“2 Be Loved (Am I Ready)” from Lizzo’s new album “Special” is a self-questioning pop track where drum machines and synthesizers from the 1980s pump synthesizers and hand claps with beats suitable for aerobics. An upward key change for a classic pop single. When Rizzo sings about the temptation and anxiety of fighting the promise of pleasure, it is clear what will win.
Self-doubt turns into rebellion, then into legitimate anger in “Irrelevant.” This is a generalized pop-rock protest that makes up for what’s out of focus with spirit and momentum, throbbing, playing guitar. When the arrangement is built behind her, Pink sings about horror, calls for religious hypocrisy, creates a common cause with “children”, and finally, supported by a large amount of vocals, the belt, “girl”. Just want to have the right / so why do we have to do it? Fight? “
Demi Lovato, “Matter”
After all the hardships of Demi Lovato, the singer laments the plains of the 21st century about superficiality and loneliness: “Am I the only one looking for substance?” Backup is pure professional punk pop, Push these loud guitars and muscular drums as Lovato approaches Shreak and throws “whoa-oh” as a hook. However, frustration is as loud as a guitar.
Brent Fires, “Loose Change”
R & B singer, songwriter and producer Brent Faiyaz has begun collaborating with Drake, Alicia Keys and creator Tyler. His surprise-released second album, Wasteland, is packed with songs and skits about romantic suspense, ready to make a big debut on the Billboard 200 album chart, both good and bad. “Loose Change” supports him with syncopated chords from string ensemble, skull synthesizer tones, and the implicit beat of no drums, lots of space, sketched by his own pleading voice. In the tremendous tenor Kron that echoes Usher, he sings about turning into crazy and frustrating, accusing his own worst impulses, “What’s left of us, in our lives. What’s left? “
A, “when I die”
“When I die” is morbid but practical and ultimately affectionate. A is Amelia Meath from the electronic band Sylvan Esso and Alexandra Sauser-Monnig from the Daughter of Swords. Their new album “Fruit” is mostly someone else’s song, but “When IDie” is their own. Sing a harmony close to the nursery rhyme melody, adding percussion and synthesizer basslines to the sound that sounds like marching feet. And they calmly provided monumental instructions such as loud music, flowers, dances, toasts, and funeral cremations “to illuminate the way home” and “sorry you” to the survivors. Left behind / and I’m kissing you through this song. “
Marcus Mumford, “Cannibal”
Marcus Mumford of Mumford & Sons faces a deep and confusing trauma with his solo album “Cannibal”, due out in September. He hasn’t specified what happened, but he claims, “it wasn’t a choice in the child’s mind.” Most of the tracks are some guitar notes chosen for his voice and low strings. But when he faces how difficult it is to talk about the event and pleads, “Help me know how to get started again,” a band that fills the arena suddenly appears behind him. It’s a breakthrough he’s longing for.
Sabrina Carpenter, “Because I liked boys”
Things are getting worse rapidly with Sabrina Carpenter’s new album “Emails I Can’t Send” “Because I Like a Boy”. It begins with a cozy archaic sound, and an echo-like electric guitar playing chords from the 1950s sings about the potential of romantic comedy affairs. “It was all very innocent.” But the chorus changes everything. An ominous synthesizer bass tone arrives, she is a “home wrecker” and a “slut”, accused of being threatened with murder by a truck, and her bass and drum machines appear to be shaking the ground. Is swaying under her. She keeps her calm, but barely.
Pansa du Prince, “Golden Galactic”
Pantha du Prince — electronic musician Hendrick Weber — works in a place where ambient and dance music overlap. He likes images of nature and pretty consonants, but his music is more variable and contemplative than saccharin. “Golden Galactic” on his next album, “Golden Gaia,” uses plinking harp-like motifs, repeating them several times to move forward, constantly changing the implicit rhythm rather than settling in a loop. increase. Its restless movement is wrapped in the chords of the bulging string section, which doesn’t go anywhere in particular, but isn’t stationary.
