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Silk Sonic’s Retro Roller Jam, and 12 More New Songs

Silk Sonic’s Retro Roller Jam, and 12 More New Songs
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Silk Sonic’s Retro Roller Jam, and 12 More New Songs

Silk Sonic’s Retro Roller Jam, and 12 More New Songs

With a new single, “Skate,” it becomes increasingly clear that Silk Sonic – the collaboration of Bruno Mars and Anderson .Paak – is a vintage reverse-engineered project, finding and recreating the sounds and structures of the era when the soul of the 1970s merged into disco. “Skate” – invoking old roller discos – has the scrubbing rhythm guitars, glockenspiel, Latin percussion, talking string section, and bridge rising from late 1970s hits. Young listeners of the 21st century can- do they feel nostalgia before they are born? JON PARELES

Bomba Estéreo’s new single “Conexión Total” is a effervescent mix of panpipes, marimbas and drum loops featuring Nigerian afropop idol Yemi Alade, whose 2014 song “Johnny” remains an anthem. of the kind. The Colombian duo’s maneuver adds to a growing list of collaborations between African and Latin American artists, a much needed reminder of the links between Afro-diasporic sounds and their origins. Euphoric lyrics from singer Li Saumet and carefully placed layers of air horns blend into a prismatic summer jam, like a cool soft drink foaming on the surface. ISABELIA HERRERA

You’d be forgiven for assuming that the airy, looping vocals at the center of Saint Etienne’s new song belong to band lead singer Sarah Cracknell – but it’s actually a sample of Natalie Imbruglia’s 2001 song “Beauty on. the Fire “. British pop icons’ “I’ve Been Trying to Tell You” (their first sample-based album since the 1993 classic “So Tough”) is a collage of selected sounds from 1997-2001; they described it as a kind of concept album on the optimism of the late 90s and the collective delusions of pop-cultural memory. As exhilarating and idea-driven as it sounds, “Pond House” is as light as a sea breeze, a constant aquamarine current dragging you into its hypnotic atmosphere. LINDSAY ZOLADZ

Over four decades of recording, Los Lobos have always chosen their occasional covers in an educational way. During the pandemic, they released their new cover album, “Native Sons,” filled with songs from Los Angeles bands including the Beach Boys, War, Buffalo Springfield and Thee Midnighters, as well as a new song from Los Lobos. “Los Chucos Suaves,” originally published in 1949 by Lalo Guerrero y Sus Cinco Lobos (!), Recognizes an emerging Los Angeles pachuco culture, with sleek, zoot-friendly Mexicans expanding their tastes – and their movements. dance – to Cuban music. Los Lobos ‘version places Cesar Rosas’ rasp on a mesh of cumbia and mambo, with a distorted guitar, muscular baritone saxophone, and frenzied timpani celebrating an ancient Latin cultural alliance. PARÉLES

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The September album from banjo innovator Béla Fleck – who has collaborated with jazz musicians and chased the African roots of the banjo – is “My Bluegrass Heart”, billed as his return to bluegrass. “Charm School” uses a classic bluegrass quintet formation, with Fleck on banjo, Chris Thile on mandolin, Billy Strings on guitar, Billy Contreras on violin and Royal Masat on bass. But “Charm School” is by no means a traditional bluegrass tune; it’s a fast-paced, ever-changing sequel, jumping through keys, meters and tempos. The quintet lands in a seemingly familiar bluegrass area to dart completely elsewhere, again and again. PARÉLES

Barry Altschul’s drums playing, and in particular his exuberant ride cymbal, is a more than contrasting study: he knows how to jump to the surface of a rhythm while giving it weight; his pocket is magnetic, but he’ll just as easily dice it or splash it into chunks. Over the course of a nearly six-decade career in jazz, he has performed on both sides of the aisle, avant-garde and straight ahead, and in his trio of racers – the 3dom Factor, with Jon Irabagon on saxophones and Joe Fonda on bass – he lassos everything together. “Long Tall Sunshine” is the title track from 3dom Factor’s new live album, and it’s classic Altschul: overflowing and charging but also holding back (thanks especially to Fonda’s bass), with a harmonically long melody that prepares Irabagon for a solo outlet. GIOVANNI RUSSONELLO

