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Watch how your favorite pop hits get made. Meet the artists, songwriters and producers as Joe Coscarelli investigates the modern music industry.Watch how your favorite pop hits get made. Meet the artists, songwriters and producers as Joe Coscarelli investigates the modern music industry. More
Hear tracks by Remi Wolf, Camila Cabello, the War on Drugs and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Lil Nas X featuring Jack Harlow, ‘Industry Baby’Lil Nas X continues his victory lap around a world of his own making on the triumphant “Industry Baby” with Jack Harlow, featuring appropriately brassy production from Take A Daytrip and Kanye West and a video in which the duo busts out of Montero State Prison. “Funny how you said it was the end, then I went and did it again,” he sings, his braggadocio packing extra bite since it’s directed not just at generic haters but pearl-clutching homophobes. (“I’m queer,” he proclaims proudly, in case there was any confusion there.) The wild video’s most talked-about set piece will probably be the joyous dance scene in the prison showers, but its most hilarious moment comes when Lil Nas X catches a guard enjoying the video for his previous single “Montero (Call Me By Your Name).” LINDSAY ZOLADZRemi Wolf, ‘Liquor Store’“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 pop singer from California. The song is a catchall repository of Wolf’s anxieties about sobriety and long-term commitment, but she tackles these subjects with such idiosyncratic playfulness that it all goes down smoothly. ZOLADZCamila Cabello, ‘Don’t Go Yet’Fifth Harmony’s original defector Camila Cabello returns with the fun, exuberant first single from her upcoming album, “Familia.” Cabello leans harder than ever into her Latin-pop roots here, but there’s also a sassy rasp to her vocals that brings Doja Cat to mind. “Baby don’t go yet ’cause I wore this dress for a little drama,” she sings, and the song’s bright, bold flair certainly matches that sartorial choice. ZOLADZAlewya, ‘Spirit_X’Alewya, a songwriter with Ethiopian and Egyptian roots who’s based in England, has been releasing singles that rely on a breathless momentum. “Spirit_X” has a defiant, positive message — “I won’t let me down” — expressed in terse lines that hint at African modal melodies, paced by looping synthesizers and a double time breakbeat. She makes a virtue of sounding driven. JON PARELESKamo Mphela, ‘Thula Thula’Amapiano music is sparse and fluid, representing the hypnotic elasticity that is baked into South African dance music, simmering the textures and drums of jazz, R&B and local dance styles like kwaito and Bacardi house into a slow, liquid groove. “Thula Thula,” a new single from the genre’s queen Kamo Mphela, captures the hushed energy of the genre: a shaker trembles alongside a sinister bass line and a rush of drums claps under the surface. Mphela offers a summertime 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 HERRERALorde, ‘Stoned at the Nail Salon’Lorde has always been an old soul; when she first arrived as a precocious 16-year-old in 2013, there was even a popular internet conspiracy theory that she was only pretending to be a teenager. Although she’s still just 24, Lorde sounds prematurely weary on her new single “Stoned at the Nail Salon,” from her forthcoming third album “Solar Power.” “My hot blood’s been burning for so many summers now, it’s time to cool it down,” she sings atop a muted chord progression that bears a striking resemblance to Lana Del Rey’s “Wild at Heart,” another recent Jack Antonoff production. The mellifluous “Stoned” flirts with profundity but then suddenly hedges its bets — “maybe I’m just stoned at the nail salon,” she shrugs in each chorus — which gives the song a hesitant, meandering quality. But perhaps the most puzzling declaration she makes is how “all of the music you loved at 16 you’ll grow out of.” Is this perhaps a self-deprecating wink at her own past, or a gentle hint that her new album might be a departure from what her fans have been expecting? ZOLADZIlluminati Hotties, ‘U V V P’As Illuminati Hotties, Sarah Tudzin has been rolling out deliriously catchy, high-octane summer jams for the past few months, like the incredibly titled “Mmmoooaaaaayaya” and the effervescent “Pool Hopping.” Her latest preview of her forthcoming album “Let Me Do One More,” though, slows things down considerably. “Every time I hear a song, I think about you dancing,” she swoons on “U V V P,” buoyed by a beachy beat. Late in the song, a spoken-word contribution from Big Thief’s Buck Meek transforms the vibe from a ’60s girl-group throwback to a lonesome country