The Memory of Pop Smoke Lives and 14 More New Songs

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His second posthumous album “Faith” Pop SmokeIncludes collaborations with Kanye West, Dua Lipa, 42 Dugg, Future and others. However, this track at the beginning of the album is jarring and harsh. Not only is it still creepy to hear Pop Smoke rapping with a mix of menace and joy, but partly because of the chilling beat produced by the rapper’s longtime collaborator Rico Beats and partly by Nicholas Britell, who composed the song “Moonlight.” ” and “Sequence”. It’s a familiar trick, these resounding keys that keep hard guard, but for that, it’s no less effective. Here’s a heartier theatrical leap from any radio hit than any pop crossover. JON CARAMANICA

Xenia Rubinos’ “Working All the Time” is only two minutes long, but it is as complex as a challenging jigsaw. There’s splashy synth waves, air horns straight out of a Hot 97 Funk Flex, a bridge that sounds like the glitchy maximalism of hyperpop, and last but not least, the interpolation of traditional rumba “Ave María Morena.” In a way, Rubinos makes sense of all these different pieces using his feather-light voice. When you blink, you will miss that it is a workers’ anthem: In one line, Rubinos says, “You’d better keep me poor and busy, or I’ll be a danger.” It is a warning to those trying to break the power of the people. ISABELIA HERRERA

I think you can assimilate this song on the internet available now. But the Brobdingnagian kings of mainstream EDM cry out for the slick return of Swedish House Mafia, the influential champions of big-room house music, an open space, a dizzying laser show, a loss of sense of time and place. Hug a friend; the music of shared turmoil is upon us. karamanika

A lively, rattling, evolving ska-meets-trap rhythm carries the song “Whenever You’re Ready” by her mother, Jamaican British singer Mahalia. It’s a semi-breakup song that showcases self-confidence rather than pain. The singer lets her go because she is angry with him now, but she is sure that she will come back: “You will not go away forever,” she says. “No, I’m not worried.” JON PARELES

Singing about a woman so obscure that “the satellite can’t find her,” Caroline Polachek works equally as percussion and melody, using staccato syllables and short sentences. These are just some of the mismatched layers of a fun yet strategic production by Polachek and his frequent collaborator Danny L. Harle of PC Music group that connects whistles, triangles, bird chirps, and the giggles and purrs of Harle’s baby girl. . “I’m not very physical,” Polachek rejoices, with a steady bass tone that softens the chorus. Nonsense: The song was made for dancing. PARELES

“Rom Com 2004” could have been a simple indie-rock love song with an anthem beat, guitar chords, and a proud leap in melody, pledging “Let me be yours like no one else” over a chorus. But soccer mom — Sophie Allison — handed her demo to producer BJ Burton with instructions to “destroy” it. It was compelled by mistakes, distortion, speed changes and revealing moments – it made the song more compelling because it plays hard to get. PARELES

From the upcoming Turnstile album “Glow On,” comes this shoegaze space-soul collaboration with Blood Orange (Dev Hynes). The video compiles mayhem-like live footage to the usual beats of a more hardcore band, but maybe that’s the meditation before the rage. karamanika

Dave McMurray is a longtime Detroit tenor saxophonist with decades of experience in rock, jazz, pop and R&B, mostly as a side musician. But as the lead, he released his second album for Blue Note: “Grateful Deadication,” a tribute to the Grateful Dead songbook. its classic cover “black star” channels the epic tripy MO of a Dead performance: McMurray announces the melody over Wayne Gerard’s shimmering, distorted guitar; Finally, a deep backstroke kicks in. Then, a cold-blooded channel opens, and the saxophonist performs a solo with a greasy Motor City demeanor but still time-consuming like basking in the California sun. GIOVANNI RUSSONELLO

The songs on Nandi Rose Plunkett’s new album “Mythopoetics” as Half Waif suffer and rejoice from all-consuming love. Synthesizing arpeggios and vocal harmonies swirl around Plunkett’s fiery voice like a sudden quickening heartbeat and like a talisman as “Swimmer” transitions from everyday sensations to total dedication and need—”I want to know they can’t take this from me.” irresistible passion. PARELES

A track’s viscous tar pit—slow, oozing bass tones, sparse drum-machine beats, and intermittent silences—points to the difficulty of recovering from an increasingly destructive relationship. Mourning (songwriter, singer, producer and violinist Yasmeen Al-Mazeedi) sings about being “in love with the idea of ​​you” amid the details of mental and physical abuse. Negotiations are not completely over; “You think I want you back – I don’t,” she decides, her voice rising to a fragile soprano. PARELES

Koreless, Welsh producer Lewis Roberts, oscillates between pastorale and madness in “White Picket Fence.” A sharp female voice, unnamed and possibly exemplary, floats at first on a majestic harpsichord; then the hazy synthesizers come with a pulsing beat beneath that vocal melody, before it flexes and breaks apart; It is then sent back to the harpsichord area. In the video, directed by FKA twigs, club creatures climb out of a futuristic green cart alongside an idyllic creek where fishing begins; urban artifice meets Nature. PARELES

Colombian songwriter Karol G (Carolina Giraldo Navarro) offers “200 Copas” (“200 Drinks”) to a friend who is still crying for her ex; After all the pain he has caused, he fires the man with curses. Yet his candor in the 21st century receives traditional support; While the rest of the “KG0516” album covers modern Pan-American pop music with all its technological tricks, “200 Copas” is nothing more than an old-fashioned waltz backed by a few acoustic instruments. The lyrics are certainly vulgar, but the plight in which he sings is not new. In the new video, she conducts a beach bonfire song: solidarity against undeserving men. PARELES

“Dynasty” is a new collaborative album celebrating the 16 years of fame of two reggaeton giants, Tainy and Yandel. With its ominous harpsichord, quiet marimba, and piercing dembow riddim, “El Plan” recalls mid-00s reggaeton that required the audience to dance in front of a mirror. It’s all about the excitement of an hour-long dance floor chase – the exciting, will-or-not-so-energy of a night at the club. “Estoy esperándote y tú perreando sola,” Yandel says. “I’m waiting for you and you’re dancing alone.” Fortunately, she knows it’s at her partner’s whim: “Pero tú dime cuál e’ el plan.” Tell me what the plan is. HERRERA

Folkloric sounds are easy to refer to, but they have little to offer other than mere nostalgia. Instrumentalist Brandon Valdivia, better known as Mas Aya, deftly escapes this fate with “Momento Presente.” More than just the collision of past and present, the track is a study of the power to harness ancestral knowledge. For more than six and a half minutes, Valdivia weaves a timid footstep through a flurry of Andean pan flutes, arpeggiated synths, and polyrhythms. Halfway through, an elder’s voice echoes through centuries of protest, a reminder that liberation work is part of a continuum. For a moment the song is celestial, transporting the listener 40,000 feet into the air. In another, it is meditative and encourages us to silent introspection. HERRERA

In recent years, pianist Matt Mitchell and drummer Kate Gentile have developed a book of concise, one-bar compositions that they play in small ensembles, called Snark Horse. Through intense improvisation, taking equal cues from free jazz and metal, they alter, disperse and mix these little melodic pieces. On Friday, Snark Horse published first album — A boxed set of at least 49 tracks and no less than five and a half hours, mostly recorded in a three-day session in late 2019. “Trapezoids,” a Gentile composition with Jon a distorted and sustained spray of notes, Irabagon’s saxophone further destabilizes the mix. In this piece, it is paired with “Matching Tickles,” a Mitchell piece that plays softer and more abstractly, like an echo of another idea. Russonello

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