Tuesday, April 13, 2021

Addison Rai’s pulsing pop debut, and 10 more new songs

Fully quivering, pithy and pleasant pelotoncore from Addison Rae Star of tiktok And, if machines have their own way, then all other media too. This is her first single, and the theme Transcendental Infatuation, an optimal theme for the era of interpersonal social media. John carnamica

As Hyperpop Slightly less hyper, it turns into catchy, slurry electro-pop, with the tune inching to the front. “I Wanna Hit My Head Against The Wall,” the new single from Scene Star Glaive, with shortness of breath and gasps, tingles with a squirrel production and song that is sweetly sung: “I’m inside my house I am on the verge of madness. / I want to bang my head against the wall / ‘I don’t feel at all.’ Karminika

“We Keep Moving Through Our Different Paths,” Rachel Price sings in “Anymore”, a patient but inconsistently analytical song about the final ends of a relationship. Lake Street Dive, an era-hopping band that can reach the small-group swing all the way, “anilor” in the 1970s and 1980s, and electric keyboards, drum machines and tickling guitars with Steely Dan and Marvin Gay Can reach with. Brightness does not hide heartbreak or anger. John parts

The lyrics of “Nightizer” are mostly a list, a poetic and far-reaching: “I am the dark side of the moon, I am the solar flare / The child of the earth, The child of the wind / I am the mother of the evening’s mother / I am the love that Wins all. ”Allison Russell sings them on a steady mix of country and church as she summons a congregation of her own vocal cohesion, gathering strength as she assures. PARELES

In short, but beautifully textured, “Aint Gone Stop Me” is the best single ever from young Reggie, rapping with a flow of deliciously earthy lyrics. On this song produced by Monte Booker and Kenny Beats, he recalls the hard times – “Drugs almost got me / My best friend was Oxy” – an almost gospel-like fever, childbirth and easy to breathe. Karminika

Through my friends Onyx Collective, Young soul singer Nick Hakeem came in contact with Roy Nathanson, an alto saxophonist and poet, with decades of history City scene. An afternoon of collaboration in Nathanson’s basement, with the help of some friends around the ONEX universe, recorded a full album, “Small Things”, to be held next month. Hakeem has a smoky voice that can rip you like a thunder, and on “Moonman”, the progression of a simple jazzy raga is all he needs, as he goes through Nathanson’s dastardly, stream-conscious poetry Deviates from (“Passionate / Kiss-in-the-Fog, / Sticky Hands Bogart / Romance on the Hawaiian Scene.”) The melody, surrounded by a half-instantaneous and wonderful, succulent analog sound, is clouded by echo and blur. GIOVANNI RUSSONELLO

“Oloh” is named after the custom of an ancient Congolese village: a symbol of a communion with a ceremonial war dance. Musicians and singers from five artists form a multi-level collaboration with the 15-member Kasai Allstars based in Kinshasa. In “Oloh”, a six-beat groove showcases a musical variety: male and female singers, grouped or solo, perform a string of mixed melodies; Guitars entering or leaping into the foreground, bursts of electronic sounds. The track approximates after consideration for about six minutes, and still feels like it is only getting started. PARELES

The tough “headshot” is ominous and strong for sugar-voice rap crooner Lil Taz. Polo is Gee’s first guest poem, but it is rising Brooklyn Drill star Fivio Foreigner, who steals the show with an extremely unique barb: “All your sneakers are beaten up.” Karminika

“Different,” Sory deadpan in the English band, melts her understanding of indie-rock – think of romance’s Drain xXx – with clunky, glitchy electronics. It is a distillation of late pandemics, extended-lockout loneliness, disorientation, frustration, and monotony; Asha Lorenz sings, “I feel that when I walk in circles, I still like to roam somewhere.” PARELES

The beat is programmed but never repeated in “Simple Stuff” by London electronic producer Loraine James. “I like simple things, you like simple things, that brings for me,” goes a chanting loop that becomes distorted and fragmented as the track. A thudding bass note pulses, sputters, disappears and comes back inside; Snaer hits and log-drum samples splatter and echo in stereo space with Marcas slipping for extra poly rhythms. The track is tense and narrow, extending its frustrations inward. PARELES

Some of the figures are still large today among South African jazz musicians, who are a pianist and multi-instrumentalist, through their deep commitment to local traditions and their spiritual outlook (years spent in self-isolation in dialogue with American isolationism) Earned). Eighteen years ago, and five years ago His death At the age of 53, Maseleku entered a studio in London to record a solo-piano album that was never released. Now it’s finally, as it has unfolded “beyond the stars,” On the Tapestry Works label. On its longest track, “Isango (The Gateway)”, Meseleku follows his own lyrical, cycling raga in a three-raga pattern that finally brings home about 17 minutes of performance. Ransallo

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