ditty, as if the versatile Tudzin is proving there’s no genre she can’t make her own. ZOLADZIndigo De Souza, ‘Hold U’Sometimes a song only needs to communicate the most honest and heartfelt emotions to work. That is the spirit of Indigo de Souza’s “Hold U.” There’s a splatter of programmed drums; a jangly, soulful bass line; and the melted caramel of de Souza’s voice, which gushes with simple lyrics (“You are the best thing, and I’ve got it, I’ve got you”) and blooms into a falsetto, her sky-high oohs curling into the air. It is 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. HERRERABrandi Carlile, ‘Right on Time’Piano ballad turns to power ballad in “Right on Time,” an apology that rises to a near-operatic peak as Brandi Carlile acknowledges, “It wasn’t right.” It’s clearly a successor to “The Joke,” but this time, she’s not helping someone else; she’s facing the consequences of her own mistakes. PARELESThe War on Drugs, ‘Living Proof’The War on Drugs reaches back to the late-1960s era when folk-rock, drone and psychedelia overlapped, when the Velvet Underground and the Grateful Dead weren’t that far apart. But it’s self-conscious retrospection, aware of what’s changed in a half-century. “Living Proof” lays bare that awareness. “I know the path/I know it’s changing,” Adam Granduciel sings, as he returns to an old neighborhood and finds it’s not what he remembered. “Maybe I’ve been gone too long,” he reflects. The song has two parts: feathery acoustic guitar strumming and piano chords and then, at the end, a subdued march, as Granduciel declares, “I’m rising, and I’m damaged.” PARELESJordyn Simone, ‘Burn’An old-fashioned soul song is at the core of “Burn”: an invitation to “stay the night” that escalates toward despair — “There’s no hope for people like me” — and fury, as Jordyn Simone declares, “I didn’t ask for no goddamn savior.” Simone, 21, was a strong enough singer to be a teenage contestant on “The Voice,” and in “Burn” her vocal builds from a velvety tremulousness to flashes of a bitter rasp. Meanwhile, the production’s lugubrious strings and club-level bass open up new chasms beneath her. PARELESWilliam Parker, ‘Painters Winter’ and ‘Mayan Space Station’The bassist, organizer and free-jazz eminence William Parker released two albums with separate trios on Friday: “Painters Winter,” featuring the drummer Hamid Drake and the saxophonist and multi-instrumentalist Daniel Carter, and “Mayan Space Station,” a sizzling free-fusion workout, with the guitarist Ava Mendoza curling out surf-rock lines and conjuring spacey fuzz while the drummer Gerald Cleaver drives the group steadily on. Together the LPs give an inkling of how broad Parker’s creative footprint has been on New York jazz. For a fuller measure, look to the 25th annual Vision Festival, happening now through next week in Manhattan and Brooklyn; he helped found the festival a quarter-century ago with the dancer and organizer Patricia Nicholson Parker, his wife. At 69, he hasn’t slowed down: Parker is slated to perform in no fewer than five different ensembles over the course of this year’s festival. RUSSONELLOKippie Moeketsi and Hal Singer, ‘Blue Stompin’’The alto saxophonist Kippie Moeketsi was among the first to fit bebop’s musical language into South African jazz, but he didn’t import it whole cloth. He made the language sing rather than banter, and he played with a circular, spinning approach to rhythm — related to marabi and earlier South African styles — not the typical American sense of swing. On his unaccompanied intro to “Blue Stompin’,” Moeketsi leaps in with a sharp, bluesy cry, then nods toward a carnival-style rhythm before growling his way to the end of the cadenza. Then he locks into the main melody, playing in unison with the American tenor saxophonist Hal Singer, who wrote the tune. A former Duke Ellington Orchestra member who had scored some radio hits of his own as a jump-blues saxophonist, Singer was in South Africa in 1974 on a State Department tour when he recorded a few tracks with Moeketsi. Those became an album, originally released in South Africa in ’77; it has just been remastered and released digitally by the Canadian label We Are Busy Bodies. RUSSONELLO More
