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Mavis Staples and Levon Helm’s Last Show, and 12 More New Songs
Hear tracks by Pusha T, Laura Veirs, Helado Negro 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.Mavis Staples and Levon Helm, ‘You Got to Move’Back in 2011, Mavis Staples and her band visited Woodstock, N.Y., to perform at the barn-studio-theater of the Band’s drummer Levon Helm; they had appeared together at the Band’s “The Last Waltz,” in 1976. Helm’s band joined hers, which included her sister Yvonne Staples on backup vocals, and they recorded the show. More than a decade later, an album, “Carry Me Home,” is due May 20. Staples gave “You Got to Move,” a gospel standard, her full contralto commitment; the guitarists Rick Holmstrom and Larry Campbell traded blues twang and bluegrassy runs. It was just another good-timey show in two long careers, but it would be their last together; Helm died in 2012. JON PARELESPusha T featuring Ye, ‘Dreamin of the Past’Nostalgia is not a concept often associated with Pusha T; even when he’s mining his coke-dealing past for material (and best believe, he usually is), his rhymes have the vivid immediacy of the present tense. But the classic, Old-Kanye production heard on “Dreamin of the Past” — revolving around a sped-up sample of John Lennon’s “Jealous Guy” — gives the song a halcyon glow that’s playfully at odds with his unrepentant flow. As ever, on this highlight from his latest solo album “It’s Almost Dry,” Push’s lyrics pop with poetic detail (“We hollowed the walls in back of bodegas”) and riotous cleverness: At one point, he boasts of keeping people “on the bikes like Amblin.” LINDSAY ZOLADZShakira and Rauw Alejandro, ‘Te Felicito’Robot love, funky bass lines, Rauw Alejandro’s head in a refrigerator: Welcome to Shakira and the Puerto Rican reggaeton star’s first collaboration. “Te Felicito” is a bitter send-off to a paramour whose love has been a charade that marries some of the superstars’ signature gifts: the Colombian singer’s eccentric choreography and Rauw’s penchant for funk-infused reggaeton. The Shak stamp of approval is a sought-after trophy for young artists ascending the ranks of the industry — just another sign that Alejandro is here to stay in all his freaky glory. ISABELIA HERRERAMidas the Jagaban featuring Liya, ‘420’Marijuana anthems abound on April 20. Here’s a lighter-than-smoke one from Nigeria, sung by the always-masked female songwriter Midas the Jagaban and a guest, Liya. The tapping, airborne polyrhythms of Afrobeats, topped by labyrinthine echoed vocals, provide just enough propulsion and haze as the women declare, “Whatever I do/I do it better when I smoke my marijuana.” PARELESPinkPantheress featuring Willow, ‘Where You Are’To capture the way a breakup can upend everything, PinkPantheress enlisted two beat experts — Skrillex and Mura Masa — to share production on “Where You Are,” along with Willow (Smith), who delivers full-throated hooks. They sing about the limbo between wanting to move on and longing to stay together: “I know it will never be the same,” Willow wails. The song is a vortex of obsession, with a brisk beat, a fingerpicking pattern (sampled from Paramore’s “Never Let This Go”) and vocals that diffuse into echoes and wordless syllables as PinkPantheress (breathy) and Willow (desperate and dramatic) toss around all the possibilities of separation, confrontation and wishing for a reunion. PARELESLaura Veirs, ‘Winter Windows’Laura Veirs has been a folk-rock fixture since the early aughts, but over the past few years she’s experienced a great deal of personal and professional change. Shortly before the pandemic, she divorced her longtime collaborator Tucker Martine, who had produced many of her albums — including “My Echo” from 2020, which was partially about their split. Her forthcoming album “Found Light,” due July 8, is her first album without Martine and the first she co-produced herself. Veirs sounds fittingly reinvigorated and inspired on the lead single “Winter Windows,” an antsy, guitar-driven meditation on motherhood and moving on. “I used to watch them watch you light up every room,” she sings, a gritty resilience in her voice. “Now it’s up to me, the lighting I can do.” ZOLADZSorry, ‘There’s So Many People That Want to Be Loved’On the London group Sorry’s charming “There’s So Many People That Want to Be Loved,” Asha Lorenz sings with the sort of sweet, earnest guilelessness that Mo Tucker brought to the Velvet Underground’s “After Hours.” “See them in the nightclubs, barking up the walls, head in their hands in the bathroom stalls,” she notes of all the lonely people she observes. But as the song gradually builds from unassuming to epic, “There’s So Many People” becomes less a lament and more a celebration of communal human longing — a feeling to be cherished, and, ironically, shared. ZOLADZRavyn Lenae, ‘M.I.A.’It’s been four years since the Chicago R&B singer Ravyn Lenae dropped her “Crush” EP, a Steve Lacy-produced release that stitched her sky-high vocals with funky bass lines and delicious electro-soul textures. For “M.I.A.,” her first single