Less than 10 months after “Certified Lover Boy,” Drake is back to monopolize the summer. His surprise-released seventh album, “Honestly, Nevermind,” is a refreshing mood somewhere between the DJ mix and one very long song. , 2017 mixtape “More Life”. (If you enter this, “passion fruit” Drake is a pensive, tuned “Massive” that is partly produced by club-ready, house-influenced “Massive” and South African DJ Black Coffee. Highlights such as “Overdrive” showcase his soft side. “Honestly, Nevermind” finds Drake singing often, but those who like his rap are the cheeky closing track “Jimmy Cooks” featuring the relentless flow of “Sticky” and the sharp poems of 21 Savage. I highly appreciate it.
But the best setting for the scene is the kinetic “Falling Back”, which is the first proper track and single on the album. Drake gives Drake space for autotune. The once promising relationship has become sour. “How do you say” time is healed “on my face? He sings in a falsetto that is vulnerable to reeds. But the video on this track is even more open to 23 different women who playfully send Drake’s tragic reputation and imagine when he finally calms down and gets married. His mother, Sandy Graham, said, “I think he really takes these things seriously!”Lindsay Zoraz
Reese Langston, Fat Boy Sharif, “Progressive House, Conservative Ligature”
Polysilables fly fast and accelerate violently with “Progressive House, Conservative Ligature” from the album “Grapefruit Radio” by Los Angeles rapper Reese Langston. Producer Opal-Kenobi provides a loop of blurry, undulating piano chords and synthesizer dive, shifting the pitch frequently. Langston synchronizes his verbal abstraction in twice and then three times in time, offering the following challenges: It’s a master and rebellious and casual.John Pairless
Beabadoobee, “10:36”
“I didn’t expect you to fall in love. You’re just a warm body,” Beabadoobee said in his next album, “10:36,” the story of an emotionally biased relationship. sing. “Beatpia.” Her feelings may be indifferent, but her song itself is lively. A bright, fluffy lo-fi pop explosion propelled by punchy percussion and a bouncy chorus. ZOLADZ
Beth, “Silence is golden”
Elizabeth Stokes seeks peace and tranquility with New Zealand rocker Beth’s latest track, “Silence Is Golden,” the first single from her next third album, “Expert in a Dying Field.” Antique percussion and skull ring guitars mimic the anxieties caused by urban distraction avalanches, such as sirens, jets, and “6am construction.” When the instrument suddenly broke and was left to repeat the chorus with satisfaction with the a cappella, she finally got what she was looking for at the last moment of the song. ZOLADZ
Julia Jacklin, “I was neon”
Australian songwriter Julia Jacklin doesn’t really explain the relationship she seems to have left in “I Was Neon.” She only provides hints such as “I was stable, soft to the touch / wide open cut, did I overfill?” In the middle of the song, she arrives at a more important question. “Will I lose myself again?” She repeats it more than 12 times, repeating her unwavering drum beats and her obsession with rock dating back to the Velvet Underground. Past habits.Pairless
Perfume Genius, “Photo”
Mike Hadreas’ sixth and most abstract album, The Ugly Season, as Perfume Genius began composing as an accompaniment to choreographer Kate Warwick’s 2019 work, Sun Still Burns Here. Sometimes, it is a work in which sound and movement are intertwined. Beautiful and eerie “photographs” feel like ghostly waltz. The drifting synthesizer riffs and moaning atmosphere provide the dark and romantic crooner background of Hadreas. The lush, fascinating atmosphere of the song. ZOLADZ
Even if FKA Twigs did not sue Shia LaBeouf for sexual assault, the “killer” would freeze. “I don’t want to die for love,” she sings at her tallest and most fragile cash register. The tracks are highly transparent and feature a concise pop structure with short phrases and repeat intervals, such as keyboard chords, electronic blip and drums, persistent basslines, multitrack vocals, and dub echoes. She sings about charm, intuition, self-doubt, denial, and gas lamps. It is an elegant crystal of pain.Pairless
Röyksopp featuring Jamie Irrepressible, “I’m sorry”
The Norwegian electronic duo Röyksopp regularly saves ballad dance beats. That’s what’s happening in “Sorry,” an apology that arrives as a preview of the next album, “Profound Mysteries II.” Beginning with a melancholy piano chord reminiscent of Erik Satie, Jamie Irrepressible (British singer Jamie McDermott) thoroughly accused her of abandoning her lover, saying, “I hate running scared. I tell the crewer. “The hero doesn’t bring you back, as I know.” The second half of the song just repeats “I’m sorry.”Pairless
Alanis Morissette, “Heart-The Power of Soft Heart”
Alanis Morissette arrived in the 1990s as a voice of anger of justice and decided to self-help. Her pandemic project is the wordless meditation track album “The Storm Before the Calm”, which strives for tranquility. This is a collaboration with Dave Harrington, who has worked with Nicolas Jaar on the dark side of the psychedelic rock project. “Heart — Power of a Soft Heart” has a built-in excitement in its foundation. Three slowly rising piano sounds are repeated throughout the track, with chimes, cymbals, hovering guitar sounds, and Morissette singing “oh” for spectacular tranquility.Pairless
Vadim Neselovskyi, “Waltz of the Odesa Conservatory”
Vadim Neselovskyi Third stream Pianism shares the qualities of sculpture carved into ice. Glittering elegance; cool to the touch; refraction of light. His right and left hands talk to each other in an enthusiastic and fascinating dialogue. Since moving to the United States 20 years ago, Neserovsky has worked with jazz guru such as Gary Burton and John Zorn in his new album, Odesa: Walking the Legendary City with Music. He sits alone in front of the piano. .. This record is a homage to the Ukrainian port where he grew up and composed a suite based on personal inspiration in 2020, when his father, the Ukrainian Jew, fought cancer. Recalling his childhood, the album will inevitably be another cast now that this Russian-speaking international city is on the verge of war. Before he joined the jazz world in New York, Neselovsky was a classic genius. “Waltz of the Odessa Conservatory” recalls in the 1990s via some baroque piano turns when he was the youngest student in school.Giovanni Russonello
