Tame Impala's Disco-Prog Shrug and 9 More New Songs

“No Choice” sums up the stasis of the pandemic: limited mobility, boredom, nostalgia, questioning, resignation. To be released as part ...

“No Choice” sums up the stasis of the pandemic: limited mobility, boredom, nostalgia, questioning, resignation. To be released as part of the extended version of Tame Impala’s 2020 album, “The Slow Rush”, it’s one of Kevin Parker’s solo productions straddling the era: disco drums and percussion, progressive rock phasing on his voice, a guitar solo that sounds like Ernie Isley in the 1970s and lyrics that call out: “What are we living for?” JON PARELES

A listener does not need to be aware of Alice Glass own story recognize the crescendo of psychological manipulation – humiliation disguised as sympathy – in “Fair Game”. “I’m just trying to help you,” Glass said in a little girl’s coo alongside assessments like “You’re screwing it all up” and “I’m so embarrassed for us.” A deep industrial thud, Gothic choir harmonies and a screamed back-up refrain – “Where would you be without me?” – specify that it is in fact a hellish landscape. PARÉLES

The pop-punk revival of 2021 is alive in the melodic barks of the middle finger of Jean Dawson, the genre crusher behind “Menthol” who grew up on the US-Mexico border. It’s clenched-toothed pop-punk, music for cheap cigarettes, and driving with too many friends in the car. There’s an eerie precocity here, of course, but hints of versatility too: halfway through the track, Dawson pauses before yelling into the mic and fuses his vocals into a lonely R&B tune. Mac DeMarco’s sun-drenched guitar sounds arrive, squeezing out of the song’s heaviest and sultry riffs. And before it’s over, the sagacious DeMarco leaves a fatherly advice to his host: “You should calm down. Enjoy what you are doing. And if you stop enjoying it at some point, that’s fine. Don’t do it anymore. ISABELIA HERRERA

The euphemism of the year: “Growing up is weird.” Australian songwriter Ruel admits but doesn’t quite take the blame for his relationship’s misdeeds in this song, pounding and jumping between tenor and falsetto, trying to justify himself. Even though he knows he has failed, he tries to take credit for “No regrets, no mistakes”. PARÉLES

How much has U2 changed the rock landscape? Mitski’s “Heat Lightning” is the kind of echo and allegorical walk U2 forged decades ago, underpinned by a Velvet Underground drone. As his guitars and strings swell, the song steadily advances: “I hung on to feel the storm approaching”, Mitski sings, then: “I abandon it to you, I surrender”. PARÉLES

“Drifting Out” has Yuri Nagano singing precisely that feeling – “Sleeping deep, crashing waves, heavy tide / Mmm, ooh love carries me down” – on an EP with three versions of the song: one with piano, one with cellos, one mixing all sources with electronics. The cello version is the keeper; Muscular arpeggios and rhythmic chords delivered by a duo of cellists including none other than Yo-Yo Ma. PARÉLES

Some relationship shipments engage in desperation; others are marks of personal courage, reminders that there will always be a way forward. Flores’ “Fools Gold” is about a separation with a partner, but the Texan singer-songwriter is the one who comes out confident. With the smoke of a ’90s R&B icon, she exudes cold pity for her ex over a funky bassline and opera strings. “I have all your things left of me / You won’t be my death,” she sings. “Let me take a good look at you / Isn’t that a shame?” »Ouch. HERRERA

A country guitar twang, the breathy cooing of Harmony Tividad and a sense of impressionistic abandonment evoke a cinematic intensity on “Faultline”. But Girlpool doesn’t stop there – instead, he returns with the same piercing and bleeding lyricism that has defined his work since “Before the World Was Big” in 2015. When Tividad sings, “I Got You loved so traumatic that I / Can hardly lift the world you left me ”, there’s not much left to do but pull the covers over your head, turn off your alarm clock and let you rot under the sheets . HERRERA

There is an almost alluring feeling of estrangement, of obscured vision but not necessarily obscured attitude, in the sound of Jeff Parker’s guitar playing. When unaccompanied, this feeling doubles. Collaborator with Meshell Ndegeocello and Makaya McCraven, among many others, he is an expert in the art of pulling friction into a band’s groove, one jagged line at a time. But in solo-guitar moments there is nothing else to disrupt but himself. Parker begins halfway through Thelonious Monk’s cover of “Ugly Beauty” from his new lead guitar LP “Forfolks”, before beginning to play with a sustain effect, giving his rich chords an electrified and ghostly power. GIOVANNI RUSSONELLO

This meditative but constantly evolving instrumental begins with the assembly of a steady-state percussion pattern on bells and hand drums. He is joined by trumpeter Arve Henriken, improvising a solo supported by loops and washes of his harmonized and electronically distorted trumpet. It is a clear tribute to the continued influence of the trumpeter and innovator of “fourth world music”. Jon hassell, died in June. PARÉLES

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Newsrust - US Top News: Tame Impala's Disco-Prog Shrug and 9 More New Songs
Tame Impala's Disco-Prog Shrug and 9 More New Songs
Newsrust - US Top News
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