from her debut album “Hypnos,” Lenae pairs with the producer Sango for something a little more breezy. Over a buoyant, syncopated Afrobeats production, a gleaming synth expands and contracts under Lenae’s airy falsetto, as she coos about finally making it: “I’m gonna run the town, ain’t nothing in my way.” HERRERARuth Radelet, ‘Crimes’“Is it easy to start over?” Ruth Radelet wonders on the chorus of her debut solo single, and it’s safe to assume that’s an autobiographical sentiment. For nearly two decades, Radelet was the frontwoman of the moody electro-pop group Chromatics, who disbanded last summer amid drama surrounding a mysterious (and possibly nonexistent) final album. On the glassy, synth-driven “Crimes,” though, Radelet sounds ready to wipe the slate clean. The verses have a bit of a steely bite (“I know what they’re telling me is true/I know I could never be like you”), but the lush chorus is awash in her signature, dreamy melancholy. ZOLADZHelado Negro, ‘Ya No Estoy Aquí’Helado Negro’s music may be dreamlike and crepuscular, but don’t confuse his songs for simple lullabies. “Ya No Estoy Aquí,” his latest single, revisits the celestial meanderings that have defined his work: soft, pulsing drum loops and wobbling, echoing synths. The Ecuadorean-American artist sings about isolation and melancholy alongside harmonic melodies from the Chicago singer-songwriter Kaina. “Ojalá me estoy volviendo loco/Por lo menos tengo con quien puedo hablar/alucinaciones,” he intones (“Hopefully I’m going crazy/At least I have someone to talk to/Hallucinations”). Underneath that soothing exterior, Helado Negro’s music holds a special power: the capacity to engage difficult feelings. HERRERALou Roy, ‘U.D.I.D.’The Los Angeles songwriter Lou Roy regularly juggles euphoria and disillusionment. Her debut album, “Pure Chaos,” is due April 29, and in “U.D.I.D.” — “You don’t I don’t” — she probes a relationship that seems about to fissure. “I always want you here/but I’m starting to get the deal,” she sings. The track, which she co-produced with Sarah Tudzin of Illuminati Hotties, has an upbeat 4/4 pop thump, but some sonic elements — vocals, keyboards, guitar chords — linger like contrails, hinting that the romance may already be a memory. PARELESCharles Mingus, ‘The Man Who Never Sleeps’One heavy day in 1973, Columbia Records dropped every jazz musician on its roster besides Miles Davis. The bassist and composer Charles Mingus (whose 100th birthday would have been on Friday) was among them. So were Ornette Coleman, Keith Jarrett and Bill Evans. But just months before that, the label had arranged to have a performance by Mingus’s new sextet recorded at Ronnie Scott’s Jazz Club in London. The tapes were ultimately shelved. They’ll finally be released on Saturday, Record Store Day, as the triple-disc set “The Lost Album From Ronnie Scott’s.” On “The Man Who Never Sleeps,” Mingus is lit up by the antic virtuosity of the young trumpeter and Dizzy Gillespie protégé Jon Faddis, barely 19, who had just joined the band. Just before Columbia would press a final symbolic seal on an entire jazz generation, you can hear a torch being passed. GIOVANNI RUSSONELLOFred Moten, Brandon López and Gerald Cleaver, ‘The Abolition of Art, the Abolition of Freedom, the Abolition of You and Me’“Freedom is too close to slavery for us to be easy with that jailed imagining,” the poet and theorist Fred Moten says in a coolly controlled voice, speaking over the rustle of Gerald Cleaver’s drums and the dark pull of Brandon López’s open bass strings. There’s a doom-metal energy here, and Sun Ra’s relationship to darkness — as a substance. López hangs on the high strings for a moment at the end of Moten’s phrase, aware that the thought needs time to settle and land, then comes home to the root of the minor key. In the past 20 years Moten has become perhaps the leading thinker on Black performance, writing volumes of poetry and theory that dance with the ways in which Diasporic expression resists definition and capture. “The Abolition of Art” is the first track from a new album, “Moten/López/Cleaver,” putting that engagement directly to music and sacrificing none of its complexity or wit. RUSSONELLO More
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Florence + the Machine’s Conflicted Coronation, and 12 More New Songs
Hear tracks by Bonnie Raitt, Kehlani, Mahalia 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.Florence + the Machine, ‘King’Career vs. family. Artistic inspiration vs. a stable life. “The world ending and the scale of my ambition.” Florence Welch takes them all on in “King,” which affirms both the risks and rewards of her choices. Like many of the songs Welch writes and sings for Florence + the Machine, “King” moves from confessional to archetypal in a grand, liberating crescendo, while its video elevates her from a tormented partner to something like a saint. JON PARELESBonnie Raitt, ‘Made Up Mind’It’s an old story: the bitter end of a romance. “Made Up Mind,” written and first recorded by a Canadian band called the Bros. Landreth, tells it tersely, often in one-syllable words: “It goes