Disco Dance Party by Lizzo and 11 other new songs

The disco revival continues on Lizzo’s “About Damn Time,” which features a rubbery “Get Lucky” bassline and a bridge overflowing with Diana Ross glitter (“I’m going out tonight, I’m going out tonight”). More popular than last year’s Cardi B duet “Rumors,” “About Damn Time” is the first official single from Lizzo’s long-awaited album “Special,” which will be released on July 15. If that bit is any indication, she didn’t change the formula too much, and sometimes – the Instagram caption one-liners; the obligatory flute solo – it can smell a bit of Lizzo paint-by-numbers. But the song is better when it delves more seriously into its emotional center, saying, “I’ve been so depressed and under pressure, I’m way too good to be this stressed.” LINDSAY ZOLADZ

In “Crybaby,” Amelia Moore moans, “Do you like making me cry, baby, because you do it all the time. The production heaves and contracts with up-to-the-minute electronics: inverted tones, programmed drums, small keyboard loops, computer-tuned vocals. But the song’s masochistic drama remains rooted in the blues and the way a human voice can break and leap. JON PARELES

Instagram’s multi-instrumentalist chamber beat makers, who live to the beat of the loop and have recently turned overdubbing into a form of visual art – or, at least, visuals – are now a mini-movement: Jacob Collier, DOMi and JD Beck, Julius Rodríguez. The list goes on, and it is bound to grow. While they are all different, most are united in their cult of Stevie Wonder, more for his mastery of the solo-studio than for the genius of the extended form of his compositions. Moment is naturally more interested in texture and groove than duration or arc. Then he points out that “Some Things Take Time” – the fun debut album from young polymath duo Cisco Swank and Luke Titus – is barely the size of a mixtape: just 24 minutes across 11 tracks. And wisely, the tracks themselves are not overloaded. The album’s title tune is an airy medley of Titus’ sizzling snare crackle; Swank’s rich piano harmony, lossless bass line and synthesizer strings; and gusts of falsetto from Phoelix, Noname’s accomplice contributing a guest spot. GIOVANNI RUSSONELLO

A deeply strategic song that sounds deliciously serendipitous, “Shake It” solves a few puzzles at a time. First, for more than a year, sample drill has been the dominant sound of New York rap, mainly from Brooklyn and the Bronx. But even though artists like Kay Flock and B-Lovee have had minor radio breakthroughs, the sound could still benefit from an ambassador. Enter Cardi B, who is due for a re-emergence, and is almost certainly the only mainstream rap star currently working who could hop on that rowdy song of a drill so seamlessly. Which doesn’t mean effortless: It’s a return to adaptable form for Cardi, reminiscent of how she embraced Kodak Black’s flow on her single “Bodak Yellow.” Her verse here is hard-hitting and cut – she morphs into sound, without imposing on it.

Technically, this song belongs to Kay Flock, who is currently in prison: he was arrested in December and charged with murder. It also features Bory300 and Dougie B, another up-and-coming rapper from the Bronx who has the loosest verse here. Unlike the sublimated anxiety of Fivio Foreign’s recent hit “City of Gods,” which strives to turn its blunt style into something smooth and arena-scale, “Shake It” is nothing other than abandonment. It’s true to sample the boring legacy, with bits of Akon’s “Bananza (Belly Dancer)” and Sean Paul’s “Temperature” woven throughout. But he has his sights set on bigger targets. An early snippet was made available as part of the highly viral New York video show “Sidetalk,” a favorite of insiders and voyeurs, giving “Shake It” a quick start to the type of online ubiquity. which makes it a contemporary pop hit without abandoning the essence of exercise. JON CARAMANICA

“Pandemonium” is the explosive title track of a new EP from Edoheart, a Nigerian-born, New York-based singer and producer. It’s four minutes of crisp, skewed, ever-changing African funk with a rhythmic double take: offbeat guitar arpeggios, crackling drumbeats, distant horns, and overlapping vocals proclaiming, “Change must to come !” and, presumably, “I am free!” Talk

