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    A Bizarre Love Triangle Playlist

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    Sabrina Carpenter, Loretta Lynn and SZA sing about all the points on a love triangle.Sabrina Carpenter’s “Taste” was the most successful of this year’s triangular tunes.Brendan Mcdermid/ReutersDear listeners,Today’s playlist is all about one of popular music’s favorite shapes: the love triangle.Full of drama, secrets and passion, songs about love triangles have never exactly gone out of style. But as I’ve been considering some of the patterns and trends in this past year of pop music, I’ve noticed that they’re more popular — and in some cases, subversive — than ever.This year has specifically been full of songs in which the singer is unusually fixated on “the other woman.” The most successful is “Taste,” a sassy, innuendo-stuffed pop-country smash by one of the year’s breakout stars, Sabrina Carpenter. “I’ve heard you’re back together,” she sings to her love interest’s former and current squeeze. “And if that’s true, you’ll just have to taste me when he’s kissing you.” That refrain has more than a hint of queer subtext, which Carpenter makes explicit in the campy, surprisingly gory music video, which ends with her kissing her female rival (played by Jenna Ortega) and the two accidentally killing their shared beau. In a twist, they’re not terribly bothered by it.But “Taste” wasn’t the only 2024 song with an eye on the other point of the triangle. Released in March, Olivia Rodrigo’s “Obsessed” — a track from the deluxe edition of “Guts” — finds the singer haunted by the imagined perfection of her current partner’s ex-girlfriend: “If I told you how much I think about her, you’d think I was in love,” she sings. Another prominent triangular tune, Billie Eilish’s “Wildflower,” from “Hit Me Hard and Soft,” has become such a beloved fan favorite that it has spent 26 weeks on the Billboard Hot 100. “I see her in the back of my mind, all the time,” Eilish sings of a partner’s ex — whom Eilish comforted when they first broke up, causing her to wonder, “Did I cross the line?”These songs all suggest some sort of transference and, at times, even a flirtation with both opposing points on the love triangle. Pop songs about same-sex desire are not nearly as taboo as they once were, and I suspect the surge in these sorts of songs reflect that shift.But in another sense, they’re telling a tale as old as time, a point I wanted to underscore by putting them in conversation with some older tracks. On today’s playlist, you’ll hear all the aforementioned songs, along with classics from the Cars, Loretta Lynn and Robyn, among other artists. It also features a certain global superstar’s 2024 remake of the ultimate “other woman” song, “Jolene.” No matter how you slice it, it seems, three’s a crowd.I know I’ve been known to share,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Nicki Minaj Returns Ready to Rumble, and 8 More New Songs

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      Hear tracks by Kali Uchis and Summer Walker, Arlo Parks, 6lack 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.Nicki Minaj, ‘Red Ruby Da Sleeze’Calm arrogance is Nicki Minaj’s gift. There’s no need to decipher all her allusions because her delivery and production say it all. The track of “Red Ruby Da Sleeze,” based on Lumidee’s “Never Leave You (Uh Oooh, Uh Oooh),” juggles near-flamenco handclaps, trap drums and choral vocals going “Uh-oh.” Her percussive rhymes are competitive in every realm — linguistic, sexual, financial, culinary (“guacamole with the taco”) — and their utter confidence is still convincing. JON PARELESKali Uchis and Summer Walker, ‘Deserve Me’“Red Moon in Venus,” the third studio album by the cheerfully bilingual Colombian American songwriter Kali Uchis, moves between sensual romance and fierce recriminations. “Deserve Me” is blunt: “I like it better when you’re gone/I feel a little less alone.” Uchis and Summer Walker take turns bad-mouthing the thoughtless lover who’s getting dumped, and harmonize sweetly to remind him, “You