Hear tracks by Ava Max, Clairo, PmBata and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Lorde, ‘Solar Power’About the last thing to be expected from a songwriter as moody and intense as Lorde was a carefree ditty about fun in the summer sun. “Solar Power,” the title song from an impending album, is just that, riding three chords and brisk acoustic rhythm guitar (and glancing back at George Michael’s “Freedom! ’90”) to celebrate hitting the beach, getting sun-tanned cheeks and tossing away her “cellular device”: “Can you reach me? No! You can’t,” she sings, and giggles. She has an offhand but attention-getting boast — “I’m kind of like a prettier Jesus” — and an invitation completely free of ambivalence: “Come on and let the bliss begin.” JON PARELESAva Max, ‘EveryTime I Cry’Just to be certain, I have Googled and confirmed that no one has yet referred to Ava Max as Una Lipa. There’s still time. (This is a compliment.) JON CARAMANICASaint Jhn and SZA, ‘Just for Me’A beat ticks along behind slow-pulsing synthesizer chords as Saint Jhn appears, claiming lovelorn angst but safely distancing it with Auto-Tune. But when SZA arrives, a minute and a half in, her voice leaps out. Like him, she proclaims a desperate, dangerous infatuation. Unlike him, she sounds like she means it. PARELESPmBata, ‘Favorite Song’Endlessly cheerful lite-pop-soul, “Favorite Song” is a bopping strut from PmBata, toggling between singing and rapping, though less hip-hop-influenced than his earlier singles like “Down for Real.” The come-ons are a little frisky, but the attitude is never less than sweet. CARAMANICAJomoro featuring Sharon Van Etten, ‘Nest’Jomoro is the alliance of two percussionists turned songwriters: Joey Waronker, Beck’s longtime drummer, and Mauro Refosco, a David Byrne mainstay. Of course they need singers, and they have assorted guests on Jomoro’s album, “Blue Marble Sky.” Sharon Van Etten provides sustain and suspense on “Nest,” singing about “the darkest corner, the back of the mind” over a steadfast march of synthesizer tones textured with bells, shakers and hand drums: physical percussion to orchestrate a mental journey inward. PARELESClairo, ‘Blouse’It was inevitable that current bedroom-pop songwriters would discover the hushed intricacies of predecessors like Elliott Smith and Nick Drake. Clairo embraces both, recalling Smith’s whispery vocal harmonies immediately and Drake’s elegant string arrangements soon afterward. She’s singing about a kitchen-table lovers’ quarrel and a situation neither man would think to portray: “Why do I tell you how I feel/When you’re just looking down my blouse?” PARELESEsperanza Spalding featuring Corey King, ‘Formwela 4’Over an eddying sequence of arpeggios plucked by Corey King on acoustic guitar, surrounded by the sounds of springtime, Esperanza Spalding sings in patient and gentle tones about long-term trauma, and about reaching out for support. “Wanna be grown and let it go/really didn’t let it go though,” she begins. When Spalding gets to the chorus, it mostly consists of one repeated line: “Dare to say it.” This track, released Friday, comes as part of Spalding’s Songwrights Apothecary Lab, an evolving project that imagines musical collaboration as a pathway toward healing. (It already yielded a suite of three powerful tracks, created with other prominent musicians and released earlier this year.) She and King wrote “Formwela 4” in response to a simple challenge: “Say what is most difficult to say between loved ones.” GIOVANNI RUSSONELLOHypnotic Brass Ensemble featuring Perfume Genius: ‘A Fullness of Light in Your Soul’The Minimalism-loving Hypnotic Brass Ensemble has rediscovered “Sapphie,” an EP that was released in 1998 by the prolific English musician Richard Youngs and rereleased in 2006 by the Jagjaguwar label, which is celebrating its 25th anniversary with left-field, interdisciplinary collaborations. Youngs’s original version was a stark acoustic meditation, just quiet fingerpicking behind Youngs’s high, breaking voice, with musings like “Sometimes it’s better never than late/and there’s a spareness of days” and “Happiness leaves everything as it is/and the future isn’t anything.” Hypnotic Brass Ensemble adds inner harmonies and orchestrates them with Philip Glass-like motifs for brass and woodwinds and surreal reverberations as Perfume Genius sings in a rapt falsetto, trading Youngs’s solitude for immersive depths. The video — perhaps taking a hint from the song’s first line, “working around museums,” shows the visual artist Lonnie Holley creating images with spray paint, twigs and wire. PARELESJulian Lage, ‘Squint’The gangly, big-boned drum style on this track might be recognizable — particularly to fans of the Bad Plus — as the sound of Dave King when he’s having fun. The drummer is heard here in a newish trio, led by the virtuoso guitarist Julian Lage, and featuring Jorge Roeder on bass. “Squint,” the title track from Lage’s Blue Note debut, begins with the guitarist alone, causally demonstrating why he’s one of the most dazzling improvisers around; then King comes in and things cohere into that lumbering swing feel, held together by Roeder’s steady gait on the