on and on/For way too long.” On the first single from an album due April 22, “Just Like That,” Bonnie Raitt sings it knowingly and tenderly, after a scrape of guitar noise announces how rough the going is about to get. PARELESKehlani, ‘Little Story’Kehlani has long narrated tales of devastating romance, but “Little Story,” the latest single from the forthcoming album “Blue Water Road,” opens a portal to a world of candor. Sounding more self-assured and tender than they have in years, the singer (who uses they/them pronouns) curls the honeyed sways of their voice over the delicate strumming of an electric guitar. “You know I love a story, only when you’re the author,” Kehlani sings, pleading for a lover’s return. Strings crescendo into blooming petals, and Kehlani makes a pledge to embrace tenderness. “Workin’ on bein’ softer,” they sing. “’Cause you are a dream to me.” ISABELIA HERRERACarter Faith, ‘Greener Pasture’A bluesy lite-country simmerer in which the cowboy does not stick around: “I was his Texaco/A stop just along the road/I shoulda known I ain’t his last rodeo.” JON CARAMANICANorah Jones, ‘Come Away With Me (Alternate Version)’With the 20th anniversary of Norah Jones‘s millions-selling debut, “Come Away With Me,” arrives a “Super Deluxe Edition” featuring this previously unreleased alternate take of the title track, with the band work shopping the song. There’s a constant, pendulum-swinging guitar part in this version, matching the songwriter Jesse Harris’s lulling bass figure and pushing the band along. Ultimately you can see why this take didn’t make the cut: The biggest draw is Jones’s matte, desert-rose voice, and it seems most at home when in no hurry, cast in lower contrast to the rest of the band. GIOVANNI RUSSONELLOPorridge Radio, ‘Back to the Radio’One electric guitar chord is strummed in what seems to be 4/4 time, repeated, distorted and topped with additional noise for the first full minute of “Back to the Radio.” Then Dana Margolin starts singing, decidedly turning the 4/4 to a waltz as the lyrics push toward a confrontation with someone who matters: “We almost got better/We’re so unprepared for this/Running straight at it.” The song is pure catharsis. PARELESMahalia, ‘Letter to Ur Ex’The threat is both restrained and potent in “Letter to Ur Ex” from the English songwriter Mahalia. She’s singing to someone trying to maintain a connection that has ended: “You can’t do that any more,” she warns. “Yeah, I get it/That don’t mean I’m gonna always be forgiving.” Acoustic guitar chords grow into a programmed beat and strings; her voice is gentle, but its edge is unmistakable. PARELESEsty, ‘Pegao!!!’The Dominican American artist Esty collides genres and aesthetics like a kid scribbling on paper. “Pegao!!!,” from her new “Estyland” EP, mashes up the singer’s breathy, coy raps and sky-high melodies with razor-sharp stabs of synth and a skittish, percussive dembow riddim. She declares her imminent ascent in the music industry, whispering, “They say I’m too late/But I feel like I’m on time.” Her visual choices are part of the plot too: between the anime references, her love for roller skating (which has made her famous on TikTok) and a head full of two-toned braids, Esty’s aesthetic is a kind of punk dembow, her own little slice of chaotic good. HERRERAMura Masa featuring Lil Uzi Vert, PinkPantheress and Shygirl, ‘Bbycakes’Here is how layered things can get in 21st-century pop. The English producer Mura Masa discovered “Babycakes” by the British group 3 of a Kind. He pitched it up and sped it up, keeping the catchy chorus hook. He also connected with Pink Pantheress, Lil Uzi Vert and Shygirl. The new, multitracked song is still both a come-on and a declaration of love, but who did what is a blur. PARELESR3hab featuring Saucy Santana, ‘Put Your Hands On My ____ (Original Phonk Version)’Saucy Santana’s “Material Girl” is the optimal viral hit — easy to shout along with, organized around a catchy phrase, full of performative attitude. For Saucy Santana, onetime makeup artist for the rap duo City Girls turned reality TV star, its emergence as a TikTok phenomenon a couple of months ago (more than a year after the song’s initial release) was a classic case of water finding its level. And now, a future full of promising party-rap club anthems beckons. This easy-as-pie collaboration with the D.J.-producer R3hab is an update of Freak Nasty’s “Da Dip,” one of the seminal songs of Atlanta bass music, and a bona fide mid-1990s pop hit as well. It doesn’t top the original, but it doesn’t have to in order to be an effective shout-along. CARAMANICALil Durk, ‘Ahhh Ha’The first single from the upcoming Lil Durk album, “7220,” is full of exuberant menace. Lil Durk raps crisply and with snappy energy while touching on awful topics, including the killing of his brother DThang and of the rapper King Von, and instigating tension with YoungBoy Never Broke Again. In the middle of chaos, he sounds almost thrilled. CARAMANICAKiko El Crazy, Braulio Fogón and Randy, ‘Comandante’On “Comandante,” two generations of eccentrics — the Dominican dembow newcomers Kiko el Crazy and