Billy Eilish’s Portrait of Power Abuse, and 11 more new songs


Comfortable, pristine, with laurel Canyon-style acoustic guitar Billy ellish As she whispers- “Try not to abuse your power.” She then proceeds to a creepy, controlled, exploitative and possibly illegal relationship. Silently heaped accusations of shock: “You said he thought he was your age / How dare you?” Meanwhile, in the video she instructs, an anaconda slowly tightens around her. John parts

Willow and Jada’s daughter – Willow’s comeback is fast-paced, pop-punk throbbing, featuring a very special kind of famous kid. He lashes out at deceptive former friends (and perhaps some current ones as well) who “put a smile on my face, then put my cigarette on my back.” John carnamica

whatever happens, Red girl – Norwegian lyricist Mary Ulven – Can use it. In “Serotonin”, her new album “If I Can It Go Sober,” she sings about her wildly stabilizing self-destructive feelings with whatsup, therapy, and drugs: “Not hiding from the corners of my mind Can / I’m nervous from the inside, “he announced. From punk-pop guitars to EDM crescendos and bass drops, the music deviates, from distorted rapping to ringing choruses, only to end up crumbling. PARELES

This is perhaps the strongest testament to DJ Khal’s A&R Savvy on an album full of dazzling cameos from Megan Thea Stallion and Lil Baby, and contemplative big moments from Nas and Jay-Z, her inclusion of endless charismatic and highly famous. Opposes. Cardi B on “Big Paper”, a song that sounds like he’s rapping to an old DITC beat. It is tireless, sharp-witted and clever: “All the time I was shaded home with palm trees.” Karminika

The power of “If You Care” is not in the lyrics of traditional songs, such as “If you care, you’ll get a little closer.” It is constantly in rhythmic displacement, from top to bottom: the way the beat, base line, vocals, and rhythm guitar each suggest a different downbeat, enforcing disorientation from the bottom. They only align when the vocals finally turn to rapping; It had to end somewhere. PARELES

If you don’t know better, you might think that young country singer Priscilla Block was always depressed, the sum of one poor decision after the next. That’s why her impressive debut is the mood on the EP, which is strong, shamelessly pop-mind and full of songs about regrets like “Sad Girls Do Sad Things”:

Don’t get me wrong, i like beer on friday
But lately i’ve been at my place more times
One more round to close it
The two-for-mole went too far

Block has a crisp and expressive voice, and she relieves the suffering well. But this EP skips over the rowdy cheer and randy winks of his breakthrough single, “Thick Thighs”. Which is to say, it is more a block story than a heartbreak. Karminika

Teen pop songwriter and producer Briy Sebring called “I Rather Be Alone.” Everything is crisp: his diction, his rhyme, and the pinging syncopation of an arrangement that builds through confrontation with single keyboard tones and manipulates handclaps into front-to-back harmonies. “I doubt you’ll even bother listening to this song,” she says, another good reason to break free. PARELES

The production never stops in “Swimmer” from the upcoming album “Mythopoetics” by Half Wife: electronics-driven songwriter Nandy Rose Plunkett. It is a song about everlasting love – “they can’t take it away from me,” she vows – that develops from a curious rhythmic pulse to a cordial anthem, larger than life. PARELES

Renowned bassist Christian McBride has just released a three-song collection called “The Q Sessions”, which he recorded in high definition for audiobook streaming platform Cubooz. The EP features three top-flight improvising musicians who, like McBride, already have a tendency to play their instruments in high-def: saxophonist Marcus Strickland, guitarist Mike Stern and drummer Eric Holland. The group followed McBride’s synced bass line through the shifting funk of “Brouha,” which they had clearly written with Stern – and their roots on the 1980s fusion scene – in mind. GIOVANNI RUSSONELLO

Singer, musician and multi-instrumentalist Jane Shyu attracts jazz, Asian music and more. Her new album, “Zero Grass: Ritual for the Losses,” reflects loss, memory, and perseverance. It opens with “Living a Gift”, which uses songs written by middle school people during the epidemic: “We’ve lost our minds, lost our time to shine.” The music is simple and flexible; His jazzy quintet, jade tongue, Shyu leading his voice multitracks into a spooky, intricate contrapuntal choir, basically folding neatly angular phrases together. PARELES

The elusive English electronic producer Burial has re-emerged with producer Blackdown splitting a four-track EP, “Shock Power of Love”. After the “Space Cadet” signal is epidemic-prone – a sharp club beat, arpeggiators pumping out key chords, voices urging me to “take high” – but Burial shrouds it all in static and buzzing murk, beat collapse again and again. , Give everything up to the track. Returns to nothingness. PARELES

As she set out to make her upcoming album, “Ambral,” Sophia Ri trekked through the mountainous Elqui province of Chile. He brought one Barns And two backpacks filled with recording gear; During the trip, she recorded herself playing and singing, as well as the sounds of the natural world around her. The album begins on Friday with “La Otra” as a single, on which Rie Nobel sets a poem to music by the award-winning Chilean poet Gabriella Mistral. The fluttering melody plays, the stop-and-start beat and the strummed charango on the resoculating synthes base, as Ree’s overdubbed voice melodies with itself in fierce exclamations, lapping in the sky like a flame. Ransallo

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