Robert Plant and Alison Krauss Reunite and 10 More New Songs


Robert Plant, Alison Krauss, and guitarist and producer T Bone Burnett, Published “Raising Sand” in 2007have joined forces again for an album titled “Raise the Roof” that will be released in the fall. They turned Lucinda Williams’ “Can’t Let Go” into a rockabilly rumba, singing in close harmony and sharing the spotlight with a twangy lead guitar. The lyrics are about heartbreak and loneliness, but the performance showcases friendship. JON PARELES

There’s no slow burn here: British root rocker Jade Bird opposes any man who slams his acoustic guitar and quickly assembles a full electric band, attacking both his own past naivety and anyone who’s exploiting him, “who made a fool of me.” . PARELES

New Zealand musician Pip Brown has been releasing music under the name Ladyhawke since 2008, but the light, infectious “Think About You” proves he still has new ideas. Backed by a disco-pop bass line and a Bowie-esque riff, the song is a dreamy tribute to the timeless feel of a crush: “No matter how hard I try, I just can’t get over this crazy feeling inside me.” don’t overthinkmanages the breezy mood of the song. LINDSAY ZOLADZ

Ten years ago, British pop singer Katy B released her exuberant debut album, “On a Mission,” which helped usher in an era of stylish dance floor dreams from kinship spirits such as Disclosure and Jessie Ware. He’s been relatively quiet for the past half year and has returned with a sultry mid-tempo affair that retains the soulful courage of his voice. “The beginning of the end, the moment I let you in,” she sings, the sadness of this awareness offset by her charismatic arrogance. ZOLADZ

In a group setting, the harp may seem like a separate element, becoming something like the air around an ensemble sound – evidence of a higher atmosphere or just a foil. In Brandee Younger’s handsand in the pieces he wrote and performed, the harp is something different: it is the scaffolding, the bones of the larger voice. In “Spirit U Will” from the newly released Impulse! Their debuts, “Somewhere Different”, Younger and bassist Rahsaan Carter are molded by drummer Allan Mednard’s muffled snare patterns and uplifted by Maurice Brown’s soaring trumpet, the bob forms the basis of a rhythm owed to West Africa. GIOVANNI RUSSONELLO

Here’s a natural alliance: Two players who know that all the attention – admiring or disapproving, lustful or censored – pays off. “All the rumors are true,” Lizzo brags, suppressing her chuckles as a rattle rumble and pipes punch a riff; Cardi B is enjoying her international fame – “They’re lying in a language I don’t read” – and swears, “The last time I went crazy the FCC sued me/But I’ll keep doing what I’m going to do.” They share the last laughter together. PARELES

Nas collaborated with Lauryn Hill (before adding Ms.) on “If I Ruled the World (Imagine That)” 25 years ago. Their reunion from Nas’s new album “King’s Disease II” runs on a mid-tempo beat and soft electro-piano chords. This is an older generation complaint. Nas craves for privacy and recalls a time when she said, “Before the Internet energy and social decline/It had destroyed Vibration, it was fooling us with headlines, keeping us blind.” Miss Lauryn Hill fends off old complaints about her long absence from performing and her career lack: “Now let me give you a balanced and clear/No need to parody myself.” They are not defensive; they are calmly masters. PARELES

Death and paranoia are evident in millions of streamed hip-hop songs like “Before I Go.” Two rappers, Kodak Black and Rod Wave, sing on descending minor chords, hollow drum-machine beats, and a quarter repeating keyboard line. Kodak Black admits his problems, says he’s still listening to his mother, and wonders, “I don’t know why, but they’re planning to kill me.” Rod Wave explains the security measures in detail, but expect the worst. Even if Kodak says, “Everyone will die before I’m gone,” none of them trust a happy ending. PARELES

Machine Gun Kelly delivers the strings of “Papercuts” that punch majestically in a classic pop-punk draw, and the loud, crisp guitars are reminiscent of ’90s alternative rock’s heyday. (The broken chords sound like a direct homage to Green Day’s “Brain Stew.”) The first single from her upcoming sixth album “Born With Horns” continues on the straight rock track that suits her well on last year’s “Born With Horns”. is doing. Tickets to My Downfall” and a surreal music video directed by Cole Bennett. In the clip, MGK, running through the streets of Los Angeles in sequin pants and a tattooed bald hat, cuts a silhouette a bit like Ziggy Stardust, a bit like Kurt Cobain. ZOLADZ

There’s a warm, wild energy to “Little Things” on the A-side of Brooklyn folk rockers Big Thief’s new single. Adrianne Lenker mutters a series of tense, vulnerable confessions – “Maybe I’m a little obsessed, maybe you’re using me” – but the rest of her group creates a textured, woolly atmosphere that wraps her around like a blanket. In the midst of her deep-rooted jam sessions, she feels both frustrated and free enough to release a cathartic first cry. ZOLADZ

The PRISM Quartet are four saxophonists who are committed to the Western classical and whose Catholic interests put them in touch with European experimental composers, Afro-Latin innovators and jazz improvisers. Three leading saxophonists Chris Potter, Ravi Coltrane and Joe Lovano accompany the quartet on the band’s new album “Heritage/Evolution, Volume 2” and each contributes original material. Potter wrote the “Improvisations” suite by catching himself improvising on the saxophone and then turning some of these improvisations into a layered composition. In one section of the suite, “Interlude 2,” as he (on tenor sax) and Coltrane (on soprano) become entangled and entangled, the PRISM Quartet tunnels into a syncopated groove unlike anything the World Saxophone Quartet can do. He played in the 1980s. Russonello



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