don’t deserve me.” The track starts out light and tinkly but keeps adding bassy layers, literally showing the depth of their contempt. PARELESboygenius, ‘Not Strong Enough’The indie-rock trio boygenius — Phoebe Bridgers, Lucy Dacus and Julien Baker — formed in 2018, under a cheeky moniker that, Dacus said in an interview, was meant to harness some macho overconfidence: “We were just talking about boys and men we know who’ve been told that they are geniuses since they could hear, basically, and what type of creative work comes out of that upbringing.” The group’s stirring, acoustic-guitar-driven new single “Not Strong Enough” once again finds the women in provocative but poetic drag, as they harmonize on a chorus that answers Sheryl Crow: “I don’t know why I am the way I am, not strong enough to be your man.” On a steadily galloping bridge, Dacus leads the trio in a chant that expresses frustration at being “always an angel, never a god.” But by the end of the candid “Not Strong Enough,” boygenius has generated its own kind of strength in vulnerability — and in numbers. LINDSAY ZOLADZArlo Parks, ‘Impurities’The English songwriter Arlo Parks has absorbed Joni Mitchell, hip-hop and much more; it’s no wonder she is willing to enjoy her “Impurities.” Her new track revolves around echoey loops and samples, but she has a paradoxical lesson to impart: “When you embrace all my impurities, then I feel clean again.” PARELESMandy, Indiana, ‘Pinking Shears’On the echoey, percussion-forward “Pinking Shears,” the Manchester art-rockers Mandy, Indiana forcefully and exhaustedly reject an increasingly mechanized world: “J’suis fatiguée” (“I’m tired”) becomes a kind of mantra when chanted by the band’s vocalist Valentine Caulfield. But there’s catharsis and resistance in the industrial abrasion of the sound they create, like a rogue machine created from cobbled-together parts suddenly learning how to talk back. ZOLADZWater From Your Eyes, ‘Barley’The hypnotic “Barley,” from the Brooklyn duo Water From Your Eyes, sounds a bit like a playground chant reimagined by Sonic Youth: “One, two, three, counter, you’re a cool thing, count mountains,” Rachel Brown drones in a charismatic deadpan. The song — and first single from the forthcoming album “Everyone’s Crushed,” which comes out on May 26 — is full of loopy left-turns and unexpected riffs that jut out at odd angles, but Brown and bandmate Nate Amos are, at all times, utterly in command of their strange and alluring sonic universe. ZOLADZ6lack, ‘Since I Have a Lover’6lack positions himself between singer and rapper on “Since I Have a Lover,” which has a looped feeling. He barely projects his voice, but he rides the rhythm of a loping, two-chord guitar track as he promises more than a passing attraction. Will it last? The song suggests a woozy maybe. PARELESPrincess Nokia, ‘Lo Siento’Steady, wistful piano chords carry Princess Nokia through “Lo Siento” (“I’m Sorry”) from her EP due March 14, “I Love You But This Is Goodbye.” It’s not really an apology; as the production blooms into lush, pillowy harmonies, she switches from singing in English to calmly rapping in Spanish, cursing her lover for betrayal and noting, “Thanks for the pain, the pain in my song.” PARELESyMusic, ‘Zebras’A seven-beat rhythm percolates through “Zebras,” a minimalistic but eventful romp by the chamber sextet yMusic. The rhythm hops from key clicks on a bass clarinet to pizzicato strings; it’s juxtaposed with sighing melody lines and hints of a circus band, making the most of its three-and-a-half minutes. PARELES More

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      Indie-Rock Supergroup boygenius Returns, and More New Songs