bass. RUSSONELLOPoo Bear, ‘The Day You Left’Poo Bear (Jason Boyd), a songwriter and producer with Justin Bieber, Usher, Jill Scott and many others, shows his own achingly mournful voice in “The Day You Left.” He’s a desperately long-suffering lover who knows he’s been betrayed for years, but still wants his partner back. The production, by a team that includes Skrillex, keeps opening new electronic spaces around him, with celestial keyboards in some, shadowy whispers in others. PARELESNoCap, ‘Time Speed’More glorious yelps from the Alabama sing-rapper NoCap, who, over light blues-country guitar, is enduring some push and pull with a partner. “I might be gone for a while, just write,” he urges, but confesses he’s not in the driver’s seat. If she feels compelled to stray, he says, “just don’t hold him tight.” CARAMANICA More
#masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story11 Things Our Critics Are Looking Forward to in 2021Nicolas Cage hosts the history of swearing. Lorde writes a book and Julie Mehretu takes over the Whitney. This new year has to be better, right?Credit…María MedemDec. 31, 2020, 9:00 a.m. ETAs a new year begins, our critics highlight the TV, movies, music, art and streaming dance and theater they anticipate before summer.Jason ZinomanSwearing With Nicolas CageNicolas Cage hosts “History of Swear Words,” a new Netflix series.Credit…NetflixSure, the new Netflix series “History of Swear Words,” which premieres Jan. 5, features a cast of comics like Sarah Silverman, Joel Kim Booster and Nikki Glaser working as talking heads, breaking down the meaning, impact and poetry of six major bad words, which mostly cannot be published here. An exception is “Damn,” which, you learn from this show, used to be much more taboo than it is today. And there are also some very smart academics who will explain such history, some of it hard fact sprinkled in with a few questionable legends. Etymology really can be riveting stuff. But let’s face it: The main reason to be excited about this show is the prospect of its host, Nicolas Cage, hammily shouting curses over and over again. I have seen the screeners and it lives up to expectations.Jon ParelesJulien Baker Scales UpHow does a songwriter hold on to honest vulnerability as her audience grows? It’s a question Julien Baker began to wrestle with when she released her first solo album, “Sprained Ankle.” She sang about trauma, addiction, self-doubt, self-invention and a quest for faith, with quietly riveting passion in bare-bones arrangements. And she quickly found listeners to hang on her every word. Through her second album, “Turn Out the Lights,” and her collaborative songs in the group boygenius (with Phoebe Bridgers and Lucy Dacus) she used better studios and drew on richer sounds but still projected intimacy. Her third album, “Little Oblivions,” is due Feb. 26. With it she scales her music up to larger spaces, backed by a full rock band with ringing guitars and forceful drums. But she doesn’t hide behind them; she’s still ruthless and unsparing, particularly about herself.Maya PhillipsThe Scarlet Witch Gets Her DueElizabeth Olsen, left, stars as Wanda Maximoff in the new Disney+ series “WandaVision,” which also features Paul Bettany as Vision.Credit…Disney PlusWhen I heard the Scarlet Witch, also known as Wanda Maximoff, was joining the Marvel Cinematic Universe, I was hyped. Sometimes known as a daughter of Magneto (yes, we’ve got an X-Men crossover here), the powerful mutant had the ability to alter reality. So imagine my disappointment when Wanda was elbowed off to the side, shown shooting red blasts from her hands but not much else. Wanda, they did you wrong.But I’m not just thrilled about “WandaVision” finally giving this female hero her due. The new series, which stars Elizabeth Olsen and arrives on Disney+ on Jan. 15, grants the Scarlet Witch her own universe to manipulate, and uses it as a way to toy with a fresh tone and aesthetic for the MCU. Offbeat and capricious, and a perversion of classic sitcom series, “WandaVision” seems like it will give its superheroine the space to power up and unravel in ways that she couldn’t in the overstuffed “Avengers” films. Olsen seems up to the task, and Kathryn Hahn, Paul Bettany and Randall Park are also there to provide extra comedy and pathos.Jason FaragoA Retrospective for Julie Mehretu“Retopistics: A Renegade Excavation,” a painting by Julie Mehretu, from 2001, which will appear in a midcareer retrospective at the Whitney Museum of American Art.Credit…Julie MehretuThis midcareer retrospective of Julie Mehretu and her grand, roiling abstractions drew raves when it opened last year at the Los Angeles County Museum of Art, and it belatedly