Phoebe Briders Paul McCartney, and 11 more new songs


Don’t take Paul mccartneyPermanent gift for – natural melody, successfully delivered surprise song, artful chaos progress, streamlined arrangement – for. Other songwriters do not. Nobody has, 78-year-old Sir Paul picked young fans (Beck, St. Vincent, Blood, Anderson. Pak, Josh Homme). Dominic Fick) To recreate the song from their 2020 solo-in-studio album, “McCartney III,” as the new “McCartney III Imagine”. Phoebe Briders took “Seas the Day,” a manifesto of supernatural good intentions: “I’m fine with a sunny day when the world deserves to be bright.” He brings a sense of his own exploration of the song, maintaining McCartney’s march tempo, but toning down his electric guitar. She ends her version with church bells like a blessing. John parts

Since joining forces boygenius, Two-thirds band, Phoebe bridgers And Julian baker, Have released solo albums, taking their already strong songwriting to the next level. Now, it seems to be Lucy Dacus’ turn. “Hot and Heavy” begins in a synthesized glow, for a moment looking as if it might be a continuation of the stark sound he saw. Recently released “Thumbs” But the “Hot and Heavy” kick doesn’t take long to gallop, coming alive with chinting guitars and flashing pop-rock “Full Moon Fever” —Ra Tom Petty. “You used to be so cute,” Ducas sings on this tale of stinging nostalgia, “Now you’re a firecracker on a crowded street.” Lindsey joldz

Ten years ago, Sharon Van Etten released her first great album, “Epic”, as a permanently horrifying account of the disintegration of a troubled relationship. To celebrate its anniversary, an impressive and eclectic array of artists – Lucinda Williams, Courtney Barnett, Shamir – contributed to a cover collection called “Epic Ten”. The ultimate co-sign, however, comes from Untamed Fiona Apple, Which presents its interpretation of the album’s beautiful closing track, “Love More”. Van Etten’s version was a touching poignant, filled with gentle waves of harmonium rods. Instead, Apple played him with an almost identical rhythm, with a vocal backstage – though his delivery of the song’s verses lends a smile intensity to these songs. “Chained to the wall of our room,” goes the opening line. Drop it on Fiona to bring the bolt cutter. ZOLADZ

“We can feel these vibes until our phones die,” Andra day Provides, carelessly promises romance against limited battery life. In Anderson. Paak’s forceful, difficult production, a terrifying Brazilian beat carves Dey’s multitracked vocals through a cycle of chromatic chords that give the illusion of climbing higher and higher, abruptly ending. PARELES

It has been three years since London artist and Micah Levy collaborator Tirzah released her hypnotized debut album “Bhakti”, but the new single “Send Me” sent the listener back to that singular chill spot. “Send Me” is made from simple materials – a repeated guitar lick, a hi-hat loop and Tirzah’s sultry, sad-like vocals. “Let me heal and now I am sure, now I am sure,” sings Tiraza, her words seem to turn into vapors upon exile. It is fully vibrant. ZOLADZ

It’s only April, but Sawai is already wishing you a lot of summer. Her new single “Risky” is at once spontaneous and exasperating, waiting patiently whenever the weather allows you to roll the windows. Draco the Rulers provides a perfect counterpoint to the grumbling flow, Sawai’s Bambas (“all over my nose like a runny nose on my body”), while a minimalist beat shines like a freshly painted ride to her personality Provides plenty of space for ZOLADZ

For Mick Jagger, quarantine fatigue has decreased sarcastic enthusiasm. “Easy Sleazy” is a late-pandemic rant, a stomping, sloppy slop and fake checking of coronovirus-year events, from “cancel all the tour / football’s fake tally” to “Tiktok stupid dance” to “They too.” More TV “. Unfounded conspiracy theories. Dave grohl, An accomplished student of classic rock, reorganized the entire Rolling Stones sound behind Jaeger’s rhythm guitar, and every few lines were thrown into the mix. The chorus hopes for a “weird” reopening, when “it will be just a memory you’re trying to forget”; The song will be a snarky souvenir. PARELES

Hannah Reid, singer of London Grammar, plays the role of a very impartial observer in “Lord It’s a Feeling”. He piled up the misdeeds of a friend’s notorious, deceitful lover – “I saw the way you laughed behind his back” – before revealing, “I can accept that I am here myself.” An ornamental string orchestra returns her at first, as she sings in her pure tone. But when his own stake becomes clear, a beat intensifies, his voice hardens and the observer becomes the accused. PARELES

it’s a small world. José González, who was born in Sweden to Argentine parents, is a singer, songwriter focusing on a British tradition. Produced from vocal harmonies and acoustic-guitar picking, “Vision” takes an eternal perspective on “passionate beings” who must “see the magic of reality / accepting the honesty that we have no idea what lies ahead.” With his guitar drone, distant electronics, and bird song, he noted, as a sort of chant, “We’re here together.” PARELES

Place is central to the music of Lee Bertucci, a multi-instrumentalist and sound artist whose recordings often spring from the question of how they convey the physical environment through sound. But his work is not just to document the sound qualities of a place; Through the process of layering and abstraction, Bertucci gives us closer to the remnants of an experience or a missing memory. Ambient recording on his newly self-released album, “A Visible Length of Light”, which he introduced to lightly droning organ, bass clarinet, wood flute and saxophone in New York, Rio de Janeiro, California and Nebraska Hunt tracks . It is not clear where the sounds were captured on “an arc of the horizon”, but instead the music – more melodically more spatial – becomes its own environment. GIOVANNI RUSSONELLO

Trumpeter Vadada Leo Smith, Multi-Readist Douglas R. When Evert and drummer Mike Reid come together, the bustle, echo and attentive listening are coins of the field. He has performed only rarely as a trio, but all three are hopeful and organizers, joining the Chicago Avent-Garde and the Creative Association of Advancement of Creative Musicians at Roots. “Super Moon Rising” is the centerpiece of their new album, “Sun Bean of Shimming Light,” which adds to one Long tradition Of Recording By AACM-affiliated musicians who consider the sparse and vast free improvised style as a genre. Ransallo

“It Might Take Some Time” passes, in short, melding as one, the list of Beehive has more acceptable songs in the soul of dense, overloaded, essentially morphing and often nerve-racking songs. It’s from the Philadelphia band’s new album, “Entertainment, Death,” and with its jazz-tinging opening bass vamp and acoustic-guitar syncopations, it can pass for laurel canyon pop-folk – if its nagging high synthesizer tones. If not, its crank-drums echo in its spoken words and in instruments and vocals and eventually melt away. “No Limits, You Know What I’m After,” Zac Schwartz and Rivka Raveed sing calmly, perhaps as a partial recount. PARELES



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