERNAL, AXEL MUÑIZ, LAGOS, the SPANISH HARLEM ORCHESTRA, VICTOR WAINWRIGHT & THE TRAIN, KATIE VON SCHLEICHER, BILL NACE, HARRINGTON, GUSTIN & ZAHN, KIDBUG, BADLY DRAWN BOY, ROADSIDE GRAVES and DENNIS DEYOUNG... And LADY GAGA and ARIANA GRANDE rain on us all this Friday morning with this single... This is why there are a lot of Latin releases in particular this week... RIP DAVID HAYMAN and JACK NELSON... There will be no newsletter on Monday, Memorial Day. Wishing you a (I have no idea what adjective is appropriate here this year) weekend. Stay safe. | | | - Matty Karas (@troubledoll), curator |
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 | The Washington Post |
| On Facebook and YouTube, it’s bots vs. Bach, as the platforms are blocking or muting some performances. | | |
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 | MusicAlly |
| The album isn’t completely dead and the playlist isn’t yet the be-all and end-all - which means that artists are somewhat creatively discombobulated in what is really a curious transition period. But with that comes the scope to experiment and push the boundaries. | | |
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 | Level |
| Looking back on the racial politics of a certified hip-hop classic, 20 years later. | | |
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 | Passion of the Weiss |
| Jameson Draper takes a detailed look at the Westside Detroit creative hub and the artists who frequently dwell its rooms. | | |
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 | Pitchfork |
| Pressing plant shutdowns and a drop in demand are putting the format’s long-running comeback in jeopardy. | | |
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 | Los Angeles Times |
| An enthusiastic nod from U2's frontman and a clean bill of health for a loved one propelled the forthcoming Haim album, "Women in Music Pt. III" | | |
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 | Billboard |
| In China, virtual tipping provides a widespread, legitimate revenue stream for artists. Some think the pandemic will help (finally) normalize the practice Stateside. | | |
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 | The New York Times |
| Yuja Wang caused a small sensation at Carnegie Hall by throwing her program’s order to the winds. | | |
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 | Entertainment Retailers Association |
| ERA CEO Kim Bayley gives a personal view of the #FixStreaming campaign. | | |
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 | Vulture |
| The author and podcast host discusses his journey through espionage, power ballads, and the cultural Cold War. | | |
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 | The FADER |
| The 1975 frontman opens up on the long road to the band’s new album "Notes On A Conditional Form," how he currently feels about America, and how he’d like the music industry to acclimate in a post-pandemic world. | | |
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| Billboard |
| Madonna found inspiration for her then-upcoming album, "Madame X," thanks to a friend she calls her “musical plug,” Dino d’Santiago. | | |
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 | Complete Music Update |
| The US Copyright Office has finally published the report based on its review of the safe harbour that sits in America's Digital Millennium Copyright Act. It doesn't recommend radical changes to that safe harbour but says that Congress might want to do some fine-tuning to better balance the interests of technology companies and copyright owners. | | |
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 | Music Business Worldwide |
| We Generate founders Joshua Brandon and Luka Zak discuss the modern marketing playbook in music. | | |
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 | The Quietus |
| Matthew Barton has some Really Deep Thoughts on the extravagantly talented Tori Amos… namely, why hasn't she always got the due she deserves? | | |
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 | NPR Music |
| Turning the Tables is NPR's ongoing multi-platform series dedicated to recentering the popular music canon on voices that have been marginalized, underappreciated, or hidden in plain sight. In 2020, we will publish an occasional series looking closely at the careers of significant women in music, treasured albums or significant scenes. | | |
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 | DigBoston |
| Music seems poised to return to the way it was presented for thousands of years before there was a formal music industry: A few elite artists subsidized by their wealthy patrons, while the rest of civilization heard music made by their neighbors at barn dances or at local celebrations. | | |
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 | Okayplayer |
| Because of COVID-19, the music business will be forced to shift. Here are 10 ways the coronavirus will change the music Industry. | | |
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 | Undone |
| When rock critic Jonathan Cott met with Leonard Bernstein in November, 1989, it was the last long interview the conductor and composer would give. It was a heady time for both Bernstein and the world, which Lenny would sum up in six words to Cott: “The Berlin Wall is f***ing down!” | | |
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 | BBC Sounds |
| From gospel to grime, Jesse Bernard explores the role music plays in black churches. | | |
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 | YouTube |
| | | | | | "I don't like going outside, so bring me everything here." Live version of first single from "Notes on a Conditional Form." |
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