arrives on March 25 in the artist’s hometown, at the Whitney Museum of American Art. Mehretu came to prominence 20 years ago with dense, mural-scaled paintings whose sweeping lines suggested flight paths or architectural renderings; later, she turned to freer, more fluid mark-making that places abstract painting in the realms of migration and war, capital and climate.Her most recent work, made during the first lockdown and seen in a thundering show at Marian Goodman Gallery, is less readily legible, more digitally conversant, and more confident than ever. To fully perceive her jostling layers of silk-screened grids, sprayed veils and calligraphic strokes of black and red requires all one’s concentration; come early, look hard.Jesse GreenBlack Royalty Negotiates PowerA scene from “Duchess! Duchess! Duchess!,” a filmed play starring Sydney Charles, left, and Celeste M. Cooper, presented by Steppenwolf Theater.Credit…Lowell ThomasEnough with “The Crown.” Television may have cornered the market on stories about the nobility, but it was theater that traditionally got into the heads of heads of state and tried to understand what they were thinking.That tradition gets a timely update in February, when Steppenwolf Theater presents “Duchess! Duchess! Duchess!” — a filmed play by Vivian J.O. Barnes, directed by Weyni Mengesha. Inspired and/or appalled by the experiences of Kate Middleton and Meghan Markle, Barnes imagines a dialogue in which a Black duchess helps acculturate a Black duchess-to-be to her new position. Together, they explore what it means to join an institution that acts as if they should feel honored to be admitted, even as it eats them alive.That the institution in question involves not just royalty but racism, if the two are different, broadens the story. How Black women negotiate power in traditionally white arenas, and at what cost, is something that resonates far beyond Balmoral.Mike HaleAn Alien Impersonates a DoctorThe title character of the Syfy series “Resident Alien,” which premieres on Jan. 27, does not have a green card, but he does have green skin, or at least a green-and-purple exoskeleton. He’s been sent to earth to exterminate us; there’s a delay, and in the meantime he has to impersonate a small-town Colorado doctor and learn, with exceeding awkwardness, how to act like a human being. This snowbound scary-monster comedy won’t make any Top 10 lists but it looks like a hoot, and it’s tailor-made for the eccentric comic talents of Alan Tudyk (“Doom Patrol,” “Arrested Development”), who never seems comfortable in whatever skin he’s in.Salamishah TilletDeath of a Black PantherDaniel Kaluuya, rear, and Lakeith Stanfield star in “Judas and the Black Messiah,” a film about a deadly raid on the Black Panther Party in Chicago.Credit…Glen Wilson/Warner Bros., via Associated PressOn Dec. 4, 1969, 14 Chicago police officers, with a search warrant for guns and explosives, raided an apartment where members of the Black Panther Party were staying. When they left, the party leaders Fred Hampton and Mark Clark were dead. Congressman Bobby Rush, who was then a deputy minister of the party, testified that Hampton, 21, was asleep in his bed when police officers shot him, a version of events investigated in “The Murder of Fred Hampton,” a 1971 documentary. Now there is a feature film about the raid. “Judas and the Black Messiah” tells the story of Hampton (Daniel Kaluuya), and William O’Neal (Lakeith Stanfield), an FBI informant who was part of Hampton’s security team, reuniting the two stars from “Get Out.” Directed by Shaka King (“Newlyweeds”), the movie is expected to be released in early 2021.Margaret LyonsA Drama Jumps Through Time“David Makes Man” is one of the most beautiful dramas of the last several years, and its structural daring added new facets to the coming-of-age genre. David (Akili McDowell) was in middle school in Season 1, but in the upcoming second season (currently slated for early summer on OWN) he’s in his 30s and facing adult challenges. That kind of time jump — and creative leap — would be intriguing on its own, but the way the show captured the warring thoughts within one’s adolescent psychology makes me even more excited to see how it depicts the turmoils of maturity.Gia KourlasDance and the Natural WorldMembers of the Martha Graham Dance Company in Graham’s “Dark Meadow Suite.”Credit…Brigid PierceSince the pandemic began, the robust digital programming at the Martha Graham Dance Company has stood out for its multifaceted approach of exploring the works of its groundbreaking modern choreographer. It helps, of course, to have Graham’s works to excavate in the first place. (And access to a healthy archive.)As