Dawn Richard Honors New Orleans Second Lines, and 7 More New Songs
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Dawn Richard Honors New Orleans Second Lines, and 7 More New Songs

Don Richard gives “Busifam” four syllables – such as “Bust It For Me” – a preview of his April album “Second Line” when he chants it in his new single. The video, released on Mardi Gras, dances with someone (sadly unconscious) defeating the second line of the New Orleans Brass Band. Then the track itself begins, with Richard and his dancers wearing pointed, futuristic costumes outside Giant graffiti At a pre-holiday Holiday Inn. “Legs to the beat / busifem, move along the second line,” he chants, in an electronic track, closer to home than the second line, but just keeps adding levels of perky sync. John parles

“Black Myself” begins as a blunt list of stereotyping and discrimination – “You better close the doors as I walk by myself before confirming black solidarity and self-determination in my final poem / Because I’m black myself. ” The song was already a sad stomp when amethyst Kaya first recorded it with the Falky All-Star Alliance Our original daughters; She now re-shows it with a Fuller Studio production, combining her distorted guitar with more effects, more layers and a bigger beat, adding an extra clot. PARELES

On the stuttering bass line, blink of an eye Balafon And the Wah-Wah-Bhini guitar, the Gospel singer Theresa Thomson pays an infinite tribute to Nelson Mandela, the struggles she has struggled to pursue and the zoro-noises she is pursuing. “Always looking left, always looking right / always defending people’s truth / We will never forget you,” she sings. The song comes from “Afrofuturism”, the latest album by percussionist and multi-instrumentalist Michael Wimberly, who recorded it with a diverse group of musicians around the world. GIOVANNI RUSSONELLO

24kGoldn’s version of hip-hop is, in essence, pop-punk coated with a faint layer of R&B – that is to say, excessive pop. His latest single, which comes with Ein Dyer during his recent No. 1 “Mood”, still at number 5 on the Hot 100, is a fit of hybrid pop, taut, volatile and extremely efficient. John carnamica

Three or so years ago, you would not have covered Lil Yachty as one of hip-hop’s more versatile talents. And yet here he is rapping fast to a nervous beat on “Hit Bout It”, a strong duet with refreshed-out-of-the-prison Kodak Black. This comes less than two weeks after “Royal Rumble”, the (mostly) great Michigan rappers full of non-sequitur tough talk that has been defining that scene for years, and in which the petitioner Has an affinity (if not quite appropriate). Instead pay attention to the stalwart ice cream vejo and the brilliant verses of the up-and-comer Babyface Ray. Personnel

As English singer Mahalia and Maryland rapper-singer Rico Neshi accidentally demolish male pride while flaming a sample of flamenco guitar curls through a two-cord track of “Jealousy”. “Imha do what I want a child / I won’t be without you,” she spontaneously explains, as Mahalia shows her wardrobe, her car, her “crew” and her apathy. “You can’t get on my way until you’ve got that heart,” she sings, sighs and faints. PARELES

For her debut album, emerging pianist Chris Pattyhall returned after 75 years to re-show Mary Lou Williams’ 12-part “Zodiac Suite.” The result is neither indifferent nor new and artificial. How deep and personally a “zodiac” of pattyhall is a shocking achievement – this old material seems to resonate with him. Patichel has stated that he is particularly drawn to Williams because of the way she seemed to hopscotch between atmospheres and registers within individual creations, without sacrificing a sense of narrative. It is born on the first track of their album, “Taurus” (Williams’ own star sign), which begins with the passage of the jumbled piano before quick acceleration, with Pattyshil moving his quintet into a revolving, bluesal refrain Takes it away. Russellson



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