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Defiant in her confident solitude, she dares us to, well, look. Like a rave in a funhouse mirror, its rhythms are as disorienting as they are danceable. Her lyrics share that shifting perspective, transferring power between the observer and the observed. The best Doja Cat singles work their way into your brain, and then, when you least expect it, involuntarily funnel back out through your vocal cords. Two years later, he sounds hungrier than ever, suffering no fools.
Evoking the audacious spirits of forebears like Minnie Riperton and Kate Bush, it is a fable-like tale of death and rebirth, of the never-quite-finished process of being a person. Snoh Aalegra, whose elegant vocals and tight ponytail have inspired enough comparisons to Sade to cause a minor Twitter controversy , is trying to navigate the frustrations of a one-sided relationship.
Absolutely ripped, dwarfing their instruments, they pummel out massive hooks amid organized chaos. These facets are inseparable for the Armed, a band that has dedicated its confounding existence to highbrow myth-making on one hand, and on the other, shit that immediately sounds and looks fucking awesome. Against a dreamy mosaic of a cappella fragments, she reminisces about a lover who drifted away, about how the only thing she regrets more than letting this one go was not leaving sooner.
Incorporating all that history made it tougher to put out—after a leaked version went viral on TikTok in , sample clearance issues delayed its proper release for a year—but it also practically guaranteed its power. As the London artist's voice shifts between King Krule mumble and Auto-Tuned croon, the beat shifts with him—capturing both the anxiety and the acceptance of an intimate late-night epiphany. The arrangement, like the song itself, seems to fidget with anticipation, finding beauty at an uncertain precipice.
Seuss references; twizzies, tizzies, and Lizzies. Cutting his teeth in the influential online rap collective Slayworld over the last few years, Yeat was always a little stranger than his peers, and consequently cast as a minor figure. But in , his surrealist bent became his superpower. As the Brooklyn art-pop duo stitches disconnected observations—legs stretching on grass, something in the air flying by—the music comes together as an alien collage, with errant elements meticulously arranged: bubbly synths, fractured percussive clicks, a disorienting vocal loop, a sprawling breakbeat.
He renders club rap bangers into acoustic ballads, compressing each recording to its emotional core. As the song closes, he cedes ground to Joanne Robertson, whose airy and overdubbed vocals melt into a gentle, orchestral whirlpool. As he sings of getting kicked and knocked down, the band swells in commiseration, offering shelter where they once might have added to the melee.
True to his name, Foodman loves to eat. His palette is more spacious than usual; a breezy, digitally altered guitar drives the melody, leaving more room for his nimble beats to ping-pong around than his often jam-packed tunes typically do. Treat yourself.
You deserve it. Git up. As comfortable as Indigo De Souza is with solitude, she knows the company you keep can help further your journey to acceptance. Bruiser Wolf can sound like a stand-up comedian, an Adult Swim character, and the silkiest mack alive all at the same time.
Like a fox. She offers a few of the expected observations—blubbering worshipers, the cool pastor—but soon homes in on one other student: a poem-scrawling, nutmeg-abusing metalhead from a troubled family. Pinning effortless internal rhyme to the solemn strum of campfire praise, Dacus sketches her one-time boyfriend—and her attempts at saving his soul—with incisive resignation. The retro melody evokes simpler times and simpler pleasures: sweat and oblivion, body and blood. Cardi B]. When the return of live music started to feel a little less theoretical, two schools of thought emerged: Do we ease ourselves back in or wild the fuck out on sight?
As an opener, the song contrasts with the rest of the placidly flowing Yellow River Blue , but it stands proudly on its own as a lush, energetic jump start. For the next four-and-a-half minutes, Richard lets the hi-hats and house rhythms swirl as she drops slick, stream-of-consciousness callouts like she just grabbed the mic at a club to amp partygoers leaving blood on the dancefloor.
The record unravels into an elastic ball that invites you to move your feet and bust it, with one simple rule: close your eyes and be free. ELUCID matches the production with a gruff verse about love and its pitfalls, and billy woods follows from the opposite angle, gliding through thorny rhyme schemes regalia, bougainvillea, marginalia before zeroing in on the image of a woman who conquers and cannibalizes his body. It suggests we worry less, and actively embrace love in every shape it takes.
Rapper-producer Backxwash finds clarity in rage. The title track from her latest album channels rap, metal, and industrial into a tornado of pent-up anger, world history, and potent soul-searching. Ada Rook]. Who among us could resist Lil Nas X riding a stripper pole into hell to give a lap dance to the devil? The song itself is more familiar but still thoroughly joyful: an upbeat, desperately escalating desire-spiral towards a bad-news hookup, elevated to high drama by banjo, flamenco guitar, and lusty humming.
