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glaive Edited the less sublime part of his pop and added 13 new songs

Superficially, the medium-tempo “Icarus” shows the relatively less intense side of glaive hyperpop star, though its lines still ring like daggers stabbing at him: “We’re flying too close to the sun,” he sings to his romantic partner in crime. A standout from the deluxe edition of the 2021 EP “All Dogs Go to Heaven” (boldly re-edited as “Old Dog, New Tricks”), “Icarus” has an instantly compelling conclusion. Instantly shows why many people appreciate his potential breakout star underground subgenre. But the song retains a compelling emotional mess: “I’m burning down my room, because I don’t know what else to do!” LINDSAY ZOLADZ

The Smile – Thom Yorke and Jonny Greenwood from Radiohead alongside Tom Skinner, a drummer from Sons of Kemet – quickly proved their reach. The trio growls over it first single, “You’ll Never Work on Television Again,” just to play the fun stuff on its monday, “The Smoke.” A minute-long instrumental intro combined with synchronized bass and voiced drums, following a 10-bar pattern risks increasing careless dancers as it seems to switch between 4/4 and waltz . Yorke’s high vocals and hazy trumpet arrangement blend into the rhythmic flow as he sings of what could be the heat of lust or destruction, punctuated, “Smoke wakes me up from my sleep.” . JON PARTS

Peaceful and mythical, “Fugitive Ritual, Selah” offers a moment of re-centering in the midst of a dynamic, dice journey that is “The 7th Hand,” alto saxophonist. Immanuel Wilkins’second album with his quartet. Wilkins is usually on the higher octane, but here he’s pretty much taken care of every note. He wrote “Fugitive Ritual, Selah” — which weaves through a tune built around harmonious change until finally landing on a light, repetitive coda — as a tribute. to spaces like the Black Church, where the distance from the white gaze allows for more freedom of expression. Giovanni RUSSONELLO

Congolese musician Pierre Kwenders was born in Kinshasa and has lived in Montreal since 2001. “Papa Wemba”, from an album released in April, is a tribute to the singer, band and connoisseur. tune Papa Wemba, who introduced Congolese rumba, or poignant, to an international audience from the 1970s until his death in 2016. “Papa Wemba” adds electronic power to the jolly beat. – sounds like it’s being played on a Teletype – and stirs up a whirlwind rhythm with reverberating guitars, gruff vocals, and a double saxophone riff that closely resembles spoken trumpets. Papa Wemba”. PARTS

Passionate and classy, ​​Raveena’s “Secret” is a vibrant after-hours business. With a barely audible voice, the R&B singer mumbles the beginning songs, a steady drum beat from a muted tabla drum. It’s upstream but futuristic, like the upcoming concept album it appears on, tells the story of a space princess from ancient Punjab. “Hold on a second, I’ll hit you back at once,” Raveena cooed during the chorus. You can almost feel her hot breath on your neck. ISABELIA HERRERA

“Survivor’s Sin” is filled with wounds, but Saba’s flow is breathless, like he’s surging through the aftermath of his trauma in real time. “I’m trying to move better / What do you actually eat when you’re from the food desert,” he raps, echoing the super-flush flow of chopper frontrunners like Twista. A guest verse from G Herbo reinforces the song as an unforgettable Chicago link. HERRERA

Reuniting the two members of the short-lived noisy band Joanna Gruesome, Ex-Vöid is a relatively new British pop power group that will release their debut album later this year. The lush, glossy “Churchyard” retains the band’s edgy, melodic feel, but this time favors a clear, bright guitar tone that helps convey their tendency to be loud pop songs. and clear. ZOLADZ

