Home https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ Entertainment https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ Billie Eilish’s portrait of abuse of power and 11 more new songs

Billie Eilish’s portrait of abuse of power and 11 more new songs

Cozy, pristine, Laurel Canyon acoustic guitars accompany Billie Eilish as she whispers-singing “Try not to abuse your power.” She then goes on to draw an eerie, controlling, exploitative and possibly illegal relationship. The silent muffled accusations pile up: “You said she thought she was your age / How dare you?” Meanwhile, an anaconda slowly tightens around her in the video she instructed. JON PARELES

The return of Willow – daughter of Will and Jada – is healthy, soft pop-punk throbbing with a very special kind of famous-child painful. She shoots at misleading former friends (and maybe some current ones as well) who “smile in my face, then put your cig out on my back.” JON CARAMANICA

No matter what, the girl in red – the Norwegian songwriter Marie Ulven – can use it. In “Serotonin” from her new album “If I Could Make It Go Still” she sings about trying to stabilize her wildly whipping, self-destructive feelings with therapy and medicine: “Can’t hide me from the corners of my mind / I am afraid of what’s inside, “she announces. The music shifts from punk-pop guitars to EDM crescendos and bass drops, from distorted rapping to ringing choruses, only to crumble when it ends. PARELES

It is perhaps the strongest testimony of DJ Khaled’s A&R savvy that on an album filled with shiny cameos from Megan Thee Stallion and Lil Baby and contemplative older moments from Nas and Jay-Z he chooses to include the endless charismatic and very famous Cardi B on “Big Paper”, a song that sounds like she’s rapping on an old DITC beat. It is relentless, sharply heavy and smooth: “House with the palm trees in all the times I was shady.” CARAMANICA

The power of “If you care” is not found in the conventional text of texts like “If you do not care, you get a little closer.” It is in the sustained rhythmic shift, top to bottom: the way the beat, bassline, vocals and rhythm guitar each suggest their own difference, strengthening disorientation from the bottom up. They only adjust when the vowel turns to rap at the end; it had to end somewhere. PARELES

If you did not know better, you would think that the young country singer Priscilla Block was persistently gloomy, the sum of one bad decision after the next. That’s the mood of her impressive debut EP, which is robust, shamelessly pop-minded and full of songs of regret like “Sad Girls Do Sad Things”:

Don’t get me wrong, I love a beer on a Friday
But recently, I’ve been at the bar more than my seat
Another round of shutting it down
Two-for-one to far away

Block has a sharp and expressive voice and she telegraphs anguish well. But this EP skips the noisy cheers and Randy flashes about his breakthrough single, “Thick Thighs.” That is, there is more to Block’s history than heartache. CARAMANICA

Teenage pop songwriter and producer Brye Sebring slips through the wreck of a long-running relationship in “I’d Rather Be Alone.” Everything is sharp: her diction, her rhyme and the pinging syncopations of an arrangement that builds from simple keyboard tone through percussion and hand clap to teasing back and forth harmonies. “I doubt you even bother to listen to this song,” she notes, another good reason to get free. PARELES

The drama never stops building “Swimmer” from the upcoming album “Mythopoetics” by Half Waif: the electronics-driven songwriter Nandi Rose Plunkett. It’s a song about eternal love – “they can not take this from me,” she promises – that develops from an anxious rhythmic pulse to a chordal hymn, all of which are greater than life. PARELES

Prominent bassist Christian McBride has just released “The Q Sessions”, a three-song collection that he recorded in high-definition for Qobuz, an audio file streaming platform. The EP features three top-class improvising musicians who, like McBride, tend to play their instruments in hi-def already: saxophonist Marcus Strickland, guitarist Mike Stern and drummer Eric Harland. The group chases McBrides’ syncopated bassline through the ever-changing funk of “Brouhaha,” which he clearly wrote with Stern – and his roots on the effervescent 1980s fusion scene – in mind. GIOVANNI RUSSONELLO

Singer, composer and multi-instrumentalist Jen Shyu draws on jazz, Asian music and more. Her new album, “Zero Grasses: Ritual for the Losses”, reflects on loss, memory and endurance. It opens with “Living’s a Gift,” a series of songs that use lyrics written by high school kids during the pandemic: “We’ve lost our minds, lost our time to shine.” The music is ingenious and elastic; leading her jazzy quintet, Jade Tongue, and Shyu multitracker her voice into a crisp, intricate contrapuntal chorus that folds together angled phrases as neat as origami. PARELES

The elusive English electronic producer Burial has resurfaced again, splitting a four-track EP, “Shock Power of Love”, with producer Blackdown. “Space Cadet” suggests post-pandemic optimism – a quick club beat, arpeggiators pumping out big chords, voices calling for “take me higher” – but burial envelops it all in static and echo twilight, letting the rhythm collapse repeatedly until the trail falls back into emptiness. PARELES

As she prepared to make her upcoming album “Umbral”, Sofía Rei went on a hike through Chile’s mountainous Elqui province. She brought a charango and two backpacks full of recording equipment; on the trip, she recorded herself playing and singing as well as the chattering sounds of the natural world around her. The album begins with “La Otra”, Friday as a single, on which Rei puts a poem by the Nobel Prize-winning Chilean poet Gabriela Mistral to music. Whistles flutter over ricocheting synth bass, a stop-and-start beat and strangled charango as Rei’s overdubbed voice harmonizes with itself in violent exclamations and patches against the sky like a flame. RUSSONELLO

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