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      Hear tracks by Kim Petras, Yaeji, Arlo Parks 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.boygenius, ‘$20’The indie-rock supergroup boygenius — featuring Phoebe Bridgers, Lucy Dacus and Julien Baker — never promised to be anything more than a one-off side project when it released an excellent six-song EP in 2018. But this week, the group returned with the promise of a full album and three new songs that prove that EP wasn’t a fluke. The poignant, Bridgers-led “Emily I’m Sorry” is a compassionate folk-rock portrait of a relationship on the brink of collapse, while Dacus steers the ship on the heartening “True Blue,” a vivid snapshot of a love that’s going stronger than ever. (“It feels good to be known so well,” Dacus sings. “I can’t hide from you like I hide from myself.”) The revelation, though, is “$20,” a chugging rocker that finds the band kicking into a whole new gear, and allows Baker to inhabit a swaggering persona. “It’s a bad idea and I’m all about it,” she sings, sketching a scene full of indelible images (“It’s an all night drive from your house to Reno, to the T-Bird graveyard where we play with fire”). Halfway through, “$20” takes a thrilling turn when all three members of the band start singing different refrains in a round: Their voices converge and collide before the song erupts in a conflagration of primal screams — playing with fire, indeed.Fenne Lily, ‘Lights Light Up’On “Lights Light Up,” from the forthcoming album “Big Picture,” the English singer-songwriter Fenne Lily’s smooth, arpeggiated guitar playing has the fluidity of a babbling brook, and her murmured vocals flow with a similar kind of serenity. An undercurrent of melancholy and loss emerges from her lyrics, though, which chronicle a gradual acceptance of loss: “You didn’t listen when I told you I’m no dancer,” she sings, “now I dance alone all the time.”Yaeji, ‘For Granted’The New York-based musician and producer Yaeji has released two acclaimed house-inspired EPs and an impressionistic 2020 mixtape, but on April 7 she’ll finally put out her first full-length album, “With a Hammer.” The debut single, the shape-shifting “For Granted,” is certainly promising — a playful, sing-songy synth-pop track that, halfway through, explodes into skittish euphoria. “When I think about it, I don’t even know,” she croons dreamily, before letting her concerns go: “So I stop the thinking, let it rest and I’ll flow.”Arlo Parks, ‘Weightless’Arlo Parks works through indecision on the driving “Weightless,” the first single from her second album “My Soft Machine.” “I don’t wanna wait for you,” the young British artist sings on the chorus, “but I need you so I won’t go.” With its persistent beat and whooshes of melodrama, “Weightless” is a departure from the more muted sound she explored on her debut, “Collapsed in Sunbeams,” but the vivid lyrics still showcase her signature poeticism: “Cardamom and jade as your eyes screamed,” she sings, “on the night you showed your volcanic side.”Kim Petras, ‘Brrr’Kim Petras plays ice queen on the bold, commanding “Brrr,” a synth-pop track as industrial and echoey as a walk-in freezer. “Why don’t you take it out on me, if you think you’re so cold?” she asks a prospective paramour, delivering the line like a seductive dare.Ice Spice and Lil Tjay, ‘Gangsta Boo’Ice Spice cuts right to the chase on “Gangsta Boo” — “A baddie got’ get what she like/So what’s your sign, ’cause I like you?” — one of three new songs released today on her debut EP “Like..?” Her trusted producer RIOTUSA speeds up and adds some percussive crunch to a sample of P. Diddy’s “I Need a Girl Part 2,” while fellow Bronx rapper Lil Tjay drops in for an exuberant guest verse. “Gangsta Boo” doesn’t have the venomous attitude that made Ice Spice’s breakout single “Munch (Feelin’ U)” pop, but her effortless charisma sells the track just the same. More

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      Kamasi Washington Blasts Into a Fresh Era, and 13 More New Songs

