Mitski's Sharp Take On A Creative Life And 12 More New Songs

Mitski monumentalizes an artist’s self-doubts – the creative impulse against the editorial knife – in “Working for the Knife”. The tra...

Mitski monumentalizes an artist’s self-doubts – the creative impulse against the editorial knife – in “Working for the Knife”. The track begins as a strenuous walk with austere, buzzing synth sounds, but Patrick Hyland’s production spans ever-wider spaces with high, reverberating guitars. Mitski sings about missteps and rejections first, but his imagination perseveres: “I start the day lying and end with the truth. JON PARELES

This unexpected collaboration just had to happen. Sia has a memorable broken voice and a victim-to-victory songwriting strategy that has garnered her millions of hits sold, both alone and behind the scenes. Arca, who has made music with Björk and Kanye West, has an opera voice and a disorienting mastery of electronics, from strange atmospheres to brutal rhythms. In “Born Yesterday”, Sia moans, “You took my heart and now it’s broken”, facing the betrayal of a partner. Arca twists the electronic track all over the place, introducing and distorting and subtracting a four-floor rhythm, increasing the drama as Sia decides if she will be “more your baby.” The twists never stop. PARÉLES

Cynics might see a track produced by Tainy with Bad Bunny and beloved pop-rock icon Julieta Venegas as the type of collaboration conceived in the boardrooms of major labels. But “Lo Siento BB: /” is a seamless combination that harnesses the abilities of both artists for sharp vocal drama. Venegas’ dizzying melodies and funeral piano transform into El Conejo Malo’s iconic baritone. Sad boys, sad girls, and sad people, consider this your new hymn. ISABELIA HERRERA

The Black Church has been near the center or at the very root of many great changes in American popular music; and more recently in the world of jazz, gospel has reaffirmed its influence. Pianist and conductor Robert Glasper is a major driving force behind the trend, and this week he released “Shine,” a first single from the upcoming “Black Radio 3,” starring MC D Smoke and singer Tiffany Gouché. Glasper offers the session a scintillating harmonic vamp and D Smoke projects a clairvoyant conviction into his verses; Gouché’s voice is blissful. It was the trinity that made the first “Black radio” a hit, and nurtured Glasper’s star formula: a core of gospel, backpack generation rap wisdom, and bravado performances from female singers. But the highlight of the track is bassist Burniss Travis, doing more here than you might first think, which is exactly the intention. GIOVANNI RUSSONELLO

It is one of the most remarkable tracks of “Then I’ll Be Happy”, the new collaborative EP of the rising company. hyperpop stars sword and ericdoa. At first it has a bit of the dryness of early emo, but then lightning squelchy synths come in, and charged vocals that sound like they’re microwave in realtime. JON CARAMANICA

James Blake is smart to let SZA outshine him in “Coming Back”. It starts off as one more slice of her usual melancholy on the keyboard and fauxto, but when SZA arrives she challenges both her moody narrative – “You haven’t a clue where my mind is at. this moment ? – and her phlegmatic music, as she bounces the syllables around the rhythm and brings new zigzags to the melody. Blake lives up to the competition, cutting production and optimizing his air. Even so, the song might not convince her to come back. PARÉLES

It’s been clear for a long time, but just to make it clear: Justin Bieber is the most savvy beat-shopper in the world. While the lyrics to “Red Eye” display the prerogatives of glamorous American bicoastal life – “You should be hopping on a redeye” – the track, from British producer TroyBoi, plays with electronics, reggaeton, afrobeats, dubstep and dembow: so digital, so professional, so perky, so smooth. PARÉLES

The geographic boundaries of Latin pop are dissolving. C. Tangana, a Spanish rapper turned singer, and Nathy Peluso, an Argentinian singer with a passion for R&B, finds a meeting place amid the light-fingered guitar syncopations of the Dominican Republic-style bachata. “Ateo” translates to “atheist”, but the song quickly indicates that desire and bachata add up to “a miracle descended from heaven”; now they are believers. PARÉLES

Kelis’ first new song in seven years surprises you. Full of whispered astral funk and understated vapor, it’s a welcome return for one of R&B’s left-field luminaries. CARAMANIC

Tambino lets the genres slip through his fingers like fine grains of white sand. On “Estos Días”, a sliced ​​baile funk rhythm melts into dance-punk verve, to burst into the drama of a pop ballad. The track is a meditation on the protests that have spread across the world over the past year and the police violence that continues to plague marginalized communities. “Nos mata la policía”, he intones. “The police are killing us. But in the trembling fragility of the voice of the artist of Peruvian origin, there is a kind of radical hope. “Yo voy hacer mejor / Dejar todo el dolor,” he trembles. “I’ll do better / Leave all the pain behind.” HERRERA

Susana Baca, Afro-Peruvian singer-songwriter and folklorist who was also Peru’s Minister of Culture, celebrates the 50th anniversary of her career with her new album “Palabras Urgentes” (“Urgent Words”), linking age-old injustices to the present . “Negro del Alma” is a traditional Andean song commemorating a complicated past, when the Andean natives met Afro-Peruvians and fell in love. Baca complicates it further, mixing disparate Peruvian traditions of marimbas, hand percussion and horns. But her voice carries through the anguish and determination of the song. PARÉLES

Suzanne Ciani’s “Morning Spring” is the first taste of “@ 0”, a new charity compilation showcasing the works of ambient designers from yesterday and today. Here, orbs of synth bubbles float to the surface like a cool soft drink, while others wash below, ebbing and flowing like low tide. Ciani – a synth pioneer recently celebrated in the documentary “Sisters With Transistors: The Little-Known Heroines of Electronic Music”- renders an aquatic concerto, its symphonic movements receding and transforming at every turn, like the undulating crests of ocean waves. HERRERA

As a contribution to “Relief,” an upcoming compilation benefiting the Jazz Foundation of America’s Musicians Emergency Fund, acclaimed alto saxophonist Kenny Garrett has provided a never-before-seen session release from his remarkable 2012 album, ” Seeds From the Underground ”. With a flickering melody and a mind-boggling mid-tempo swing feel, “Joe Hen’s Waltz” pays homage to saxophonist Joe Henderson, nodding his head to his talent for slippery melodies that seem to move in a house of mirrors. In Garrett’s quartet at the time, much of the energy was generated by his partnership with pianist Benito Gonzalez, whose playing is rooted in the Afro-Latin clave and influence of McCoy Tyner, but has a his own effervescent phrasing style. RUSSONELLO

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Newsrust - US Top News: Mitski's Sharp Take On A Creative Life And 12 More New Songs
Mitski's Sharp Take On A Creative Life And 12 More New Songs
Newsrust - US Top News
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