Lord’s Sunburst, and 10 More New Songs


About the last thing to expect from a songwriter Moody and intense as Lord A carefree kitty was all about fun in the summer sun. “Solar Energy,” the title song of an impending album, is just that, riding three chords and fast acoustic rhythm guitars (and George Michael’s “Independence! ’90’) to celebrate hitting the beach, getting sunburnt cheeks, and throwing away her “cellular device”: “Can you reach me? No no! You can’t,” she sings, and laughs. is. He has an outrageous but attention-grabbing vanity—”I’m like a beautiful Jesus”—and an invitation completely free of ambivalence: “Let’s start the joy.” John Pareles

Just to be sure, I’ve Googled and confirmed that no one has referred to Ava Max as Una Lipa yet. there’s still time. (It’s a compliment.) John Caramanica

A beat ticks behind the slow pulsing synthesizer chords, as St. John appears, boasting furry rage but safely dispelling it with Auto-Tune. but when SZA Comes, in a minute and a half, his voice goes out. Like him, she declares a desperate, dangerous infatuation. Unlike her, she feels like he’s meant to. parallels

Endlessly cheerful light-pop-soul, “Favorite Song” is a bopping strut from PMBata, toggling between vocals and rapping, though less hip-hop-influenced than their earlier singles such as “Down for Real”. The commuting is a little scary, but the attitude is never less than sweet. carmanica

Jomoro is a combination of two percussionist-turned-songwriters: Joey Waronecker, Beck’s longtime drummer, and David Byrne mainstay Mauro Refosco. Of course they need singers, and they have included guests on Jomoro’s album, “Blue Marble Sky”. Sharon Van Etten A steady march of textured synthesizer tones accompanied by bells, shakers and hand drums provides continuity and suspense on “Nest” while singing about “the darkest corner, the back of the mind” on “Nest”: a psychic Physical collision to organize travel inward. parallels

It was inevitable that current bedroom-pop songwriters would discover the cool intricacies of predecessors like Elliot Smith and Nick Drake. claro Embraces both the harmony of Smith’s whisper vocals immediately and Drake’s elegant string arrangement immediately recalling the latter. She’s singing about a kitchen-table lover’s feud and a situation no man would think to portray: “Why should I tell you how I feel / When you’re looking down at my blouse? ” parallels

Over an edifying sequence of arpeggios drawn by Corey King on acoustic guitar surrounded by the sounds of springtime, Esperanza Spalding sings in a patient and gentle tone about prolonged trauma, and about reaching out for support. “He has to grow up and let it go / Not really let it go,” she begins. When Spalding moves to the chorus, it mostly consists of a repeating line: “Dare to say it.” This track released on Friday. comes as part of Spalding’s Songwriters Apothecary Lab, an Evolving Project which envisions musical collaboration as a path towards healing. (It already contained a suite of three powerful tracks, created with other lead musicians and released earlier this year.) She and King wrote “FormVella 4” in response to a simple challenge: “Say what is most difficult to say between loved ones.” Giovanni Russonello

The minimalism-loving hypnotic brass ensemble has rediscovered “Saffy”, an EP released in 1998 by prolific English musician Richard Youngs and reissued in 2006 by the Jagjaguar label, marking its 25th anniversary. Left-field is celebrating with interdisciplinary collaboration. Original version of Youngs There was a harsh acoustic focus, just quiet fingers behind Youngs’ high, cracking voice, with music such as “Sometimes it’s better late / And days’s an excess” and “Happiness leaves everything / And the future is nothing.” The Hypnotic Brass Ensemble adds interior harmony and orchestrates them with motifs such as Philip Glass for brass and woodwinds and as surreal reverberation perfume genius A rapt sings in falsetto, trading the young’s solitude for immersive depths. The video – perhaps taking a cue from the song’s first line, “Working Around the Museums”, shows visual artist Lonnie Holly painting the picture with spray paint, twigs and wire. parallels

The gangly, big-boned drum style on this track may be as recognizable—especially to Bad Plus fans—as Dave King’s voice when he’s having fun. Drummers are heard here in a new trio, led by virtuoso guitarist Julian Ledge, and featuring George Roeder on bass. The title track of Ledge’s Blue Note debut, “Squint”, begins with the lone guitarist explaining why he is one of the most dazzling improvisers around; Then King comes in and things add up to that wooden swing feel, held together by Roeder’s steady gait on the bass. russonello

poo bear (Jason Boyd), a songwriter and producer with Justin Bieber, Usher, Jill Scott and many others, features his own mournful voice in “The Day You Left”. He’s an extremely long-suffering boyfriend who knows he’s been cheated on over the years, but still wants his partner back. Production by a team that includes Skrillex continues to open up new electronic spaces around it, some with celestial keyboards, others with vague whispers. parallels

More brilliant Yelps from Alabama singer-rapper NoCap, who is doing some pushing and pulling with a partner, on light blues-country guitar. “I can go for a while, just write,” he urges, but admits he’s not in the driver’s seat. If she feels compelled to stray, he says, “just don’t hold her tight.” carmanica



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