Music That Repeats Cardi Again and Again
The Playlist: Cardi B Is Stressed, and 13 More New Songs
Hear tracks by Sleater-Kinney, Katy Perry, Rosalía and others.
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The more than famous Cardi B becomes, the more aggrieved her music sounds. "Press" is her first solo single since the bruising "Money," and it's paranoid and terse. Over frenzied creepy-true-crime-show production, Cardi barks her rhymes densely and at a quick clip, emphasizing raw energy over clarity. She'south still feisty, and sometimes funny: "Ding donggggg/must be that whip that I ordered/and a new crib for my girl." But there's none of that signature Cardi cackling, no joy at all. "Cardi don't need more press," she insists over and again. Let her breathe. JON CARAMANICA
Sleater-Kinney, 'Hurry on Home'
Desire drives "Hurry on Habitation," the offset Sleater-Kinney song to emerge from the band's new anthology produced by Annie Clark (a.k.a. St. Vincent). The track amps up both bluntness and artifice for the band. The chords and beat are more conventional than usual for Sleater-Kinney, every bit if the band is embracing Joan Jett fandom. Meanwhile, the recording is a welter of overdubbed voices — popping in and out with electronic precision — and massed instruments, but it ends with a lone voice, sing-chanting, "You got me used to loving yous." How information technology will fit into an album — still a crucial question for Sleater-Kinney — is unknown. In the meantime, a canny video clip by Miranda July turns the song into a text dialogue that ends in a prospective tryst. JON PARELES
Rosalía, 'Aute Cuture'
The new single by Rosalía sets aside flamenco tragedy for pure braggadocio, flaunting "Aute Cuture" (that'due south haute couture cheerfully misspelled) and female person ascendance over syncopated synthesizer chords and, tucked neatly within, flamenco handclaps. The video, with Rosalía leading a "Beauty gang," takes fingernail beautification to extravagant extremes — though they can double every bit knives. PARELES
Miss June, 'All-time Girl'
"I heard a rumor that information technology's a boy'southward world," Annabel Liddel of the New Zealand ring Miss June sings on the gleefully furious "Best Girl." Wonder where she got that idea. Luckily, the iv-piece with a 7" due in June on Frenchkiss throws a killer protest party. The lyrics and track nod back at a pantheon of powerful statements and sounds — "Rebel Girl," "Miss Globe," the Yep Yeah Yeahs, the Get-Go's, Joy Partitioning — merely calibrated for 2022 ears peckish a clever, irresistible outlet. CARYN GANZ
Katy Perry, 'Never Really Over'
A new Billie Eilish song from Katy Perry. A new Nowergianish Spotifycore song from Katy Perry. A new Haim song from Katy Perry. A new Pink song from Katy Perry. A new chimera-pop Taylor Swift song from Katy Perry. A new Mumford & Sons song from Katy Perry. A new Abba vocal from Katy Perry. CARAMANICA
Sasha Sloan, 'Thoughts'
The "Thoughts" Sasha Sloan is trying to control are ones that constantly undermine her: "All I think nearly is everything I'one thousand not." Echoey U2 guitars suspend her in insecurity; the beat that arrives, but later disappears, tries to push button her toward self-acceptance. Non yet, merely there's promise. And the video clip makes articulate that she is performing, non succumbing. PARELES
Matt Mitchell, 'Stretch Goal'
Matt Mitchell writes music to challenge himself and his fellow musicians, forcing them onto their toes and keeping them there. By his telling, it took years for his quintet, Phalanx Ambassadors, to master the shifting time signatures, oddly overlain harmonies and dyspeptic, misdirected melodies that define its debut album. And so what goals should a listener set when taking in something so circuitous? Follow along equally closely as possible, attuned to every ricocheting unison between Patricia Brennan's vibraphone and Miles Okazaki's guitar, parsing every mind-defying displacement between Mitchell's right paw and his left? Or only revel in the glistening textural play between these instruments (a bassist and drummer round out the group), and the fervor of the improvisers? On "Stretch Goal" — as on the album'due south other half-dozen tracks — both options work, and there's nothing mutually sectional about them. RUSSONELLO