It all adds up to one cathartic exhale, as Sol attempts to release her mother from the burden of failing to meet her goals while promising to do better herself. A fog of strings and chillout piano conjure up the pure moods, while de Casier murmurs decidedly impure propositions. Nothing is sexier than a woman getting paid. Kali Uchis and Moliy]. In the hands of Bartees Strange, however, that familiar theme gets a redesign worthy of the pantheon.
Armed with an explosive rhythm section and guitars aimed at the cheap seats, Bartees captures the most pivotal moment of post-relationship life—the decision to move on—through Bloc Party-style crescendos and throat-clearing howls. Think karaoke for the heartbroken desperately seeking confidence. Just a few years ago, mainstream collabs between women in rap were as rare as a genuine Notes app apology. Over a beat that bounces like a pogo stick, Saweetie lobs bad-bitchisms at Doja Cat, whose masterful shapeshifting manifests as a bubbly, three-flow verse.
Doja Cat]. Over this skeletal frame, Tirzah asks for healing. Then, in the final 30 seconds, she steps on a stomp box, and all that palliative energy suddenly goes up in flames. She submits to rage and cranks the volume, summoning a torrent of fried guitar and muffled screams as she reams out an ex. It can be tempting to air your grievances online, but Eilish knows that her burns make better lyrics than tweets. Adam Granduciel is looking back at the past and man, it looks so good. While driving home on a rural highway beside the Columbia River, Harris is consumed by fog.
Between pensive hums, she expresses her discontent as the light disappears around her. As her voice entwines with a sturdy beat, fairy-light synths, and the faintest hint of guitar fuzz, her anthropomorphizing feels like more than mere metaphor. He whizzes through local slang, rapping about the partying and women that make him feel powerful. Like a bowerbird building a glittering nest, he succeeds in reeling in onetime Cocteau Twin Elizabeth Fraser.
On this nearly minute barrage, the rambling and unpredictable RXKNephew reels off enough nonsensical conspiracy theories to make Joe Rogan think: This guy is really onto something! The wildest ones—about the COVID vaccine causing mutations and dinosaurs discovering electricity before Benjamin Franklin—might stand out at first, but keep listening.
I mean, points are made here: The Bible does have a lot of plot holes! Algebra is some bullshit! You might not want to elect Nephew to any school boards, but hear him out. Daniel Caesar and Giveon]. This is the hard conversation you had last year and then replayed in your head until you got it right—except the song ends before that all happens.
Magdalena Bay relishes in the ache of just remembering. As his shine dulls, she sees his motives clearly. She toggles between punk chords in the verses and surf-rock hooks in the chorus, the music as brazen and impudent as her dispatches from the brink.
She has never controlled her vocals as precisely as on this minimal piano ballad about the end of her marriage. And, letting loose after a majestic and accusatory bridge, she pushes her voice way past the elegant restraint that is her signature, as it curdles into squalls and ragged screams. If attitude is what matters, Carti is ready for his audition. It resurrects a mournful hook from the obscure lates Philly soul group the Ethics, brightening their lost-love lament with a skittering drum break.
If the task of the crate-digging producer is to convey to listeners the thrill of discovery, Madlib goes further, imbuing his dusty sample with layers of grief unanticipated by the original singer, or perhaps even the producer himself. Burial opens with a subtle, searching garage beat, beneath which snakes a stream of sirens, chimes, and police radio chatter. Armed with bellowing horns and driving bass, the incessant sermon becomes something fiercer: a battle cry.
Nothing can stop his glow now. Mdou Moctar, who has carried a nomadic Tuareg tradition of electric blues called assouf thousands of miles beyond the Sahara, inflames colonial and ancestral tongues with his spark-spitting guitar, lighting an African lament he sings so lovingly that a love song is all it could be. Above all, the iconoclast from Niger makes an aged form feel young again—not just assouf, but also rock music itself, which sounds newly radical in his hands.
Her voice wraps around the chorus like a feather boa. Over featherlight syncopations and acoustic guitar plucks, she sounds disappointed but resolute as she lays out how racism and capitalism poison the way we feel and love. The song—a tonal burst of post-punk guitars, basslines you could hang your coat on, and lyrics about ceramic shoes and bouncy balls that resonated almost despite themselves—felt like an anthem for a world knocked slightly askew.
Like the bimbo, the bitch is a classic archetype. Half self-styled genius, half-warrior, the bitch feeds cannilly on the tender meat of respectability politics, refuses to accept an L, and embraces hostility on a level so fundamental it might be cellular. Banks is a bitch with stamina. The beat loops a spectral vocal as a parade of family members visit him in his sleep.
When the drums cascade in the end, everything makes perfect sense. This hot-blooded subject matter arrives via their most familiar track to date, with brightly metallic guitars and a vocal delivery that borders on pop-punk. Ten Years Gone. Dancing Days. Out On The Tiles. Down By The Seaside. Hot Dog. That's The Way. We're Gonna Groove. Moby Dick.
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