KeiyaA – songwriter, instrumentalist and producer Chakeiya Camille Richmond – liquefies everything around her in “Camille’s Daughter.” Keyboard chords meld wah-wah and echo, the beat drifting late and hesitantly, and KeiyaA starts and ends verses wherever she pleases, swept along by ever-shifting clouds of her own backup vocals. . “You will never reproduce me,” she scoffs, completely sure of every fluctuation she creates herself. Talk

Weightless and unpredictable (“I float high, high above it all”), Glastonbury-born artist Naima Bock’s “Giant Palm” sounds like a song you would hear in a pleasant dream. Bock was part of British art-rock band Goat Girl, but her solo material draws more from the traditions of European folk and offbeat pop she heard growing up in Brazil. There’s a bit of 70s Brian Eno in his vocal delivery and an echo of John Cale in his arrangements, but the fusion of his disparate cultural influences results in an enchanting sound entirely unique to Bock. ZOLADZ

In the world of Phoebe Bridgers, even the most heartfelt love song is usually bittersweet: “I had nothing to prove, until you came into my life, you gave me something to lose,” she sings on “Sidelines,” her first new song since her breakup. 2020 album “Punisher”; he will be featured in the upcoming Hulu adaptation of Sally Rooney’s “Conversations With Friends.” “I’m not afraid of anything,” Bridgers insists at the start of the song, before listing a series of potential fears (earthquakes, plane crashes, growing up) in the kind of granular detail that rings a bell. his previous statement. a bit ironic. “Sidelines” features what has now become Bridgers’ signature multitrack vocals – here she glows with an almost Vocoder-like iridescence – that makes her both numb and, quite poignantly, grappling with something ghostly just below the surface. ZOLADZ

Wild Pink hails from Brooklyn, but the band specializes in the genre of open-air, star-admiring indie rock that’s commonly associated with the Pacific Northwest. Like his acclaimed 2021 album “A Billion Little Lights,” his towering new single “Q. Degraw” shows off Wild Pink’s flair for the epic, but it’s less anthemic rocker than a slowly smoldering ambient track. Frontman John Ross’s muffled vocals are buried under distortion that obscures them so only diffuses a moon behind clouds, although the moments when they become legible are particularly touching. “I’ve been to hell and I’m back”, he whispers, before adding tenderly: “I know that you too have been in hell.

Kisskadee brings together progressive rock (the Canterbury school to be precise), astronomy, chamber music, computer sound manipulation and faith in the resurrection in “Black Hole Era”. The music is rooted in a more or less wavering piano waltz – the meters change – and it becomes increasingly programmed, overdubbed, manipulated and springy. Many transformations happen in five minutes. Talk

FKA twigs continues to work on its relationship with art and fashion. “Playscape,” with a diverse cast video she directed, is a showcase for Isamu Noguchi’s woolen garments and sculptures. After a sustained intro – isolated syllables and vocal harmonies – that hint at both Meredith Monk and Take 5, it launches into late 1970s punk, channeling X-Ray moans and sax. Spex to remake a song with terminology that has survived into the 21st century. century: “Identity”. With a mostly one-note melody, FKA Twigs moan, “Identity! When you look in the mirror, do you see yourself?” This isn’t a new song, but it’s still sharp.

With his octet, Parables, vibraphonist Joel Ross performs what might be called chorales, although they do not involve any vocals. The band’s repertoire grew out of a series of occasional improvisations that Ross performed and recorded years ago with saxophonist Sergio Tabanico. Ross went back and extracted little curves and melody strokes from those recordings, then taught them by ear to the byte. They grew into whole pieces over time, through a process of collective weaving, until each piece took on an illusion of infinite content, like Maya Lin’s earth sculptures or an old song of praise. Indeed, Ross has built the octet’s new album, “The Poet’s Parable,” around the structure of a church service. But these seven tracks don’t so much seek to lift the rafters as to slowly climb back towards them. “Benediction”, the last track, begins with a sublimely peaceful intro by young pianist Sean Mason; at the end, the track fades away with the band still savoring the melody in harmonized communion. RUSSONELLO

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