On their beautifully weird debut album “New Long Leg”, released earlier this year, London-based band Dry Cleaning merged post-punk grooves with the deadpan musings of singer Florence Shaw, a sharp and slyly funny observer of the absurdities of music. modern life. But “Tony Speaks! , Half of a double-sided A single the band released this week, is their most barbed wire and most political track to date. The song is a disturbing meditation on the mundane but burdensome effect systemic issues can have on the individual psyche: “I’m just sad about the collapse of heavy industry, I’ll be fine in a moment.” But Shaw’s most piercing thoughts come when she expands her focus and reflects on climate change; his reflections in a delicate balance between comedy and tragedy. “I’ve always thought of nature as something dead and unattractive,” she mumbles, “but there was a lot of Following of it. ZOLADZ

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“Damn,” by Montreal singer-songwriter Ada Lea, unfolds like a quiet epiphany: a gradual build-up of feelings and frustrations that, in an instant, transform into sudden clarity. Atop a low-key arrangement of guitar and percussion, Lea (real name Alexandra Levy) sings of gradually sliding into an emotional rut: “Every year is just a little darker, then the darker gets darker,” dragging, “so it’s dark as hell.” But in the last moments of the song, Lea remembers and gathers all her energy in a fiery and provocative refusal of all that is wrong: “To hell with work, to hell with music, to hell with the lack of fun.” It’s the sound of hitting rock bottom but finally looking up. ZOLADZ

Ekyu, a Beninese songwriter, sings destructive envy in “Oh Dje”: “When someone goes up, we want to shoot him / When someone walks, we want to stop him. Her voice is hoarse and melancholy, with an electronic veil; the beat is in full swing, clicking Afrobeats-meets-trap, while guitar licks and manipulated vocals ripple in the distance. Below them all are deep, menacing synth sounds, threatening, as the lyrics suggest, to drag everything out. PARÉLES

“Hope will someday come soon,” promises English songwriter Nao (Neo Jessica Joshua) in his helium soprano in “And Then Life Was Beautiful,” the title track from his upcoming album. To recover from how “Change Came Like a Hurricane” in 2020, she advises self-preservation, patience, contemplation and gratitude amid invigorating triplets, ascending chromatic chords and vocal harmonies aerial. She is determined to evoke a sense of upliftment. PARÉLES

Silvana Estrada’s voice exudes a quiet fury. It’s a quality that connects her to a long line of Latin American women, whose voices are almost synonymous with the experience of suffering and abandonment: icons like Chavela Vargas and La Lupe. But unlike some of his ancestors, the angst of the 24-year-old Mexican artist is so calm, so raw, that it burns in his chest, smoldering beneath the surface. On “Marchita”, the rolling melisms of Estrada’s voice slide over the warmth of a Venezuelan cuatro, blossoming in waves of violin and cello strings. “Me ha costado tanto y tanto / Que ya mi alma se marchita,” she cries. “It cost me so much that my soul is withering,” she said. It’s the kind of slow desperation that robs you of your life. HERRERA

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Grouper, aka Liz Harris, effortlessly reduces the harshest emotions to mere twitches of grief. Although she is known for her hypnotic tape curls, breathless whispers and quiet piano arrangements, on “Unclean Mind” Harris trades the familiar moody piano keys of previous versions for the sound of an acoustic guitar. Her harmonic voice is weightless, almost imperceptible, but the feeling is transparent. “I tried to hide you from my unclean spirit,” she sighs, “Put him in a suit / Turn patterns with a perfect line. We might not know what kind of relationship she is referring to, but the enigmatic beauty of Grouper’s music is that it is immersive without being obvious, so powerful that it requires little explanation to convey emotions. the most delicate. HERRERA

Scottish singer-songwriter and singer Dot Allison has recorded, as frontman and collaborator, with arty musicians such as Kevin Shields, Massive Attack and Scott Walker from the 1990s. His new solo album, “Heart-Shaped Scars” , is his first since 2009. It’s largely acoustic and minimal, with songs that meditate on the unhurried growth of plants. “Long Exposure” intertwines Allison’s vocals with stable guitar picking, simple piano notes and a chamber music string section, but it’s far from serene. It’s an indictment of a partner’s gradually revealed infidelity that brings together pain and anger from the realization that it’s gone on for so long. PARÉLES


#Silk #Sonics #Retro #Roller #Jam #Songs

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