Lil Nas X and Jack Harlow’s Prison Break and 13 More New Songs


Lil Nas X Along with Jack Harlow, he continues his triumphal lap in a world of his own creation in the triumphant “Industry Baby,” which features a suitably understated production of Take A Daytrip and Kanye West, and a video of the duo breaking out of Montero State Penitentiary. “How funny you said it was the end, then I went and did it again,” she sings, picking up some extra bites as her braggadocio is aimed not only at general haters but also at homophobes who cling to pearls. (“I’m queer,” he proclaims, proudly in case there’s any confusion there.) The wild video’s most talked-about set piece will probably be the hilarious dance scene in the prison showers, but his funniest moment comes when Lil arrives. Nas X catches a guard while watching the video for their previous single “Montero (Call Me By Your Name)”. LINDSAY ZOLADZ

“Liquor Store” (and “Pee-wee’s Playhouse” meets Peter Gabriel’s music video for “Sledgehammer”) is the perfect introduction to the neon-Brite imagination of Remi Wolf, a charismatic 25-year-old pop singer from California. The song is a comprehensive repository of Wolf’s concerns about sobriety and long-term commitment, but he tackles these issues with such idiosyncratic acting that it all goes smoothly. ZOLADZ

The original defector of Fifth Harmony Camila Cabello She is returning with the fun and enthusiastic first single from her upcoming album “Familia”. Cabello leans more than ever to his Latin pop roots here, but his vocals also have a brash rustle that brings to mind Doja Cat. “Baby don’t go yet because I wore this dress for a little drama,” she says, and the bright, bold vibe of the song definitely fits with this tailoring choice. ZOLADZ

A UK-based songwriter of Ethiopian and Egyptian descent, Alewya releases singles based on breathtaking momentum. “Spirit_X” has a challenging, positive message – “I won’t let me down” – upbeat with loopy synthesizers and a double-stroke breakbeat, expressed in short lines alluding to African modal melodies. Makes a dragging sound. JON PARELES

Amapiano music is sparse and flowing, representing the hypnotic flexibility baked into South African dance music, bringing the textures and drums of jazz, R&B and local dance styles such as kwaito and Bacardi house into a slow, flowing groove. Queen of the genre, Kamo Mphela’s new single, “Thula Thula,” captures the serene energy of the genre: A shaker vibrates alongside an ominous bass line, and a drumbeat rises from below the surface. Mphela offers a summer invitation to the dance floor, but the measured pace of the piece reminds us that a return to nightlife is a marathon, not a sprint. ISABELIA HERRERA

Lorde has always been an old soul; When he first arrived as a precocious 16-year-old in 2013, he even had a popular internet. conspiracy theory He said he was just acting like a teenager. Although only 24 years old, Lorde looks tired early on with her new single “Stoned at the Nail Salon” from her upcoming third album “Solar Power”. “My blood is burning for summer so much that now it’s time to cool it down,” he says, above a silent chord sequence that bears a striking resemblance to Lana Del Rey’s chords. “Wild at heart,” another new Jack Antonoff production. Mellyfluous “Stoned” flirts with depth, but then suddenly he holds his bets – shrugging at every chorus that “maybe I’m just nail salon head” – which gives the song a hesitant, devious quality. But perhaps the most surprising statement he’s made is “how to grow out of all the music you love at 16”. Is this perhaps a self-deprecating wink at her own past, or a gentle hint that her new album might be a deviation from what her fans were expecting? ZOLADZ

As Illuminati Hotties, Sarah Tudzin has been releasing some wildly catchy, high-octane summer jams for the past few months. “Mmmooooaaaaaa” and effervescent “Pool Hopping.” The final preview of the upcoming album “Let Me Do One More” slows things down considerably. “Every time I hear a song, I think it’s dancing,” he jokes to “UVVP”, which comes alive with a choppy rhythm. At the end of the song, the vocal contribution from Big Thief’s Buck Meek shifts the air from ’60s girl group nostalgia to a lonely country sanctuary, as if the versatile Tudzin was proving that there was no genre he couldn’t do. ZOLADZ

Sometimes for a song to work it only needs to convey the most honest and sincere feelings. This is the spirit of Indigo de Souza’s “Hold U”. There are a number of programmed drums; a chirpy, soulful bass line; and the melted caramel of Souza’s plainly gushing voice (“You’re the best thing and I’ve got you, I’ve got you”) into a sky-high falsetto. oohcurls into the air. It’s a love song, but it’s not just about romance – “Hold U” is all about living with your emotions and embracing the love that comes from being in community. HERRERA

The piano ballad turns into a power ballad in “Right on Time,” an apology that nearly rises to the pinnacle of opera. Brandi Carlile “It wasn’t true,” he admits. It’s clearly a sequel to “The Joke,” but this time it doesn’t help anyone else; facing the consequences of his own mistakes. PARELES

The War on Drugs stretches back to the late 1960s, when folk-rock, drone, and psychedelia overlapped, and the Velvet Underground and the Grateful Dead weren’t that far off. But it is a self-conscious look into the past, aware of what has changed in half a century. “Living Evidence” demonstrates this awareness. “I know the way/I know it has changed,” says Adam Granduciel, when he returns to an old neighborhood and realizes it is not what he remembers. “Maybe I’ve been gone too long,” she thinks. The song has two parts: fluffy acoustic guitar strumming and piano chords, and then, at the end, a subdued anthem as Granduciel sings, “I’m rising and hurting.” PARELES

At the heart of “Burn” is an old-fashioned soul song: an invitation to “stay the night” that escalates into despair—“There is no hope for people like me”—and anger, as Jordyn Simone explains. Don’t ask for a goddamn savior.” Simone, 21, was a strong enough singer to be a young contestant on “The Voice,” and her vocals on “Burn” go from a velvety shimmer to a bitter rasp glow. Meanwhile, the production’s somber strings and club-level bass opens new chasms beneath it.

Bassist, promoter and master of free jazz William Parker On Friday, they released two albums with separate trios: “Painters Winter,” featuring drummer Hamid Drake and saxophonist and multi-instrumentalist Daniel Carter, and “Mayan Space Station,” a sizzling free-fusion work by guitarist Ava Mendoza. drummer Gerald Cleaver keeps the band steady, evoking surf-rock lines and alien feathers. Together, the LPs provide a sense of how wide Parker’s creative footprint in New York jazz was. For a more comprehensive measure, see 25th annual Vision Festivalwill take place in Manhattan and Brooklyn over the next week; dancer and organizer Patricia Nicholson Parker helped found the festival a quarter of a century ago with his wife. At 69, he hasn’t slowed down at all: Parker is scheduled to perform in at least five different ensembles during this year’s festival. Russonello

Alto saxophonist Kippie Moeketsi was one of the first to adapt the musical language of bebop to South African jazz, but he did not import the whole cloth. Instead of joking, he made the tongue sing, and played not with the typical American swaying feeling, but with a circular, swirling approach to rhythm associated with marabi and earlier South African styles. In her unaccompanied introduction to “Blue Stompin,” Moeketsi interrupts with a sharp, bluish cry, then nods to a carnival-style rhythm before grumbling toward the end of the cadence. Then, playing in harmony with the American tenor saxophonist Hal Singer, who wrote the melody, he locks onto the main melody. A former Duke Ellington Orchestra member who has scored some radio hits of his own as a jump-blues saxophonist, Singer was in South Africa on a State Department tour in 1974 when he recorded several tracks with Moeketsi. These became an album that was first released in South Africa in ’77; Digitally remastered and released by Canadian label We Are Busy Bodies. Russonello


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