Kokoko, 'Buka Dansa'
Kokoko is the musical cadre — electronics, singers, dancers, percussion, a bootleg electric guitar — of an arts collective from Kinshasa, in the Democratic republic of the congo, collaborating with the French electronic musician Debruit. "Buka Dansa" can be translated every bit "dance till it breaks" or "interruption the dance," and this rails lives up to both choices. The guitar twangs trivial riffs, voices whoop and sing and shout, a shine synthesizer bass line comes and goes; the perky central trounce is disrupted from left and correct, and sudden fundamental changes add a few more swerves. It's hyperactive and unstoppable. A full anthology, "Fongola," is due in July. PARELES
Aurora, 'A Different Kind of Man'
What would an conflicting abduction sound similar? Perhaps this, persuasion with mysterious powers backside it. The vocal past the Norwegian musician Aurora is a start-contact scenario that offers, "Come equally y'all are/don't be scared of us, you'll be protected," and insists, "You lot are pure, nosotros have to get you out of here." It's posthuman pop. PARELES
Dodie, 'Guiltless'
Dodie doesn't particular what "trauma" she was exposed to when "You opened a door that a kid shouldn't walk through," and that just makes "Guiltless" fifty-fifty creepier. She realizes that the culprit feels no guilt, and then she decides she'll keep it to herself: "I'll carry your burden till the day that you die." With plucked acoustic chords and elfin backup voices, the music stays airy and whisper-calorie-free; the implications are anything merely. PARELES
Sufjan Stevens, 'Love Yourself' and 'With My Whole Eye'
Sufjan Stevens offers benevolent sentiments while revealing a musician'due south choices on the EP he has released for Pride Month. It includes "Love Yourself" in both a current production — echoey keyboard tones, a looped vanquish, hovering backup vocal — and a 1996 demo that he built from layered guitars and voices, more physical but still otherworldly. A new, purposefully unambivalent song, "With My Whole Centre," looks more direct toward pop, with a danceable finish-get-go beat, evolving synth-pop constructions and vocals that invite call-and-response. Both songs are kindly promises, with Stevens deliberating over how to illuminate them. PARELES
NF, 'The Search'
Four and a half minutes of chorus-less rapping from NF, an Eminemesque white rapper who had an unexpected pop hit two years ago with the pointed "Let Y'all Downwardly." If "The Search" is to exist believed, rapid fame has been nothing just trouble for NF, who raps tartly and with compelling malaise about how public validation is no match for private suffering:
Yep, the sales can rising
Doesn't mean much though when your health declines
See, we've all got something that we trapped within
That we endeavor to suffocate, you know, hoping information technology dies
Try to hold it underwater but it always survives
Then it comes upward out of nowhere like an evil surprise
Then it hovers over you to tell you millions of lies
You don't chronicle to that? Must not exist as crazy equally I am
CARAMANICA
Camila Meza, 'Kallfu'
Meza sings from the mountaintop and the riverbed on "Kallfu," which this vocalist, guitarist and composer wrote afterwards visiting Patagonia, in her native Chile. Its name is the give-and-take for "blueish" in Mapudungun, the language of southern Republic of chile's native Mapuche people. And the lyrics — proudly belted, and so joyfully sighed — tell of the restoration and clarity to be found en plein-air. Over the crossing and twirling strings of the Nectar Orchestra, Meza repeats a refrain of liberation and conviction: "Vuelve la calma" (calmness returns). The song comes from Meza's latest album, "Ámbar," which features the orchestra throughout. RUSSONELLO
Source: https://www.nytimes.com/2019/05/31/arts/music/playlist-cardi-b-rosalia-katy-perry.html
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