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      Hear tracks by Koffee, Lucy Dacus, Sasami 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.Kamasi Washington, ‘The Garden Path’ (Live on ‘The Tonight Show Starring Jimmy Fallon’)The Los Angeles-based saxophonist and spiritual-jazz revivalist Kamasi Washington, 40, made his American late-night TV debut this week, performing on “The Tonight Show Starring Jimmy Fallon.” With over a dozen instrumentalists and singers arrayed around him onstage, all draped in desert whites and golds, he presented a new composition, “The Garden Path.” Washington’s basic musical components haven’t changed since the release of “The Epic,” his breakout album: polyrhythmic funk and rock beats; a full blast of horns over a meaty rhythm section; scant harmonic or melodic movement in the song’s theme. The biggest source of magnetism here came from downstage right: It’s the voice of Dwight Trible, a Los Angeles jazz fixture, whose lush baritone carries the plangent lyrics in harmony with Patrice Quinn: “Bright minds with dark eyes/Speak loud words, tell sweet lies/Lost without a trace of a way/To get out of this misery.” GIOVANNI RUSSONELLOKoffee, ‘Pull Up’The Jamaican firebrand Koffee, who made history as the youngest person and first woman to win a Grammy for best reggae album in 2020, has good reason to arrive triumphantly on “Pull Up,” the beatific new single from her long-awaited debut album, “Gifted,” due March 25. A liquid beat from the masterful British-Ghanian producer Jae5 trickles between Afrobeats and reggae; in the video, Koffee grins from ear to ear, mouth full of braces, as she leans out of the window of a drifting car and lets the barbs flow: “Zero to a hundred in two/Yeah, so me flex pon you.” ISABELIA HERRERAMachine Gun Kelly featuring Willow, ‘Emo Girl’A love song in which both MGK and Willow bemoan falling for the emo girl who’s just out of reach, sulkily celebrating her the way songs in the 1950s serenaded the prom queen. If this doesn’t inspire and soundtrack a Netflix awkward-teen meet-cute rom-com by this time next year I’m canceling my subscription! JON CARAMANICALucy Dacus, ‘Kissing Lessons’The songs on Lucy Dacus’s 2021 album, “Home Video,” revisited childhood memories, many of them fraught with difficult self-discoveries. “Kissing Lessons” is more cheerful. It’s a two-minute pop-punk reminiscence of being in second grade and learning to kiss from a girl who was a year older, sharing childish thoughts about what grown-up romance would be: a fond, brief, revelatory interlude. PARELESTate McRae, ‘She’s All I Wanna Be’Tate McRae has a dry, wiry voice that’s well suited to this convincingly mopey and skittish punk-pop thumper about envy: “If you say she’s nothing to worry about/then why’d you close your eyes when you said it out loud?” CARAMANICASasami, ‘Call Me Home’With each single she releases from her upcoming album “Squeeze,” the Los Angeles artist Sasami Ashworth shows off another subgenre of rock that she can pull off with effortless and idiosyncratic style. “Say It” was an industrial banger, “Skin a Rat” flirted with metal and “The Greatest” indulged in some slow-burning garage rock. Her latest, “Call Me Home,” is a lush, nostalgic blast of AM-radio psychedelia, suggesting that she’s not yet done revealing the many sides of her eclectic talent. LINDSAY ZOLADZArlo Parks, ‘Softly’The track cruises along easily, with a light boom-bap beat, a sprinkling of piano notes, leisurely guitar chords and a canopy of strings. Arlo Parks tries to keep her voice nonchalant. But she’s all too aware that her romance is ending: “Has something changed? Have I just missed the memo?” She’s shattered, and all she can do is beg her lover to “Break it to me softly.” PARELESKassi Ashton, ‘Dates in Pickup Trucks’A gifted soul vocalist hiding out in country music, Kassi Ashton sings with resonant wistfulness on “Dates in Pickup Trucks,” a lovely breeze of a song about what to do when there’s absolutely nothing to do. CARAMANICAObongjayar, ‘Try’Obongjayar is Steven Umoh, who was born in Nigeria and moved to London in his teens. He won’t be pinned down; “Try,” from his debut album due in May, jump-cuts among spacious, quasi-orchestral ambience to gently crooned electronic R&B to deep-growl toasting to a big, yearning chorus with an Afrobeats undertow. “All we do is try,” he sings, and there’s palpable ambition in every stylistic leap. PARELESMy Idea, ‘Cry Mfer’My Idea is a duo of two prolific New York-based indie musicians who also happen to be friends: Nate Amos of the experimental dance band Water for Your