Braulio Fogón, alongside the Puerto Rican reggaeton titan Randy — join forces for a send-off to a cop who threatens to arrest them for smoking a little weed. Randy drops a deliciously flippant, baby-voiced hook, and Fogón’s offbeat, anti-flow arrives with surprising dexterity. When that timeless fever pitch riddim hits, you’ll want every intergenerational police satire to go this hard. HERRERACharles Goold, ‘Sequence of Events’The drummer Charles Goold and his band are hard-charging on “Sequence of Events,” the opening track to his debut album as a bandleader, “Rhythm in Contrast.” He starts it with a four-on-the-floor drum solo that has as much calypso and rumba in it as it does swing. When the band comes in — the slicing guitar of Andrew Renfroe leading the way, with Steve Nelson’s vibraphone, Taber Gable’s piano and Noah Jackson’s bass close on his heels — that open approach to his rhythmic options remains. Goold graduated from Juilliard, probably the premiere conservatory for traditional-jazz pedagogy, but he’s also toured with hip-hop royalty. All of that’s in evidence here, as he homes in on a sincere update to the midcentury-modern jazz sound. RUSSONELLO More
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Best Albums of 2021
Less isolation didn’t mean a return to normalcy. Albums with big feelings and room for catharsis made the most powerful connections.Olivia Rodrigo, Moneybagg Yo and Allison Russell stood out in 2021.From left: Grant Spanier; Noam Galai/Getty Images; Bethany Mollenkof for the New York TimesJon Pareles | Jon Caramanica | Lindsay ZoladzJon ParelesSongs of Trauma, Fear and TriumphThe past year was awash in recorded music — not only the stuck-at-home recordings that musicians occupied themselves with when touring evaporated during the pandemic, but also many albums that had been made before the lockdowns but had been shelved in hopes of some return to normalcy. The albums that resonated most with me during 2021 were songs of reflection and revelation, often dealing with traumas and crises, transfigured through music.1. Bomba Estéreo, ‘Deja’The Colombian duo Bomba Estéreo released “Deja” as a series of EPs tied to the ancient elements: water, air, fire, earth. Each new one broadened an album that entwines folklore and electronics, personal yearning and planetary concerns. With Liliana Saumet’s tartly endearing singing and rapping and Simón Mejía’s meticulously kinetic productions, the songs dance through their fears. (Read our interview with Bomba Estéreo.)Simón Mejía and Liliana Saumet of Bomba Estéreo released “Deja” as a series of EPs.Valerie Amor C2. Allison Russell, ‘Outside Child’Allison Russell, the longtime frontwoman of Birds of Chicago, transforms a horrific childhood — she was abused by her stepfather — into songs of joyful survival. “I’m still rising, stronger for my pain and suffering,” she sings. Drawing on soul, country, folk and deep blues, she connects her own story to myth and metaphor, remembering the trauma yet decisively rising above it. (Read our interview with Allison Russell.)3. Mon Laferte, ‘Seis’Sometimes visitors can see what residents take for granted. Mon Laferte is from Chile, but she has been living for more than a decade in Mexico and has immersed herself in its music. On “Seis,” she wrote songs that draw deeply on regional Mexican traditions — mariachi, banda, ranchera, corrido, norteño — to sing, in a voice that can be teasing or furiously incendiary, about deep passions and equally deep betrayals. (Read our interview with Mon Laferte.)Mon Laferte drew on Mexican traditions for one of two albums she released this year, “Seis.”Gabriela Bhaskar/The New York Times4. The Weather Station, ‘Ignorance’Tamara Lindeman, who writes songs and records as the Weather Station, surrounded herself with a jazzy, intuitive backup group for “Ignorance,” clearly aware of Joni Mitchell’s folk-jazz precedent. The rhythms are brisk and precise; winds, keyboards and guitars ricochet respectfully off her breathy vocal lines. She sings about impending disasters, romantic and environmental, and the widespread disregard for what’s clearly about to happen. (Read our interview with the Weather Station.)5. Mdou Moctar, ‘Afrique Victime’Mdou Moctar is a Tuareg guitarist born in Niger. Like Tinariwen, his band plugs North African rhythms and modal vamps into rock amplifiers and drums. But “Afrique Victime” further expands the sonic possibilities for Tuareg rock, from ambient meditation to psychedelic onslaught. Six-beat rhythms and skeins of guitar lines carry Moctar’s voice in songs that can be modest and introspective or unstoppably frenetic.6. Julien Baker, ‘Little Oblivions’“Beat myself until I’m bloody/And I’ll give you a ringside seat,” Julien Baker sings in one of the brave, ruthlessly self-indicting songs that fill “Little Oblivions,” an album about the toll of one person’s addictions on everyone around her. She played all the instruments herself, scaling her sound up to arena size and chiming like U2, even as she refuses herself any excuses or forgiveness. (Read our review of “Little Oblivions.”)7. Black Midi, ‘Cavalcade’The