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From Spencer’s review of rapper Kendrick Lamar’s performance with the National Symphony Orchestra at the Kennedy Center:

It’s not new for popular musicians to team with classical orchestras; last night’s concert was a follow-up to one the NSO did with Nas a few years ago. But watching the show, I kept flashing back to, of all things, Metallica’s 1999 collaboration with the San Francisco Symphony [seen above], which resulted in an album called S&M. This was partly because Lamar’s own touring band has for a while now been more of a rock act than anything else, and partly because when there are strings thrumming and brass booming in time with guitar riffs and a spittle-flinging vocalist, it can’t help but inspire head banging.

Have a track to recommend for the daily feature? Drop me an email.

A reader responds to our new dual review of albums from former child stars Demi Lovato and Selena Gomez:

I will admit to having one Selena Gomez song, “I Want You To Know.” But this is kind of like analyzing a Tupperware catalog. The traits Disney child stars have in common is a combination of privilege and no education, which is a recipe for creating really boring people.

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A reader writes:

I’ve been following the Track of the Day feature since its inception and was quite pleased to see Alan feature Pelican a couple weeks back. I meant to shoot off a couple recommendations then, but I was distracted by my two year old and then promptly forgot about it. Dad brain strikes again ...

Anyway, I’m sure you’ve been inundated with suggestions of Red Sparowes, Russian Circles, If These Trees Could Talk, God is an Astronaut, and others in that genre, by various forms of Hipster and grimy middle-aged metalheads like myself. My own suggestion is more in the vein of Cult of Luna and Isis (the band, not the Muslim militants)—namely, sludge metal with lengthy instrumental sections, but not entirely without vocals, as Pelican and its ilk. The song is the title track and closer from the album A Determinism of Morality by Rosetta. They’ve released a few albums since this one, but for my money this is their best work, and it’s been in heavy rotation on my playlists for years now.

The entire album is well worth a listen and can be streamed on Youtube and Spotify. Thanks for this feature, I look forward to it every day.

I just put together a running archive page for the feature if you want to browse previous picks. (The older, pre-Notes archive for Track of the Day is here.) If you have your own recommendation, drop me an email.

Happy Caturday. From the Notes reader who’s provided the highest number of posted tracks so far:

Admittedly, I’m not an impartial arbiter of this song since my little brother is in the band. But since they recently won a contest to open for Guster (which I think is an awesome move by Guster), I’ve revisited some of their stuff, and I think that this song is just solid. It’s old school funk, the kind that you just don’t hear that much anymore.

Have a track to recommend? Drop me an email.

A reader recommends this track from Bleachers:

It’s a side project from the guitarist from Fun. Definitely has some echoes of “Some Nights” I think ... but that’s not necessarily a bad thing.

Last week, two of my favorite contemporary American musicians performed together at a Democratic fundraiser in San Francisco. The first, of course, was Caroline Shaw, a visionary American composer and the youngest-ever Pulitzer Prize winner for music. She’s also a member of the experimental vocal ensemble Roomful of Teeth.

Oh and the second is Kanye West.

Above, you can watch a shakily filmed but still, I think, thrilling video of their performance together, which President Obama was a spectator to. Alex Ross, the classical critic at The New Yorker, gives context:

The hip-hop artist Kanye West has lately taken an interest in the music of Caroline Shaw. West was present for Roomful of Teeth’s rendition of Shaw's Partita at Disney Hall last May and went backstage to meet the performers. In September, he invited Roomful of Teeth to join him at a show at the Hollywood Bowl.

To which I can only add: Caroline. Yeezy. Please, please record together.

A reader flags a great mashup of a Blackalicious track and scenes from Fantastic Mr. Fox:

Not only is this a great song (for some reason, I just love the line “Revolutionary rhyme style make the government paranoid / Of hidden metaphors wondering what I meant"), this video is ... amazing.

Wanna recommend one for the daily feature? Drop me an email.