most dance companies continue to maintain their distance from the stage, the Graham group — now in its 95th season — opens the year with digital programming organized by theme. The January spotlight is on nature and the elements, both in Graham’s dances and in recent works. How is the natural world used metaphorically?On Jan. 9, “Martha Matinee,” hosted by the artistic director, Janet Eilber, looks at Graham’s mysterious, ritualistic “Dark Meadow” (1946) with vintage footage of Graham herself along with the company’s recent “Dark Meadow Suite.” And on Jan. 19, the company unveils “New @ Graham,” featuring a closer look at “Canticle for Innocent Comedians” (1952), Graham’s unabashed celebration of nature, with an emphasis on the moon and the stars.Jason FaragoThe Frick’s Modernist Pop-UpA view of the former Met Breuer on Madison Avenue; the museum will be taken over by the Frick for a modernist pop-up called Frick Madison.Credit…Vincent Tullo for The New York TimesIn this market you’re better off subletting! When the Frick Collection finally won approval to renovate and expand its Fifth Avenue mansion, it started hunting for temporary digs — and got a lucky break when the Metropolitan Museum of Art announced it would vacate its rental of Marcel Breuer’s Brutalist citadel three years early. Henry Clay Frick’s will bars loans from the core collection, so the Frick’s modernist pop-up, called Frick Madison, will offer the first, and probably only, new backdrop for Bellini’s mysterious “St. Francis in the Desert,” Rembrandt’s brisk “Polish Rider,” or Holbein’s dueling portraits of Thomas Cromwell and Thomas More (a must-see face-off for “Wolf Hall” fans).But the modern architecture is only part of the adaptation; the Frick is a house museum, and the Breuer sublet allows curators a unique chance to scramble and reconstitute the collection outside a residential framework. The real UFOs at Frick Madison, expected in the first quarter of 2021, may therefore be the decorative arts: all those gilded clocks, all that Meissen porcelain, relocated from plutocratic salons into cubes of concrete.Lindsay ZoladzLorde Writes About AntarcticaFew new years have arrived with such weighty expectations as 2021, so to prevent disappointment let us calibrate our hopes: What I know is that in 2021 the New Zealand pop-poet Lorde has promised to put out, at the very least, a book of photographs from her recent trip to Antarctica. Titled “Going South,” it features writing by Lorde (who describes her trip as “this great white palette cleanser, a sort of celestial foyer I had to move through in order to start making the next thing”) and photographs by Harriet Were, and net proceeds from its sale will go toward a climate research scholarship fund. Cool. I love it. Of course, my true object of anticipation is Lorde’s third album, the long-awaited follow-up to her spectacularly intimate 2017 release, “Melodrama,” but after a year like 2020, I’m not going to rush her. Actually, you know what? I am. Lorde, Ella, Ms. Yelich-O’Connor: Please release your epic concept album about glaciers and spiritual rebirth at the South Pole in 2021. After a year in the Antarctic climate of the soul that was 2020, this is what we all deserve.AdvertisementContinue reading the main story More
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The ‘Royals’ hitmaker is finally back in the studio after taking a break for months as she’s heartbroken when her beloved pet and muse Pearl passed away.
Apr 6, 2020
AceShowbiz – Lorde is getting ready to release new music after bouncing back from the death of her pet dog.
The “Royals” singer lost her passion for music after Pearl’s death in November 2019, and asked fans urging her to release new tracks to be patient.
“He (Pearl) was instrumental to the discovery that was taking place,” she wrote at the time. “I felt he led me towards the ideas, and it’s going to take some time and re-calibration, now that there’s no shepherd ahead of me, to see what the work is going to be.”
But now Lorde is back in the studio working on the follow-up to her 2017 album “Melodrama”.
“It’s definitely too soon for me to talk about anything, but I will say that it’s been a very productive year,” she told New Zealand radio station The Edge on Friday, April 3, 2020.
“It won’t be the same work, as anyone who has felt loss can understand – there’s a door that opens that you step through, and everything is different on the other side. But when this great loss crystallises inside me, and my chest rebuilds around it, hopefully I’ll be able to finish up, and share it with you, and we’ll all grow together, as we always do.”
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