Eyes, and Lily Konigsberg of the art-rockers Palberta (who also released an excellent solo album, “Lily We Need to Talk Now,” late last year). “Cry Mfer,” from a forthcoming album of the same name, is less confrontational than its title might suggest, revolving around a looping, hypnotic track and Konigsberg’s reflections on a collapsing relationship: “I could be the one that makes you cry, I could be the one that makes you — ouch.” ZOLADZIlluminati Hotties, ‘Sandwich Sharer’To describe the genre of her eclectic project Illuminati Hotties — or perhaps just to thumb her nose at the absurdity of genre itself — Sarah Tudzin coined a term: “tenderpunk.” “Sandwich Sharer,” her latest one-off single, oscillates restlessly between those two adjectives. At first it seems like this song will showcase the softer side of Illuminati Hotties: “Restarted kissing,” she begins over a dramatically strummed, slow-motion chord. But before the listener can gain footing at that tempo, Tudzin suddenly kicks the song into a spunky gallop, punctuated by her humorously offbeat lyrics (“You thought I was bleeding but that’s just my spit!”). Tudzin often paints vivid and lifelike portraits of modern human relationships, and the shape-shifting nature of “Sandwich Sharer” captures the feel of one that’s constantly in flux. ZOLADZWhatever the Weather, ‘17ºC’Whatever the Weather is a new pseudonym for the English electronic musician Loraine James, who thrives on concocting dance-floor rhythms that she skews with gaps, interjections and disorienting shifts of texture. “17ºC” — from a coming album of tracks named after temperatures — ratchets up a beat from hisses, thumps, boops and blips, but continually disassembles and reformulates it: with hollows of reverb, with street and party noises, with disembodied vocal syllables, with clusters of keyboard tones and with sudden drum-machine salvos. The pulse persists, even when it’s only implied. PARELESAyver, ‘Reconciliación Con la Vida’For nearly two decades, the Peruvian label Buh Records has showcased the esoteric and avant-garde sounds of Latin America, from forgotten electroacoustic legends of the ’70s to contemporary noise artists. That mission returns in its latest release, a compilation of new faces in the Peruvian electronic scene. “Reconciliación Con la Vida,” its standout, bottles a wide spectrum of emotional textures. Lying somewhere between profound tragedy and wistful wonder, tender piano keys and sweeping string crescendos bleed into trembling beauty. It is intimate but heart-rending, like the soft caress of a lover you may never see again. HERRERAPeter Brötzmann, Milford Graves, William Parker, ‘Historic Music Past Tense Future, Side C’“Historic Music Past Tense Future” is the first in a planned series of albums on the Black Editions Archive label that will exhume previously unreleased live recordings of Milford Graves, the drummer and polymath who died last year amid a late-career re-emergence. This is the first album featuring Graves alongside the saxophonist Peter Brötzmann and the bassist William Parker — all lions of the avant-garde. The third of four freely improvised, quarter-hour-long tracks, “Side C” starts as a quiet conversation between Graves and Parker, then gets lit up by Brötzmann’s tone-smashing saxophone. Midway through, Graves guides things back down to a simmer, Brötzmann drops out, and Parker begins to play a repetitive, rhythmic drone, almost like something you’d hear in Gnawa ritual. Stroking his deeply resonant, hand-altered drums, Graves brings the energy back up slowly by playing around Parker’s plucks, adding rhythms that keep his drone dancing. RUSSONELLO More

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      Arlo Parks Offers Solace Without Illusions on Her Debut Album

