Cardi B’s All-Star Team-Up, and 9 More New Songs

An event record that sounds like a late-night studio session, “Hot ____” is a discreetly measured, spare, lean barging. Personally, everyone’s poems are hilarious, but Cardi B is most likely — she plays with patterns and throws some sharp thorns (cold, guy, my heart or my necklace). This is her most outspoken skill and nods to one of the most fascinating qualities of her 2018 debut album, Invasion of Privacy. It’s a subtle and direct way to match her with her traditionalist New York. Style hip-hop, gestures for denialists. But is there anything left?John Calamanica

Romantic farewell is difficult. The collapse of label trading can be just as brutal and even more expensive. “The pen is a gun,” said British R & B songwriter Ray in “Hard Out Here.” After releasing her EP instead of her album, she took advantage of her rejection from the Polydor label to sing about “smiling through years, horror and my tears.” She also sings about her lawyer and an executive with a “pink chubby hand.” She switches between hard-nose rap and gospel songs, claiming “Baby I Bounce Back” with programmed beats, and her voice says she’ll do so.John Pairless

Steve Lacy, “bad habits”

“Bad Habit” is a filtered, lost connection (“I know you wanted me”” through the unique and kaleidoscopic musical personality of polymath Steve Lacy next to Odd Future. I wish I had it. “) It is a melancholy story. Still in high school, Lacy’s precociousness has always preceded him when he first made the wave as a guitarist in an eclectic group of internet. However, in the single he released on his next album, Gemini Rights, now 24, he matured into a lovingly rough emotional sound around the edge. “Bad Habit” is filtered by an effect that sounds the entire song as if it were under a fisheye lens, centering on a simple but distorted chord progression. However, suddenly turning intimately along the way, the backing instrumentation drops out and the spotlight shifts to Lacy’s vulnerable vocals.Lindsay Zoraz

Sudan Archives-songwriter, singer, fiddle, electronics with Britney Parks-recognizes and strikes the autobiographical “NBPQ (topless)” prejudice and anxiety from her next album, “Natural Brown Prom Queen.” I will beat you. “Just because I’m hard to manage / doesn’t mean I can’t get it,” she raps. The song packs multiple contrasts in less than four minutes, including North African modal fiddle riffs, two different rap sections, choir-like harmonies, resolute marches, and lots of clapping. increase. “I’m not average,” she sings and loops, and it’s clearly an understatement.Pairless

Dan Snaith has several musical alter ego. As a caribou, he makes a textured sample-driven psychedelic, but he releases more outspoken dance music under Monica’s Daphni. His latest Daphni single “Cloudy” on his next album “Cherry” is smooth and very attractive.Repeated Piano Riffs — More vague than ever, perhaps completely unintentionally reminiscent of Jack Harlow’s piano riffs “What is Poppin?” — It floats on a great beat without gravity. The chopped vocal sample adds some life, but it’s not completely organized in an easy-to-read language, and the entire track sounds like a benevolent transmission from another world. ZOLADZ

Sampa the Great, “Never Forget” featuring Chef 187, Tio Nason and Mwanjé

Rapper and singer Sampa the Great was born and raised in Zambia, grew up in Botswana, attended a university in California, moved to Australia in 2013 and returned to Zambia during a pandemic. “Never Forget” is from her next album “As Above, So Below” and is a fusion of Zambian roots “information that has been passed down for generations”, especially South African tradition and rock. Honors Zamrock of the 1970s. A lively 6-beat pulse carries Sampa and her Zambian guests through guitar lines, drum machine beats, choral harmonies (by Sampa’s sister Mwanje), and traditional Ngoma drumming, her pride. Is linked to a deep history.Pairless

Moor Mother, “Jazz Code”

Moor Mother’s beats tend to sound like stardust that incinerates itself if you call them it. She doesn’t move in a way that makes you connect quickly with jazz, but she’s traditional: a historical miner, an innovator, a serious intellectual, a commentator, and a coded conflict. Speak through. And after spending a few years at the international jazz festival circuit, she has some notes as a member of the acoustic quintet Irreversible Entanglements and as a solo artist. Her new album “Jazz Codes” has an air of intervention, but also her favorite play and mystery. Poets (Rasheedah Phillips, Thomas Stanley), musicians (Mary Latimore, Kiel Neulinger), vocalists (Melanie Charles, Orion Sun), older musicians (Amina Claudine Myers, Joe McPhee) Pull out the clip from the interview with. ). She released a 14-minute short film that sew together tracks from the entire “Jazz Code”, which captures the rebellion and reinvention of the album.Giovanni Russonello

Despair changes explosively with “Lose It” from Scottish songwriter Paolo Nutini’s first album “Last Nightinthe Bittersweet” since 2014. “It looks like I couldn’t find a way out of my worries,” he sang, hoping he could “lose it for a moment” while the music was wandering around him. It’s a neo-psychedelic guitar-driven drone that opens with feedback and keeps cranking up higher. Nutini unleashes his rush and the choir shouts “Yes, yeah” before he is swallowed by the swamp.Pairless

GoGo Penguin, “Antidote is in poison”

GoGo Penguin has a standard jazz trio lineup of piano, bass and drums. It’s partly a trick. This English group is also an experiment of repetition and possibility. Very tricky beats and sustained ascending and descending vamp propulsion “The Antidote Isin the Poison” is covered with multiple layers of piano tones. Place it in the arpeggio. It’s a very mathematical counterpoint that still feels improvised.Pairless

Kirk Nafke, “Water wins”

In “Gravity Without Airs,” cornetist Kirk Knuffke leads the band, but he makes himself a new man. His side musicians Matthew Shipp, a pianist, and Michael Bisio, a bassist, have consistently played together for over 12 years. However, Knuffke is essential and finds soft edges in the angled dash where Shipp occurs. Early in his career, Knuffke changed antiques and lights from time to time. Now, through his research on Don Cherry’s music, he has learned to keep emotional content at the center. In The Water Will Win, a bluish rubato spell, Knuffke leads the trio head-on. Almost immediately, Shipp grabs the sustain pedal, covers the keyboard in minor mode, and Bisio alternates between low pedal and high string note tension chords. Placing soft muscles in the bones between them is sand vibrato and slippery timbre napke. RUSSONELLO