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SPRING ARTS 2017 — albums: Barry, Betty & Blondie

Manilow, finally out, readies New York-themed album

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new albums spring 2017, gay news, Washington Blade

Aussie singer Betty Who will release her sophomore album ‘The Valley’ on Friday, March 24. (Photo courtesy RCA)

The new release schedule is light on megastars but heavy on new offerings by some of our most acclaimed musical artists. The details for most of the higher-profile new albums expected in 2017 have yet to be announced, but there is still a strong slate of new music coming our way over the new few months.

March starts off with the much-anticipated second album by English star Ed Sheeran, whose “÷” (pronounced “divide”) hits Friday, March 3. Also slated for release are the latest ambitious concept album by openly gay troubadour Stephin Merritt and the Magnetic Fields’ “50 Song Memoir.”

Four of indie-pop’s most popular bands have new offerings on the way: the Shins on March 10 with “Heartworms,” then Spoon a week later with “Hot Thoughts,” and Real Estate unveils “In Mind,” the follow-up to their much-lauded 2014 release “Atlas.” Conor Oberst and his “Salutations” adds to the indie onslaught, sure to be a big weekend at area record stores.

Also due on March 17 is the 14th studio album by veteran alternative synthpop titans Depeche Mode, “Spirit.” Capital Pride veteran Betty Who unleashes “The Valley” on March 24. That same week comes “Damage and Joy,” the first new album by seminal alt-rockers Jesus & Mary Chain in 18 years.

March 25 brings the second solo album by Ladytron vocalist Marnie, “Strange Words and Weird Wars.” We can expect more glistening dance-pop as Goldfrapp offers their first album in four years, “Silver Eye,” on March 31. The same day the great Aimee Mann returns with her long-awaited new album, “Mental Illness,” the first release in five years for the gifted singer, songwriter and musician.

March is also highlighted by new albums from British boy band Take That, the always-funky Jamiroquai, Canadian dance/pop singer Nelly Furtado, a three-disc set of American standards by the one and only Bob Dylan, the latest by rapper Raekwon of the Wu-Tang Clan, and the much-anticipated new album by British up-and-comer Tinie Tempah. 

April 7 will be a big day for indie-rock fans as new albums by Father John Misty, the New Pornographers and Cold War Kids all arrive. The same day brings Future Islands, who will follow-up their synth pop classic, 2014’s “Singles,” with “The Far Field.” Electronica will also be well-represented as EDM duo the Chainsmokers, known for their smash “#SELFIE,” release their debut album “Memories … Do Not Open,” and the self-titled third album by openly gay Venezuelan DJ and electro-wizard Arca will also hit retailers.

The first new solo release by pop singer Michelle Branch in 14 years, “Hopeless Romantic,” also hits on April 7. So does the self-titled debut album by Nancy and Beth, a duo featuring Megan Mullally (Karen from “Will & Grace”) and Austin-based musician Stephanie Hunt.

On April 14, the freakishly talented Norwegian artist Sondre Lerche is back with his eighth album, “Pleasure.” The following week brings legendary crooner Barry Manilow and “This is My Town,” his first new album since he married his longtime partner in 2015.

Acclaimed Danish dream-rockers Mew, featuring the solemnly beautiful vocals of the incredible Jonas Bjerre, return on April 28 with “Visuals.” Also expected in April are new albums by the dynamic pop singer Bebe Rexha, veteran hard-rockers Incubus, and British post-punk revivalists Maxïmo Park.

The biggest event in April, of course, is the 10th annual Record Store Day held on Saturday, April 22. St. Vincent has been named Record Store Day Ambassador. Given the big anniversary and the meager and lackluster selection for the Black Friday Record Store Day last November, this year’s roster of new releases and exclusives is reportedly jammed with outstanding titles that could include — well, anything really. It shouldn’t be long before the list of Record Store Day titles starts leaking to the public, so keep your eyes peeled.

May kicks off with Rock and Roll Hall of Famers Blondie returning with their first album in three years with “Pollinator” on May 5. Queer-punk duo PWR BTTM unleashes their utterly distinct sound and vibe with their second album, “Pageant,” on May 12. Also on the 12th is the latest offering by the massively successful country-rock hybrid Zac Brown Band, “Welcome Home.” May 19 will be exciting for fans of electronic dance-pop, as the legendary duo Erasure, featuring the always-amazing vocals by gay pop icon Andy Bell and the electronic mastery of his longtime musical partner Vince Clarke, return with their 17th album, “World Be Gone.” It sounds like the album might be unusually political — the press release states the UK duo gives “the world and recent political upheavals a thoughtful examination.”

It may not be Fleetwood Mac, but Buckingham/McVie will be as close as you can get without Stevie Nicks. Their new album, the first ever from Lindsey Buckingham and Christine McVie as a duo (albeit backed by Mick Fleetwood and John McVie), is scheduled for May, but a firm release date has not yet been announced. Also expected in May is “Binary,” the latest from the independent folk-rock icon Ani DiFranco.

Stretching into June, the big release early in the month is the latest from country titans Lady Antebellum, “Heart Break,” which is set for June 9. There are a few big-name artists who had been expected to unveil new albums this spring but have yet to announce release dates, so at this point a spring release date could still be possible but some will not doubt stretch into the summer:  Sheryl Crow, Lorde, Drake, Charli XCX, Katy Perry, St. Vincent, Beck, Christina Aguilera, Gorillaz, Kanye West and Kelly Clarkson, among others.

And then there are always surprises. Bruce Springsteen has been sitting on a finished new studio album for a year and could drop it at any time. In this era of surprise and sudden releases instead of the traditional build-up, who knows what great new music might unexpectedly come our way this spring.

