Prison Break by Lil Nas X and Jack Harlow, plus 13 more new songs


Lil Nas X continues his victory lap in a world he created on the triumphant “Industry Baby” with Jack Harlow, with a suitably brassy production of Take A Daytrip and Kanye West and a video in which the duo get out of prison State of Montero. “Funny how you said it was the end, then I went and did it again,” he sings, his boast packing an extra bite as it doesn’t just address haters. generic but homophobes addicted to pearls. (“I’m queer,” he proclaims proudly, in case there’s any confusion.) The wild video’s most discussed setting will likely be the gleeful dance scene in the prison showers, but its moment the most hilarious comes when Lil Nas X catches a guard watching the video for his previous single “Montero (Call Me By Your Name)”. LINDSAY ZOLADZ

“Liquor Store” (and its “Pee-wee’s Playhouse” meets Peter Gabriel’s “Sledgehammer” music video) is a perfect introduction to the neon-brite imagination of Remi Wolf, a charismatic 25-year-old Californian pop singer. The song is a catch-all repository of Wolf’s anxieties about sobriety and long-term commitment, but it approaches these topics with such a special playfulness that everything turns out well. ZOLADZ

The original Fifth Harmony defector Camila Cabello returns with the fun and exuberant debut single from her upcoming album, “Familia”. Cabello leans more than ever on his Latino pop roots here, but there’s also a sassy grater in his voice that’s reminiscent of Doja Cat. “Baby don’t go yet because I wore this dress for a little drama,” she sings, and the song’s bright, bold flair certainly matches that sartorial choice. ZOLADZ

Alewya, a songwriter with Ethiopian and Egyptian roots based in England, has released singles that are based on gasping momentum. “Spirit_X” has a positive and provocative message – “I won’t let myself down” – expressed in laconic lines that hint at African modal melodies, punctuated by looping synths and a double breakbeat. She has the merit of appearing motivated. JON PARELES

Amapiano music is sparse and fluid, representing the hypnotic elasticity that is ingrained in South African dance music, simmering the textures and drums of jazz, R&B, and local dance styles like kwaito and House Bacardi. in a slow and liquid groove. “Thula Thula,” a new single from genre queen Kamo Mphela, captures the muffled energy of the genre: a shaker shakes alongside a sinister bassline and a drum rush hits beneath the surface. Mphela offers a summer invitation to the dance floor, but the track’s restrained tempo is a reminder that the return to nightlife is a marathon, not a sprint. ISABELIA HERRERA

Lorde has always been an old soul; when she first arrived at the precocious age of 16 in 2013, there was even a popular internet conspiracy theory that she was only pretending to be a teenager. Although she is still only 24 years old, Lorde looks prematurely tired on her new single “Stoned at the Nail Salon”, from her upcoming third album “Solar Power”. “My hot blood has been burning for so many summers now, it’s time to cool it down,” she sings atop a muted chord progression that strikingly resembles that of Lana Del Rey. “The heart that is in the Desert,” another recent production by Jack Antonoff. The melodious “Stoned” flirts with depth but suddenly covers her bets – “maybe I’m just high in the nail salon,” she shrugs in each chorus – which gives the song a hesitant quality. and winding. But perhaps the most puzzling statement she makes is how “all the music you loved at 16 will make you come out.” Is it perhaps a self-deprecating nod to her own past, or a slight hint that her new album might be a departure from what her fans have been waiting for? ZOLADZ

As the Illuminati Hotties, Sarah Tudzin has kicked off some wacky and catchy summer jams in recent months, like the unbelievably titled “Mmmoooaaaayaya” and the effervescent “Pool at the pool.” Her last preview of her upcoming album “Let Me Do One More”, however, slows things down considerably. “Every time I hear a song, I think of you dancing,” she collapsed to “UVVP,” carried by a beach beat. At the end of the song, an oral contribution from Big Thief’s Buck Meek turns the vibe of a ’60s girl group into a lonely country song, as if the versatile Tudzin proves there is no kind that she can’t own. ZOLADZ

Sometimes a song only needs to communicate the most honest, sincere emotions in order to work. This is the spirit of Indigo de Souza’s “Hold U”. There is a splash of programmed drums; a rhythmic and moving bass line; and the melted caramel of de Souza’s voice, which springs up with simple lyrics (“You are the best thing, and I have it, I have you”) and blossoms into a falsetto, its vertiginous sky ohs winding in the air. It’s a love song, but it’s not just about romance – “Hold U” is about living fully with your emotions and embracing the love that emerges from being in community too. HERRERA

The piano ballad turns into a powerful ballad in “Right on Time”, an excuse that reaches a peak close to opera as Brandi Carlile recognizes: “It was not good. It’s clearly a successor to “The Joke,” but this time around, she’s not helping anyone else; she faces the consequences of her own mistakes. PARÉLES

The War on Drugs dates back to the late 1960s, when folk-rock, drone, and psychedelia overlapped, when the Velvet Underground and the Grateful Dead weren’t so far apart. But it is a conscious retrospection, aware of what has changed in half a century. “Living proof” bares this awareness. “I know the path / I know it changes,” sings Adam Granduciel, as he returns to an old neighborhood and discovers that is not what he remembers. “Maybe I’ve been gone too long,” he muses. The song has two parts: a feathery acoustic guitar strumming and piano chords, then, at the end, a moderate walk, as Granduciel says: “I get up and I am damaged. PARÉLES

An old-fashioned soul song is at the heart of “Burn”: an invitation to “stay the night” that escalates into despair – “There is no hope for people like me” – and fury, like the Says Jordyn Simone, “I don’t have I’m not asking for a fucking savior. Simone, 21, was a singer strong enough to be a teenage contestant on ‘The Voice’, and in ‘Burn’ her vocals changed from ‘a velvety quiver to flashes of a bitter grater. Meanwhile, the dismal strings and club-level bass open up new chasms beneath her.

Bassist, organizer and eminence of free-jazz William Parker released two albums with separate trios on Friday: “Painters Winter”, with drummer Hamid Drake and saxophonist and multi-instrumentalist Daniel Carter, and “Mayan Space Station”, a free sizzle -a fusion workout, with guitarist Ava Mendoza coiling up surf-rock lines and evoking spatial fuzz while drummer Gerald Cleaver leads the band steadily. Together, the LPs give an idea of ​​the extent of Parker’s creative imprint on New York jazz. For a more complete measurement, look at the 25th annual festival of vision, which is happening now until next week in Manhattan and Brooklyn; he helped found the festival a quarter of a century ago with dancer and organizer Patricia Nicholson Parker, his wife. At 69, he hasn’t slowed down: Parker is expected to perform in no less than five different ensembles during this year’s festival. RUSSONELLO

Alto saxophonist Kippie Moeketsi was among the first to integrate the musical language of bebop into South African jazz, but he did not import it entirely. He made the language sing rather than joke, and he performed with a circular, revolving approach to rhythm – tied to marabi and earlier South African styles – and not the uniquely American sense of swing. In his unaccompanied introduction to “Blue Stompin ‘”, Moeketsi jumps with a high-pitched, bluesy scream, then nods to a carnival-style beat before growling until the beat ends. Then he hooks into the main melody, playing in unison with American tenor saxophonist Hal Singer, who wrote the melody. A former member of Duke Ellington’s orchestra who had recorded a few radio hits as a jump-blues saxophonist, Singer was in South Africa in 1974 on a State Department tour when he recorded a few pieces with Moeketsi. These became an album, originally released in South Africa in ’77; it has just been remastered and digitally released by Canadian label We Are Busy Bodies. RUSSONELLO

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