virtuosic British band Black Midi bristles in every direction: with jagged, skewed funk riffs; with pointed dissonances; with passages of Minimalistic, ominous suspense; with lyrics full of bitter disillusion. And then, just to keep things unsettled, come passages filled with tenderness and wonderment, only to plunge back into the fray. (Read our interview with Black Midi.)8. Olivia Rodrigo, ‘Sour’Olivia Rodrigo, now 18, fixates on a breakup with an adolescent’s obsessiveness on “Sour,” building on the audience she found as a cast member in Disney’s “High School Musical.” With Taylor Swift as a role model for craftsmanship, her songs are as neatly detailed as they are wounded, and the production whipsaws through styles — calm piano ballad, ethereal choir harmonies, fierce distorted guitars — to match every mood swing. (Read our review of “Sour” and watch her “Diary of a Song.”)Olivia Rodrigo’s songs are neatly detailed.Erica Hernandez9. Esperanza Spalding, ‘Songwrights Apothecary Lab’“Songwrights Apothecary Lab” was the bassist and singer Esperanza Spalding’s pandemic project; she consulted neuroscientists, music therapists and ethnomusicologists to devise music for healing, and an online user’s guide prescribes the purpose of each song. But the songs are equally effective off-label; they encompass meditations, serpentine jazz compositions, calm or turbulent improvisations, open-ended questions and sly bits of advice, the work of a graceful, perpetually questing mind. (Read our interview with Esperanza Spalding.)10. Tyler, the Creator, ‘Call Me if You Get Lost’A life of luxury can’t mollify Tyler, the Creator. He’s no longer the trolling provocateur he was a decade ago when he emerged with Odd Future, but he’s still intransigent and high-concept. After singing through most of his 2019 album, “Igor,” he’s back to rapping, now simulating a mixtape with DJ Drama as hypeman. In his deep voice, he raps about all he owns and all he can’t control — mostly romance — over his own dense, detailed productions, at once lush and abrasive. The album peaks with an eight-minute love-triangle saga, “Wichita”: a raw confession, cannily orchestrated. (Read our review of “Call Me if You Get Lost.”)Tyler, the Creator swings back to mostly rapping on his 2021 album.Luis “Panch” PerezAnd here are another 15 deserving albums, alphabetically:Adele, “30”Arooj Aftab, “Vulture Prince”Khaira Arby, “New York Live”Billie Eilish, “Happier Than Ever”.css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Floating Points, Pharoah Sanders and the London Symphony Orchestra, “Promises”Flock of Dimes, “Head of Roses”Rhiannon Giddens with Franceso Turrisi, “They’re Calling Me Home”Idles, “Crawler”Ka, “A Martyr’s Reward”Valerie June, “The Moon and Stars: Prescriptions for Dreamers”L’Rain, “Fatigue”Arlo Parks, “Collapsed in Sunbeams”Robert Plant and Alison Krauss, “Raise the Roof”Omar Sosa, “An East African Journey”Jazmine Sullivan, “Heaux Tales”Jon CaramanicaProcessing Pain, Blurring BoundariesIn the second year of global quasi-paralysis, what made the most sense were, once again, albums that felt like wombs and albums that felt like eruptions. When there was nowhere to go, literally or metaphorically, there were still places to retreat — to the gut, to history, to memory, to forgetting.1. Mustafa, ‘When Smoke Rises’Did you mourn this year? Were you broken in some way that was beyond words? Mustafa’s debut album was there with you, a startling, primal chronicle of relentless loss and the relentless grace required to navigate it. In moments when the ground buckled, this album was a cradle. (Read our interview with Mustafa.)Mustafa’s debut album is a profound meditation on loss.Bethany Mollenkof for The New York Times2. EST Gee, ‘Bigger Than Life or Death’The latest in a string of excellent releases from the Louisville, Ky., rapper EST Gee, whose verses are refreshingly burly and brusque, and who tells stories sprinkled with surprisingly vivid left-field details. A bold back-to-basics statement, utterly free of filigree.3. Olivia Rodrigo, ‘Sour’The most important new pop star of the year delivered a debut album of poppy punk and punky pop that’s sometimes musically blistering and always emotionally blistered. A reminder that a failed relationship might leave you icy or bruised or drained, but in truth, it frees you to be emboldened. (Read our review of “Sour” and watch her “Diary of a Song.”)4. Moneybagg Yo, ‘A Gangsta’s Pain’Moneybagg Yo is a casually sassy rapper — a don of tsk-tsking, fluent in arched eyebrows, dispositionally blunt. This is his fourth major-label album, and it’s punchy and robustly musical. À la peak 2 Chainz, Moneybagg Yo boasts so long and so intently that he sounds fatigued, and in turn, uproarious.5. PinkPantheress, ‘To Hell With It’This is music about listening to music, about the secret places we burrow into in order to make sure our favorite songs can wash over us unimpeded. The singing is sweet and melancholic, and the production flirts with memory and time — stories of right now and back then, all told as one. (Read our review of “To Hell With It.”)6. Summer