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Music & Concerts

Gay Men’s Chorus starting the year with a cabaret

‘Postcards’ to be performed at CAMP Rehoboth

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The Gay Men's Chorus of Washington performs 'Postcards' in Rehoboth Beach, Del. on Jan. 18. (Photos courtesy of the Gay Men's Chorus of Washington)

The Gay Men’s Chorus of Washington will perform “Postcards,” a cabaret, on Saturday, Jan. 18 at 5:00p.m. and 8:00p.m. at CAMP Rehoboth Elkins-Archibald Atrium. 

In this performance, the choir will share hilarious and heart-warming stories and songs about the travel adventures they’ve had and hope to have. Songs include “Midnight Train to Georgia,” “Streets of Dublin,” “Magic To Do,” “Home,” and “I Left My Heart in San Francisco.” Tickets cost $35 and can be purchased on Camp Rehoboth’s website.

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Music & Concerts

WMC’s ‘Comfort and Joy’ fuses drama, well-being, light

Soloist describes production as ‘reverent and beautiful’

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Opal Clyburn-Miller (Photo courtesy Clyburn-Miller)

‘Comfort and Joy’
Washington Master Chorale
Sunday, Dec. 22, 5 p.m.
Church of the Epiphany
1317 G St., N.W.
washingtonmasterchorale.org

With its warmth and unfettered imagination, it’s no surprise that the Washington Master Chorale’s enduringly popular winter program remains a holiday favorite. 

This December the Washington Master Chorale (WMC), helmed by out artistic director Thomas Colohan presents “Comfort and Joy” a selection of British and American works like “Lute-Book Lullaby,” “I Saw Three Ships,” “Puer Natus” by Samuel Scheidt and “Hosanna to the Son of David” by Orlando Gibbons. 

In addition to these Christmas classics, WMC will perform 2022 Florence Price Commission Winner Mason Bynes’s “Ephiphanytide” and Ēriks Ešenvalds’ “Northern Lights,” the firsthand accounts of arctic explorers Charles Francis Hall and Fridtjof Nansen and their experiences surrounding the fabled aurora borealis.

Described as “reverent and beautiful” by “Northern Lights” tenor soloist Opal Clyburn-Miller, “Comfort and Joy” fuses drama and well-being, and the import of light. 

And as an artist who uses they/them pronouns, Clyburn-Miller says where classical music is concerned, “it seems people are put in their boxes and that’s where they stay.” They add, “there’s been some progress. It’s pretty much a traditional art form.” 

With regard to their career, Clyburn-Miller, the Baltimore based Peabody Conservatory student, says the work usually comes through word of mouth: “You show up, you’re a good colleague and people want to work with you again.”

The solo piece, according to Colohan, is perfect for Clyburn-Miller. The soloist says in response: “Maybe I have the imagination to think of what Northern Lights might look like in Eastern Europe. I’ve never been that far north but I can put myself in that sense of wonder and astonishment.”

But the gig hasn’t been entirely without its tests. The lyrics are in Latvian, a new language for the meticulous singer.

“It’s been a bit tricky getting the Latvian down,” they say. “Usually in my singing experience, it’s been German, Italian and French, and I’m familiar with Spanish and some Hungarian and Russian, but this is entirely new.”

A perfect chorale venue requires easy parking; good acoustics; a concert level Steinway, and an excellent organ; a sanctuary wide enough to accommodate a 50-person chorale; and audience friendly loos, says Colohan. 

The Church of Epiphany meets most if not all of these requirements.  

Raised Catholic in Richmond, Colohan came out at Ohio’s progressive Oberlin Conservatory. Around this time, he remembers visiting Washington for a music educator’s conference and partying at JR.’s, Badlands, and other bars. He says, “I saw that D.C. had a huge population of clean-cut gay boys. That journey which started with me being gay, prompted me to ask questions.” 

As WMC artistic director since 2009, Colohan, who lives with his partner in Silver Spring, became increasingly interested in secular poetry and literature, especially the ways in which it intersects with chorale music. For him, that became the heart of the art form. 

“My secular approach is wider than some. I’m like the curator of the museum going down to the basement to bring some stuff up. You cannot hear the music if we don’t sing it.”

He’s remained conservative as an aesthetic but not an ethos. “I can wear a blazer and not be crazy right wing. Spiritually speaking, I’m Zen Buddhist now.”

A lot of the concert is about darkness and light. Colohan says, “In ancient times when the world became darker, the days leading to the solstice were scary and then on the 22nd they saw that days were getting longer and it was lighter.”

“Comfort and Joy” closes with a candle lit chorale memorably singing “Silent Night.”  

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Music & Concerts

Pianist Jeremy Denk to play George Mason

Soloist performs Beethoven’s Piano Concerto No. 4 alongside FSO

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Pianist Jeremy Denk (Photo by Shervin Lainez)

The Fairfax Symphony Orchestra (FSO) and the Center for the Arts at George Mason University co-present Jeremy Denk — one of America’s foremost pianists—on Nov. 23 at 8 p.m. Denk joins the FSO as soloist for Beethoven’s Piano Concerto No. 4. The concert, conducted by FSO Music Director Christopher Zimmerman, also includes the regional premiere of “She Dreams of Flying” by American composer Quinn Mason, and Rachmaninoff’s Symphonic Dances. Tickets are available through the Fairfax Symphony and the Center for the Arts: $65, $55, $40 and half-price for youth through grade 12 (service fees may apply).

A pre-performance discussion with Denk and Maestro Christopher Zimmerman, moderated by Mason Dewberry School of Music Professor John Healey, will take place in Monson Grand Tier, located on the third level of the Center for the Arts Lobby, 45 minutes prior to curtain. 

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