Florence + the conflict coronation of the machine and 12 other new songs

Career vs. Artistic inspiration vs settled life. “The end of the world and the scale of my ambition.” Florence Welch puts them all in “King,” which affirms both the risk and the reward for her choices. Like many of the songs Welch wrote and sang for Florence + the Machine, “King” moves from confessional to archetype in a grand, liberating climax, while its video lifts her from a stricken spouse tormented something like a saint. JON PARTS

It’s an old story: the bitter end of a romance. “Made Up Mind”, was originally written and recorded by a Canadian band called Landreth by Bros., in short, often in single-syllable words: “It goes on / Too long.” On the album’s first single due for release on April 22, “Just Like That,” Bonnie Raitt sings it purposefully and tenderly, after a guitar hum that indicates the situation is about to get worse. How difficult should it be? PARTS

Kehlani has long recounted devastating romances, but “Little Story,” the latest single from his upcoming album “Blue Water Road,” opens a portal to a world full of light. Sounding more confident and gentle than in years past, the singer (who uses the pronoun they/they) flexes their sweet vocals over the delicate strum of an electric guitar. “You know, I love a story, only if you’re the author,” Kehlani sang, begging for the return of her lover. String the petals in full bloom, and Kehlani pledges to embrace tenderness. “Work lighter,” they sing. “Because you are a dream to me.” ISABELIA HERRERA

A blu-style country simulation in which the cowboy doesn’t get involved: “I’m his Texaco / A stop right down the road / I should know I’m not your last ride he.” JON CARAMANICA

On the 20th anniversary of Norah Jones’ millions of copies, “Come Away With Me” will feature a “Super Deluxe Edition” featuring a previously unreleased alternative title track, with the band’s purchase. buy songs. There’s a constantly swaying guitar part in this version, matching musician Jesse Harris’s lulling bass image and pushing the band along. You can see why this didn’t work out in the end: The biggest draw was Jones’ deserted, rose-voiced vocals, and it seemed mostly at home when not in a hurry, low contrast happenings. than the rest of the band. Giovanni RUSSONELLO

An electric guitar chord is plucked at what appears to be 4/4 time, repeating, distorted, and increased in noise for the entire first minute of “Back to the Radio”. Then Dana Margolin started singing, deciding to turn 4/4 into a waltz as the lyrics point to a confrontation with someone important: “We were almost better / We weren’t prepared for this. / Run straight into it.” The song is pure catharsis. PARTS

The threat is contained and powerful in “Letter to Ur Ex” by British musician Mahalia. She’s singing to someone trying to maintain a connection that’s ended: “You can’t do that anymore,” she warns. “Yeah, I get it / That doesn’t mean I’ll always forgive.” Acoustic guitar chords evolve into pre-programmed beats and strings; Her voice was soft, but its angularity was unmistakable. PARTS

Dominican-American artist Esty collides with genres and aesthetics like a child scribbling on paper. “Pegao!!!,” from her new EP “Estyland,” mixes the vocalist’s breath-taking raps and soaring melodies with razor-sharp synths and a verse. The dembow puzzle is flexible and fluent. She announced her imminent ascent in the music industry, whispering, “They say I’m too late/But I feel like I’ve been on time.” Her image choices are also part of the plot: between anime references, her love for rollerblading (what made her famous on TikTok) and a head full of braids Side hair, Esty’s aesthetic is a kind of punk dembow, her own little slice of good chaos. HERRERA

This is how layered things can be in 21st century pop music. British producer Mura Masa discovered it.”Babycakes” by the British group 3 of a Kind. He took off high and picked up speed, keeping the chorus engaging. He also connects with Pink Pantheress, Lil Uzi Vert, and Shygirl. The new, multi-track song is still both a debut and a declaration of love, but who did it is lackluster. PARTS

Saucy Santana’s “Material Girl” is the ultimate viral hit – resonant, organized around a catchy phrase, packed with performance attitude. For Saucy Santana, the one-time makeup artist of rap duo City Girls turned reality TV star, its emergence as a TikTok phenomenon a few months ago (more than a year after its release). sing first) is a classic case of rediscovering its class. And now, a promising future of the rap club is beckoning. This effortless collaboration with DJ-producer R3hab is an update to Freak Nasty’s “Da Dip,” one of Atlanta’s bass staples and also an authentic mid-1990s pop hit. It doesn’t outperform the original, but it doesn’t have to be to be an effective appeal. CARAMANICA

The first single from Lil Durk’s upcoming album, “7220,” is filled with extreme menace. Lil Durk raps clearly and with energy while touching on gruesome themes, including the killing of his brother DThang and rapper King Von, and inciting tension with YoungBoy Never Broke Again. In the midst of the chaos, he sounded almost nervous. CARAMANICA

In “Comandante,” two generations of eccentrics – newcomers of the Dominican demon Kiko el Crazy and Braulio Fogón, and Puerto Rican reggaeton giant Randy – join forces to see off a cop who threatened to arrest them for smoke some weed. Randy delivers a hook in a sly, childish voice, and Fogón has a swashbuckling hook that pops out with surprising deftness. When that timeless fever pitch puzzle succeeds, you’ll want every intergenerational police satire to play out just as hard. HERRERA

Drummer Charles Goold and his band are hard at work performing “Sequence of Events,” the opening song of his debut album as a band player, “Rhythm in Contrast.” He started it off with a four-deck drum solo with lots of calypso and rumba in it as it swayed. When the band joins – Andrew Renfroe’s guitar cut leads, with Steve Nelson vibrato, Taber Gable’s piano and Noah Jackson’s bass – his open-minded approach to rhythm choices still. Goold graduated from Juilliard, perhaps the first conservatory for traditional jazz pedagogy, but he also toured with hip-hop royalties. All of that is evident here, as he gives a heartfelt update on the modern-medieval jazz sound. RUSSONELLO

https://www.nytimes.com/2022/02/25/arts/music/playlist-florence-the-machine-kehlani.html Florence + the conflict coronation of the machine and 12 other new songs

Fry Electronics Team

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