Walker, ‘Still Over It’The most emotionally direct vocalist working in R&B today, Summer Walker is a bracing listen. And this album, her third full-length release, is rawly vindictive and unconcerned with polish, the equivalent of a public-facing Instagram account that feels like a finsta. (Read our notebook on Summer Walker.)Summer Walker’s third album is appealingly unpolished and intimate.Theo Wargo/Getty Images7. Lana Del Rey, ‘Chemtrails Over the Country Club’Lana Del Rey albums have become pop music’s most compelling ongoing saga about American loneliness and sadness. This, the better of her two albums this year, is alluringly arid and dreamlike. (Read our review of “Chemtrails Over the Country Club.”)8. Tyler, the Creator, ‘Call Me if You Get Lost’In which the rapper who introduced himself a decade ago as the genre’s great anarchist reveals something that was long clear to close observers: He reveres tradition. Brick-hard rhyme structures. Ostentatious taunts. Mixtape grit. All of it. (Read our review of “Call Me if You Get Lost.”)9. Playboi Carti, ‘Whole Lotta Red’Just an unyieldingly odd record. Notionally a cousin of mid-2010s SoundCloud rap, it also has echoes of 1980s industrial rock and also the glitchcore of the 2000s. It’s buoyant and psychedelic and totally destabilizing.10. Kanye West, ‘Donda (Deluxe)’“Donda” lives at the intersection of Kanye’s “Yeezus” era and his Jesus era. On the one hand, there’s scabrous, churning production that sets a chaotic mood. On the other, there are moments of intense searching, gasps for air amid the unrest. (Read our notebook on “Donda.”)11. Rauw Alejandro, ‘Vice Versa’Rauw Alejandro, the most imaginative meta-reggaeton Latin pop star, dabbles in drum ’n’ bass and baile funk on his second major-label album. But the star is his hypertreated voice, which is synthetically sweet and appealingly lush, almost to the point of delightful suffocation. (Read our review of “Vice Versa.”)Rauw Alejandro’s latest album puts a spotlight on his vocals.Thais Llorca/EPA, via Shutterstock12. Doja Cat, ‘Planet Her’Outlandish, eccentric, lustrous, mercenarily maximalist pop from the sing-rapper with the richest and keenest pop ear not named Drake.13. Chloe Moriondo, ‘Blood Bunny’Openhearted and effortlessly catchy indie punk-pop about lovelorn confusion and beginning to figure out you’re too cool for that. (Read our notebook on Chloe Moriondo.)14. Kidd G, ‘Down Home Boy’Why yes, those are Juice WRLD cadences in the singing on the year’s best country debut album. (Read our interview with Kidd G.)15. The Armed, ‘Ultrapop’Shrieking sheets of nervy noise — a battering ram.16. Carly Pearce, ’29: Written in Stone’A brief marriage, a messy divorce, a helluva album.17. Yeat, ‘4L’If “Whole Lotta Red” is too coherent for you, try Yeat.18. Conway the Machine, ‘La Maquina’A cold, cold, cold growl of a classic-minded hip-hop album.19. Farruko, ‘La 167’“Pepas” is here, along with a confidently expansive range of reggaeton styles.Farruko’s “La 167” is a showcase for reggaeton styles.Rich Polk/Getty Images20. Mickey Guyton, ‘Remember Her Name’A pop-country winner that feels both universal and singular. (Read our interview with Mickey Guyton.)… and 20 more albums for a more well-rounded year.42 Dugg, “Free Dem Boyz”Gracie Abrams, “This Is What It Feels Like”Aespa, “Savage”Jay Bahd, “Return of Okomfo Anokye”Benny the Butcher and Harry Fraud, “The Plugs I Met 2”Ivan Cornejo, “Alma Vacía”Jhay Cortez, “Timelezz”Dave, “We’re All Alone in This Together”Drake, “Certified Lover Boy”Halsey, “If I Can’t Have Love, I Want Power”Cody Johnson, “Human the Double Album”NCT 127, “Sticker”RXK Nephew, “Crack Dreams”serpentwithfeet, “Deacon”Spirit of the Beehive, “Entertainment, Death”Don Toliver, “Life of a Don”Rod Wave, “SoulFly”Tion Wayne, “Green With Envy”Wiki, “Half God”Young Thug, “Punk”Lindsay ZoladzOpening Up Hearts and MindsIn an emotionally hung over year when so many people were trying to process loss — of loved ones, of charred or flooded homes, of the world as we once knew it — some of the best music offered an opportunity to slow down and reconnect with feelings we may have rushed right by before truly acknowledging. Sometimes we just needed a voice to capture and echo the absurdity all around us, but other times records gave us a way of experiencing nothing less than mass catharsis.1. Adele, ‘30’It takes a certain kind of record to make me want to quote Rumi, but Adele really killed this, so let me say: “You have to keep breaking your heart until it opens.”Adele has been our mass-cultural bard of heartbreak for the past decade, but in her music — save for the handful of instant-classic ballads scattered across her discography — I did not really get the sense that she was truly open in all the terror and glory that implies. Then she turned 30. “I’m so afraid but I’m open wide,” she sings on the divine “To Be Loved,” her imperial voice trembling but assured. Most breakup albums are full of anger, scorn, and blame, but this one is remarkably self-directed, a grown woman making a deeply considered choice to leap into the void and break her own heart wide