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s PickArlo Parks Offers Solace Without Illusions on Her Debut AlbumThe 20-year-old English songwriter faces down despair on “Collapsed in Sunbeams.”Arlo Parks’s mission as a songwriter is to merge careful observation with clearheaded uplift.Credit…Kalpesh Lathigra for The New York TimesJan. 28, 2021Collapsed in SunbeamsNYT Critic’s PickArlo Parks wrote her own job description into the closing song on “Collapsed in Sunbeams,” her debut album. “Making rainbows out of something painful,” she sings in “Portra 400.” The song is named after a Kodak color-negative film: a way to preserve images. Parks’s mission as a songwriter is to merge careful observation with clearheaded uplift, trying to provide solace without illusions. “I know you can’t let go of anything at the moment,” she counsels in “Hurt,” then adds, “Just know it won’t hurt so much forever.”Parks, 20, was born Anaïs Oluwatoyin Estelle Marinho in Paris. Her father is Nigerian; her mother is Chadian-French. She grew up in London, and in her teens she turned from poetry to writing songs and constructing beats. In 2018 she released her debut single, a coolheaded post-breakup song named “Cola,” which reappeared on “Super Sad Generation,” the first of two EPs she released in 2019. The title song portrayed teenagers with low expectations: still unformed but already jaded, taking drugs and “trying to keep our friends from death” while “killing time and losing our paychecks.”Parks moved back in with her parents during Britain’s Covid-19 lockdown and returned to writing music in her old bedroom, sporadically releasing some of the songs from “Collapsed in Sunbeams,” including “Hurt,” during 2020. Her main collaborator on the new album, Gianluca Buccellati, produced much of the music in his home studio. (Clairo, herself a bedroom-pop expert, joined them on one song, and Parks wrote two others with Paul Epworth, one of Adele’s collaborators.)As on Parks’s EPs, the music on her album is restrained but far from austere. She coos the melodies over low-slung hip-hop beats and guitars that can tangle like indie-rock or syncopate like funk; she makes no secret of her fondness for Radiohead along with R&B. Meanwhile, her vocals arrive in layers of unison and harmony and from all directions in the mix, conjuring both solidarity and spaciousness. Her music inhabits a private sphere, but not an isolated one.Parks’s songs often place her as a friend or bystander, watching characters in uneasy situations, sometimes titled with her characters’ names. In “Caroline,” set to guitar picking that hints at Radiohead’s “Weird Fishes/Arpeggi,” she watches a couple having a bitter fight in public, with the man finally shouting, “Caroline, I swear to God I tried!” In “For Violet,” over ominous bass tones and crackly vinyl static, she’s helpless to shield her neighbor whose “dad got angry”; all she can do is play soothing music for her over the phone and remind her, “Wait — when college starts again you’ll manage.” In “Black Dog” — Winston Churchill’s phrase for his depression — she struggles to rescue a friend struggling with mental illness: “It’s so cruel what your mind can do for no reason,” she sings. And in “Eugene,” the singer seethes with jealousy when a girlfriend she grew up with — and dreams of kissing — turns to a boyfriend instead.Romance is iffy at best in Parks’ songs. “Too Good,” written with Epworth, depicts a potential relationship going sour over a suave funk groove: “The air was fragrant and thick with our silence,” Park lilts. In “Bluish,” she contends with a partner so clingy she feels strangled. And in “Just Go,” an ex returns “begging me to change my mind,” but the singer stays skeptical and unforgiving. “I knew you hadn’t changed that much,” she sings, with a shrug in her voice.“Hope” is as close as the album gets to an anthem, and it’s not close at all. As it cycles through a few descending piano chords over a hip-hop backbeat, Parks sings about someone named Mary who’s joyless, isolated and deeply depressed. Midway through, in a spoken-word passage, she confesses to feeling the same, to “wearing suffering like a silk garment.” The best she can offer is empathy. “You’re not alone like you think you are,” she sings. “We all have scars/I know it’s hard.” Somehow, there’s comfort in that.Arlo Parks“Collapsed in Sunbeams”(Transgressive/PIAS)AdvertisementContinue reading the main story More