Drake is looking for love, repeatedly, and 9 more new songs

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Less than 10 months after “Certified Lover Boy,” Drake is back to monopolize the summer. His seventh album, ‘Honestly, Nevermind’, released by surprise, is a piece of soft mood – somewhere between a DJ mix and a very long song – and after a series of heavy and overloaded albums, it’s refreshing to hear. hear return to a lighter register. , to the 2017 mixtape “More Life”. (As I type this, “Passion fruit” is trending on Twitter.) Drake showcases his softer side on highlights like club-ready, house-influenced “Massive,” and the pensive, melodic “Overdrive,” one of many tracks in part produced by South African DJ Black Coffee. And while “Honestly, Nevermind” finds Drake singing more often than not, those who prefer his rapping will appreciate the relentless flow of “Sticky” and the cheeky closing track “Jimmy Cooks,” which features a sharp verse from 21 Savage.

But it’s the kinetic “Falling Back”, the album’s first real track and single, that sets the scene best: a haunting electronic beat (produced by DJs Rampa, &Me, Alex Lustig and Beau Nox) leaves Drake space for a bit of Self-Tuned singing on — what else — a once-promising relationship turned sour. “How do you say to my face, ‘Time heals? The track’s video, however, is more of a lark, playfully sending off Drake’s reputation as a heartbreaker and imagining a moment when he finally settles down and gets married — to 23 different women. Argued his mother, Sandi Graham, “I think he really takes those seriously!” LINDSAY ZOLADZ

Polysyllables fly fast, then accelerate madly in Los Angeles rapper Rhys Langston’s “Progressive House, Conservative Ligature,” from an upcoming album called “Grapefruit Radio.” Producer Opal-Kenobi provides loops of fuzzy, undulating piano chords and synthesizer hits, occasionally changing in pitch. Langston syncopates his verbal abstractions in double time, then triple time, delivering puzzles such as: “Creative ways to jump and erase from moment to moment / Abstract, realistic and most problematic version of futurism.” It is both virtuosic and provocatively nonchalant. JON PARELES

“I didn’t think you would fall in love – you’re just a warm body to hold,” Bea Kristi sings on “10:36,” the story of an emotionally unbalanced relationship that will appear on her upcoming second album, “Beatopie “. Her feelings may be indifferent, but the song itself is exuberant – a bright, catchy explosion of lo-fi pop powered by hard-hitting drums and a bouncy chorus. ZOLADZ

Elizabeth Stokes is desperate for some peace and quiet on ‘Silence Is Golden’, the latest track from New Zealand rockers The Beths and the first single from their upcoming third album, ‘Expert in a Dying Field’. Antique drums and screeching guitars mimic the anxiety induced by an avalanche of urban distractions, like sirens, jet planes and “6 am construction”: Sighs Stokes, “It’s build and build and build until that I can no longer function at all.” She finally gets what she’s looking for in the final moments of the song, when the instruments suddenly cut out and she has to repeat the chorus contentedly a cappella. ZOLADZ

Australian singer-songwriter Julia Jacklin isn’t very specific about the relationship she apparently left in “I Was Neon.” All she offers are hints like, “I was steady, I was soft to the touch/Cut wide open, did I let too much in?” In the middle of the song, she comes to the most important question: “Am I going to get lost again?” She repeats it over a dozen times over an unwavering drumbeat and obsessive rock language that harkens back to the Velvet Underground – two drone-strummed electric guitar chords – with more guitars and vocals arriving to argue. to find out if she will remain trapped in habits of the past. Talk

Mike Hadreas’ sixth and most abstract album as a Perfume Genius, “Ugly Season”, is a work that blends sound and movement, as he began composing it as an accompaniment to choreographer Kate’s 2019 piece Wallich “The Sun Still Burns Here”. The beautifully spooky ‘Photograph’ has the feel of a ghostly waltz: drifting synthesizer riffs and wailing ambience provide the backdrop for Hadreas’ dark, romantic croon – ‘no fancy, you were made for me he sings – which adds yet another layer to the song’s lush, seductive vibe. ZOLADZ

Even if the FKA twigs didn’t prosecute Shia LaBeouf for sexual assault, “Killer” would be scary. “I don’t want to die for love,” she sings in her highest and most fragile register. The track is strikingly transparent – keyboard chords, electronic blips and drums, sustained basslines, multitrack vocals, dub echoes – with a terse pop structure of short phrases and repeated intervals; she sings about attraction, intuition, self-doubt, denial and gaslighting. It is an elegant crystallization of pain. Talk

Norwegian electronic duo Röyksopp periodically reserves dance beats for ballads. That’s what he does on “Sorry”, an abject apology which comes as a preview of his next album, “Profound Mysteries II”. It begins with soulful piano chords reminiscent of Erik Satie, then opens up an abyss of bass as Jamie Irrepressible – British singer Jamie McDermott – completely blames himself for abandoning a lover: “I hate myself for being scared”, he hums. “No heroic act, I know, will bring you back.” For the last half of the song, all he can do is repeat, “I’m sorry. Talk

Alanis Morissette arrived in the 1990s as a voice of righteous anger and determined self-rescue. Her pandemic project was “The Storm Before the Calm,” an album of wordless meditation tracks in search of serenity. It’s a collaboration with Dave Harrington, who worked with Nicolas Jaar in the psychedelic rock project Darkside. “Heart – Power of a Soft Heart” has elevation built into its foundation – three slow, rising piano notes that are repeated throughout the track and wrapped in other tones: chimes, cymbals, soaring guitar notes and Morissette singing “ah”, sustaining a magnificent silence. Talk

by Vadim Neselovskyi third stream pianism shares the qualities of a sculpture carved in ice: finely worked detail, traced with precision; shimmering elegance; cool to the touch; refractions of light. His right and left hands converse in a passionate and enchanted dialogue. Since moving to the United States two decades ago, Neselovskyi has collaborated with prominent jazz alumni, such as Gary Burton and John Zorn, but on his new album, “Odesa: A Musical Walk Through a Legendary City”, he sits alone at the piano. The record is a tribute to the Ukrainian seaport where he grew up, and although he composed the sequel in 2020 based on personal inspirations – remembering his childhood there, when his father, a Ukrainian Jew , was battling cancer – the album is inevitably taking another toss now that this Russian-speaking, cosmopolitan city is in the throes of war. Before joining the New York jazz world, Neselovskyi was a classical prodigy; “Waltz of Odesa Conservatory” harkens back to the 1990s, through some baroque piano laps, when he was the youngest student ever admitted to the school. GIOVANNI RUSSONELLO


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