apart. “I took some bad turns that I am owning,” she sings, audibly italicizing that last phrase, as if the preceding 10 tracks in all their startling honesty hadn’t already made that clear.On “19,” “21,” and “25,” Adele acted wise beyond her years: “We both know we ain’t kids no more,” she chided an ex on an album about being in her mid-20s, which also included a world-wearied number called “When We Were Young.” “30” refreshingly winds back the clock and finds her admitting that all along she was “just a child, didn’t get the chance to feel the world around” her. But now she sings like a mature woman who knows there’s still plenty of time to get wine-drunk on the everyday wonders of her own freedom, to break her heart open again and again in her newly omnivorous and sonically eclectic songs. This, at last, is Adele living up to her promise, pop majesty at the highest count. (Read our review of “30.”)Adele breaks her own heart open on “30.”Cliff Lipson/CBS2. Tyler, The Creator, ‘Call Me if You Get Lost’He’s still on the boat! Tyler has never sounded this breezy yet in control, but for all the luxurious braggadocio, there’s a darker undercurrent at work, too. “I remembered I was rich so I bought me some new emotions,” he raps at the beginning of the album; by the stunning penultimate track, the heart-tugging epic “Wilshire,” he’ll have to admit that’s impossible. Full of playful reflections on his past (“I was canceled before canceled was with Twitter fingers”) and auspicious blessings for his future, “Call Me” finds Tyler dropping a stone into that murky blue and discovering unexplored new depths. (Read our review of “Call Me if You Get Lost.”)3. Snail Mail, ‘Valentine’Lindsey Jordan begs, bargains and finally accepts the pain of heartache in this searing song cycle that further establishes her as one of indie rock’s brightest young stars. There’s a raw immediacy to these 10 songs that make them almost feel hot to the touch — the thrashing title track, the keening acoustic ballad “Light Blue,” even the slinky, synth-driven vamp “Ben Franklin.” Her nimble guitar work highlights a sharp ear for off-kilter melody, but at the core of “Valentine” is Jordan’s passionately hoarse voice, lungs filled to the brim with sound and fury. (Read our review of “Valentine.”)4. Jazmine Sullivan, ‘Heaux Tales’The chatty, candid interstitials woven through this wonderful album play out like an adult reunion of those young girls in the classroom from “The Miseducation of Lauryn Hill” — now grown women swapping secrets, recollections and hard-earned wisdom. “Heaux Tales” is a prismatic, multiperspective snapshot of female desire in the 21st century, enlivened by the testimonies of friends like Ari Lennox and H.E.R. but made cohesive by the soulfully versatile voice of Jazmine Sullivan. She breathes life into a spectrum of emotions, from the sassy assertion of “Pick Up Your Feelings” to the naked yearning of “The Other Side,” proving that it would be too limiting to choose between being a hard rock or a gem. Aren’t we all a little bit of both? (Read our review of “Heaux Tales.”)Jazmine Sullivan explores the multiple dimensions of female desire in the 21st century on “Heaux Tales.”NAACP, via Reuters5. Illuminati Hotties, ‘Let Me Do One More’The indie producer turned surprisingly ebullient frontperson Sarah Tudzin is a personable and occasionally hilarious guide through the surreal ruins of late capitalism. “You think I wanna be a part of every self-appointed start-up?” she seethes in a punky, cartoonish voice, but a few songs later she’s exhausted enough to sound resigned to inevitable compromise: “The corner store is selling spit, bottled up for profit,” she sighs, “can’t believe I’m buying it.” Still, Tudzin’s songs glow with the possibility of human intimacy amid all the rubble, and they show off her mastery of so many different genres that by the end of the record, it seems like there’s no ceiling to her talent as both a producer and a finger-on-the-pulse songwriter. (Read our interview with Illuminati Hotties.)6. Olivia Rodrigo, ‘Sour’Hell hath no fury like a young woman out to prove she’s no one-hit wonder. From the opening guitar-crunch of the Zoomer primal scream that is “Brutal,” Olivia Rodrigo proves there’s so much more to her than could be expressed even in a song as exquisitely expressive as her seismic smash “Drivers License.” Rodrigo fashions teen-girl sarcasm into a lethal weapon on the dream-pop “Deja Vu,” rails against the Instagram industrial complex on the barbed social critique “Jealousy, Jealousy” and transforms a sample of one of her idol Taylor Swift’s sweetest love songs into a tear-streaked heartbreaker on “1 Step Forward, 3 Steps Back.” If it feels comparatively weak on the back end, that’s only because the first half of this album is probably the most impressive six-song run anybody put together this year. (Read our review of “Sour” and watch her “Diary of a Song.”)7. The Weather Station, ‘Ignorance’How do you make music about climate change without it sounding too didactic and abstract? Tamara Lindeman, the Canadian musician who records as the Weather