Tess Parks’ vocals have a raspy charm on “Happy Birthday Forever,” the first single from her upcoming album, “And Who Were Seen Dancing.” The Toronto-born artist hasn’t released an LP since her 2013 debut “Blood Hot” and has since collaborated with Anton Newcombe on the Brian Jonestown Massacre, but “Happy Birthday Forever” proves her. It was a confident, enchanting presence of its own. The song is fueled by a fun beat and a bright piano riff, but there’s a sombre electric current in the way Parks delivers her lines, like she’s exhaling smoke from the corner of her mouth: “Help me outta here.” ZOLADZ

A drumbeat, a piano just enough to adjust: Musician Dora Jar – who has lived in New York, California, Poland and England – doesn’t need more to express her longing in “Lagoon” , both mundane and surreal: “My heart is a crustacean / Can you come and open it? There’s an Elton John out of rhythm in her piano chords, but also a sense of 21st-century possibility, when vocal processes surround her and, for some reason, sound. like the banjo that appears near the end of the tune. PARTS

“It’s just the end of eternity,” sings Tamara Lindeman in the opening moments of this heart-wrenching new ballad, the first track to be released on Weather Station’s upcoming album, “How Is It That I Should Look at the Stars”. Lindeman has said that the March 4 LP is a kind of companion piece to Last year’s outstanding “ignorance,” and “Endless Time” certainly reflect the lossy evocativeness of its predecessor as well as its elegant juxtaposition of individuality and ecology. But while “Ignorance” is experimented with a fun, broken rhythm, “Endless Time” resonates through a sparse tonal space – just the haunting piano accompaniment and Elegiac’s vocals of Elegiac. Lindeman. Any “companion record” to a strong artistic statement is in danger of being discarded as a gathering of B factions, but this first arresting single is Lindeman’s take to the game.” A” of hers. ZOLADZ

Sooner or later, every sound revolves around Donna Missal’s “Insecure”: percussion ticks and clicks, mellow keyboard notes, rough simulated strings, and split-whispered vocals. into harmonies, pitches rising and falling and soaring from nowhere. “Never want to see you again,” she announces as the song begins, and she goes on to denounce her “baby” as an unrepentant liar. But the confrontation was hidden, private and solitary, as if it were taking place in a hall of ultrasonic mirrors. PARTS

Australian singer Katie Dey is both sad and heartbroken as she sings about an abusive relationship and self-destructive urges in “Real Love”. The lines have unusual sounds – pounding drums, dull keyboard chords – as she recalls how “I made myself small / you made yourself big”, but Her singing has hiccups of hyperpop and a sense of auto-tuning on the way to a chorus where she says “I want love that hurts.” PARTS

Bassist Tyler Mitchell played briefly in Sun Ra’s Arkestra during the 1980s, then spent decades working as a professional jazz musician before rejoining the group about 10 years ago, after its organizer died. By now, he’s a deep-rooted member of the band. Leading his own film on the new album, “Dancing Shadows” – with saxophonist Arkestra and alto Marshall Allen, 97, as featured guests – Mitchell presents a series of Sun Ra material along with tunes own; throughout, he guides everything from below with the same undulating, rhythmic vigor that makes him at home in Arkestra. “A Call for All Demons” is a tune that Sun Ra recorded for the first time in the 1950s, and on Mitchell’s album it serves as the opening call. RUSSONELLO

Nyokabi Kariūki’s “Equator Song” expresses the dissonance of bilingual (or even trilingual) existence. Kariūki, who grew up in Kenya and now lives in Maryland, recorded the song during a trip to Kenya’s Laikipia county, cutting together the chirping of weaver birds – voiceless, high-pitched sounds that float into the ecstasy. “You’ll find my soul on someone’s tongue,” she sings in English, tapping into the experience of living in a language that will never be your own. But rather than linger in discomfort or seek some form of empty reconnection, Kariūki moves fluidly between English, Maa, and Kiswahili. It is the acceptance of the constant loss of the community and the beauty that exists within it. HERRERA

https://www.nytimes.com/2022/01/28/arts/music/playlist-glaive-the-smile.html glaive Edited the less sublime part of his pop and added 13 new songs

Fry Electronics Team

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