Nadine just posted as an Editor’s Pick this clip from the new documentary In My Father’s House. Her caption:

The hip-hop singer and songwriter Che “Rhymefest” Smith met Kanye West when they were budding young rappers in the Chicago scene. “He came up to me and was like, ‘Yo, you’re one of the top rappers in the city,’” Smith says in [the clip]. ‘The one thing you’re missing is tracks; you need beats and I got beats.” A friendship born out of competition emerged, and Smith and West went on to co-write “Jesus Walks.” In My Father's House, in theaters now, tells the story of Smith’s career, its rise and fall, and his quest to reconcile with his traumatic past.

Jesus Walks” was made into three separate music videos, each a different interpretation of the song. Above is the initial version. (By far the most popular one, with the highest production value, is version two. Version three is here.)

A reader reaches back to 1977:

I’d like to recommend “King’s Lead Hat” by Brain Eno, an excellent, largely overlooked pop/rock masterpiece from the album Before and After Science. The name is an anagram for Talking Heads, and the track is in fact a strange tribute to that band. The lyrics are a great, albeit strange. The video is awesome and holds up well even today.

Hope you consider it.

If you’d like me to consider yours, drop me an email.

If you were lucky enough to see Darkside–Nicolas Jaar’s collaboration with Dave Harrington–live, you already know that a twelve-and-a-half-minute remix by Jaar is worth every second. If you don’t know Jaar, this remix of Florence and the Machine’s “What Kind of Man” is an accessible example of his masterful style of building and layering tracks until they fully encompass the listener in sound. After a three minute intro, an infectious synth line kicks in that never fails to get my head bobbing and my foot tapping. Seven months after its release, this track remains my favorite of the year.

Spencer just put up a post on the new rumors of LCD Soundsystem’s return:

In 2011, LCD Soundsystem took the notion of quitting while you’re ahead to a joyful, lucrative extreme.

A mere 10 years into an influential career that was still on an upward trajectory, on the occasion of no scandal or tragedy or big fight, James Murphy’s art-disco rockers chose to break up—and memorialized the event in a Madison Square Garden “funeral” concert that also became a five-disk box set, a record-store exhibition, and a feature documentary.

At the time, people joked that they were doing this all to reap the profits that would come from a reunion tour a few years later.

And lo, on Thursday, Consequence of Sound reported that sources in the music industry say LCD Soundsystem will play at least three music festivals on 2016. Billboard then published confirmation from an anonymous source of its own.

But as quickly as the news triggered a social-media storm of crying-with-joy emojis and references to the band’s third album title, This Is Happening, Kris Petersen of Murphy’s label DFA tweeted that it was all a lie. “LCD Soundsystem are not reuniting next year, you fucking morons,” he wrote. Consequence of Sound’s Alex Young held his ground, though: “I’ve been working the LCD Soundsystem story for a month. It’s happening.”

Above is the fifth track off This Is Happening, the glorious “I Can Change.” Back in 2012, Joe Fassler wrote a piece for us addressing the question, “Why, Exactly, Did LCD Soundsystem Quit?”

“For most bands, playing Madison Square Garden would be this massive point of arrival,” [said Matty Fasano, a Brooklyn songwriter who sang backup in at that final show]. “The start of something new. But I think [LCD Soundsystem’s singer James Murphy] made a decision that he wanted to move on. Bands can be very limiting, in a way. Even just a band name. You’re expected to sound a certain way, you’re expected to do a certain thing with certain people.”

Though age is a liability for some rock stars, Fasano thought that maturity allowed him to reach a measured decision most younger musicians could never make.

“Being older than most rock musicians,” he said, “he knew that this massive popularity wouldn’t necessarily expand his options—it could actually limit them. I think it takes a wise, calm soul to see that. To see he could be less limited to stop the band when they had never made a bad record, that had never missed the spot. But he’s not going to go away. It’s a decision to walk away from ‘bigger and better’—and instead do ‘more and different.’”

Regardless of Murphy’s individual reasons, fans will certainly mourn this particular incarnation of his expression. “More than any Idea About LCD Soundsystem,” [another MSG backup singer Nick] Sylvester said, “We’re saying goodbye to a fucking killer live band. I’ll miss the simple joy of seeing those humans play music together.”

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