FKA Twigs Seek Angelic Intervention & 10 More New Songs

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FKA twigs’ new mixtape “Caprisongs” is woven from snippets of conversations with friends, which she has noted represents a sort of sonic antidote to the loneliness and self-doubt she experienced during the 2020 lockdown. The heartbreaking, shape-shifting “Meta Angel” is perhaps the purest distillation of this approach: after a speech of introductory encouragement from a friend, twigs confesses his private vulnerabilities (“I have voices in my head, telling me I won’t make it away”), before summoning his entire defiance on a artfully self-tuned, Charli XCX-esque chorus.”Throw it in the fire,” she belts out, in a conflagration of emotion that sounds like the first step toward healing.LINDSAY ZOLADZ

“Hell” – the “Hell” that Stromae confesses in this single – is suicidal thoughts. Stromae, whose father is from Rwanda, is a Belgian songwriter, musician, dancer and YouTube creator who is making a comeback after releasing his last studio album in 2013. This song suggests the reason for his absence: dark pulses and self-destructive which he avoided. It begins with Bulgarian-style vocal harmonies and transitions to four mournful piano chords as Stromae considers how “it’s crazy how many people have thought the same thing”. A chorus, stuttering electronics, and looming beat answer him, but there’s nothing preachy about the song; Stromae seems to still be struggling with her issues. JON PARELES

“Doors are the way you go / Open it up to me,” sings the ever-enigmatic Aldous Harding in “Lawn,” from an album slated for March. The track is a wispy vocal homage to Stereolab, serenely moving through two-chord piano patterns over airy syncopated drums, as Harding lightly reflects on “losing yourself” and the obligations of songwriting: “Time flies when you’re writing B-sides,” she observes. The video, co-directed by Harding, features human-lizard hybrids and real reptiles, but it never looks completely cold. .

The lead single from Maren Morris’ forthcoming album, “Humble Quest”, vividly evokes her early days in Nashville, jostling around town in a “Montero with the AC out of order”, shopping “a few bad demos on a Burned CD”. These details may seem lived-in and time-stamped, but Morris knows she’s operating in a long line — she certainly wasn’t the first aspiring songwriter to tour Music City in hopes of catching her big break, and she won’t be the last either. The song’s direct appeal to that country tradition feels like a throwback to the days before Morris’ pop crossover, but she and producer Greg Kurstin prove that twang is no obstacle to a haunting chorus. and universally inviting. “I thought when I hit it, everything would look different, but I hit the pedal anyway,” Morris sings on the other side of the hit, still hungry but now with mature confidence in his talent. ZOLADZ

An infamous lore hangs over Pavement’s fifth and final album, “Terror Twilight,” from 1999. Alternative rock super-producer Nigel Godrich was hired to try to make the band’s slacker-rock sound a little more palatable to the general public, but his methods ended up hastening the demise of the already unraveling group – or at least that’s the story. On April 8, however, Matador Records will finally release a complete deluxe edition of “Terror Twilight,” and perhaps enough time has passed since the LP’s polarizing release that it can finally be enjoyed on its own. terms. The first taste of the unreleased material, the loose, bluesy jam “Be the Hook,” already complicates the received wisdom that “Terror Twilight” was all about streamlined melodies and smoothed edges, while Stephen Malkmus meta-vamps charismatically on a crisp riff: “Everyone is mobilizing and cheering on this rock ‘n’ roll band!” ZOLADZ

King Princess, a songwriter from Brooklyn, uses a programmed punk-pop beat, U2-style guitar chords, cascading vocal harmonies and the endorsement of co-writer Fousheé to confront an ex who has ended up being indifferent, treating her like a “small pain.” Incidentally, she asks, “Do you feel like you should have – could have tried a little more?” Talk

Robert Glasper, a jazz pianist with a strong connection to hip-hop, works through three thick chords and brings in chorus-like backup vocals behind Killer Mike (of Run the Jewels), Big KRIT and BJ the Chicago Kid to call for a “Black Superhero.” The song invokes 1960s activism and current unrest to call for ways to save “every block, every neighborhood, every city, every ghetto.” Pareles

Brooklyn-based producer Brian Piñeyro (aka DJ Python) has a reputation for being sweet. Consider the title of his website, a painfully truthful observation about contemporary texting behavior: “say something sincerely and end it with.lol”. This kind of fuzzy sentimentality also shows on “Angel,” the final track from his upcoming album “Club Sentimientos, Vol. 2.” Over the course of the 10-minute production, Piñeyro glues dreamy, crystalline synths and drums into a state of suspended in astral bliss.The song arrives alongside a custom scent, the description of which—a “gender-spectral” scent that draws inspiration from rave culture—only takes the release further into the world of daydreams. ISABELLE HERRERA

Jacques Greene has always been interested in weaving the textures of all kinds of club music, but on “Taurus” he takes a more meditative path, perhaps inspired by the film scores he recently composed. Hard-edge drum breaks propel the production, reminiscent of the rush of a distant dance floor, but a sweetness remains at the center. The wispy whispers and echoes of vocalist Leanne Macomber float over each other, wrapping themselves in a small misty cloud, like a breath visible on a freezing day. The effect is cold and cavernous, but it offers an unexpected feeling of comfort. HERRERA

Gonora Sounds from Zimbabwe is led by blind guitarist Daniel Gonora, who was a member of prominent Zimbabwean band Jairos Jiri Band. For years, he made his living performing on the streets of Harare, Zimbabwe’s capital. A documentary, “You can’t hide from the truth” revived his reputation and on February 4 he released an album, “Hard Times Never Kill”, backed by some of Zimbabwe’s finest musicians. His style is called sungura, which blends Zimbabwe’s own traditions – guitar playing that echoes the plinking patterns of thumb pianos – with styles from across Africa. “Kusaziva Kufa” (“Ignorance”) taunts anyone who doubted his music would survive; between drums, vocals and guitars, it’s a syncopated marvel that kicks into high gear halfway through. Talk

Malian singer and songwriter Rokia Koné smiles through the video for “Kurunba,” and the beat she and Irish producer Jackknife Lee – whose collaborative album is slated for February 18 – worked on a four-man thump on the floor, electronic swoops, fast guitars and West African percussion, an unstoppable groove. Yet her lyrics, delivered with a harsh rasp, speak of how a patriarchal culture rejects women after they raise their children, protesting with undoubted vitality. Talk



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