Station, came up with a winning solution on her stirring album “Ignorance,” which finds her singing elegiac love songs to a dying planet. The graceful melancholy of “Tried to Tell You” surveys the natural beauty we’ve been too numb to mourn, while the sparse, jazzy “Robber” is a kind of musical tone-poem about large-scale corporate destruction. With her nimble voice — sometimes high and fluttery, other times earthy and low — and evocative lyricism, the songs of “Ignorance” animate, as one of her bandmates puts it, “the emotional side of climate change,” employing music’s depth of feeling to ignite political consciousness. (Read our interview with the Weather Station.)Tamara Lindeman of the Weather Station finds artful ways to sing about the climate crisis.Angela Lewis for The New York Times8. Low, ‘Hey What’If only every band could sound this adventurous 30 years into existence. As their eerily heartfelt harmonies cut through with rhythmic blurts of electronic noise, Mimi Parker and Alan Sparhawk sound, quite literally, like ghosts in the machine, imbuing vast, steely soundscapes with a disarming beauty. Following the sonic reinvention of the stunning 2018 album “Double Negative,” the Duluth band have continued to frame human yearning amid a churning and apocalyptic backdrop, with career-best songs like “Disappearing” and “Days Like These” capturing both the difficulty and the necessity of finding light in a dark age.9. Lucy Dacus, ‘Home Video’Lucy Dacus’s wrenching third studio album is as much an achievement of memoir as it is of songwriting, a vividly conjured coming-of-age story so personal that she used her own teenage diaries for research. “In the summer of ’07, I was sure I’d go to heaven,” she sings on “VBS” (as in, Vacation Bible School), before a gradual and all-consuming doubt begins to creep in. By the final song, when a friend tells her she’s afraid that their desires have rendered them “cursed,” Dacus responds, “So what?” As thoughtfully crafted as a collection of short stories, “Home Video” achingly chronicles the tale of a young person who loses her religion but in the process gains autonomy, a sense of identity and the glorious strength to tell her own truths in song. (Read T magazine’s interview with Lucy Dacus.)10. Dry Cleaning, ‘New Long Leg’“Are there some kind of reverse platform shoes that make you go into the ground more?” the ever-droll Florence Shaw asks, one of many absurdist yet somehow relatable philosophical questions she poses on the English post-punk band Dry Cleaning’s singular debut album. The instrumentation around Shaw swells like a sudden squall, but her deadpan, spoken-word musings — a mixture of found text, overheard chitchat and offbeat poetry — are the eye of the storm, remaining steady and strangely unperturbed in all kinds of weather.11. Billie Eilish, ‘Happier Than Ever’No record grew on me more this year than Billie Eilish’s patient and personal sophomore effort, which shuns repeat-the-formula predictability and unfolds at its own unhurried pace. It’s somehow even quieter than her sumptuously ASMR-triggering debut, until those sudden moments when it isn’t — as on the corrosive conclusion to the Nine-Inch-Nails-like “NDA,” or the fireworks display of pent-up frustration that rips open the title track. Exquisitely sequenced, this is a rare pop album that doesn’t show all its cards right away, but instead saves its strongest material for the end, building toward a satisfying finale and a hint at the potential versatility of her future. (Read our review of “Happier Than Ever.”)Billie Eilish’s second album, “Happier Than Ever,” reveals itself at its own pace.Rich Fury/Getty Images12. Mdou Moctar, ‘Afrique Victime’The fluid and incandescent playing of the Tuareg guitar hero Mdou Moctar transcends borders, seamlessly fusing Western psychedelia with North African desert blues. “Afrique Victime,” his strongest and most focused record to date, showcases not only his quicksilver fingerwork but his innate gift for melody and songcraft, proving in every one of these nine blazing tracks that shredding is a universal language.13. Bitchin Bajas, ‘Switched on Ra’This shouldn’t work, or at least not nearly as well as it does: A drone synth outfit tackling the otherworldly compositions and complex harmonies of cosmic jazz pioneer Sun Ra? But Chicago’s Bitchin Bajas approach the task with equal parts reverence and playfulness, assembling an Arkestra of 19 different analog synths and in the process creating a prolonged musical meditation on time, space and the meaning of retrofuturism. The vibes are exquisite, and the whole thing sounds like the Muzak that would play in an intergalactic portal’s waiting room.14. Remi Wolf, ‘Juno’Here’s to anyone who takes a technically skilled voice and chooses to do something delectably weird with it. The Palo Alto native Remi Wolf’s pipes are strong enough to have propelled her to Hollywood on the 2014 season of “American Idol,” but she’s since carved out a much less conventional path, making bold, psychedelic pop that bursts at the seams with ideas, melodies and truly wild wordplay (“I love my family intrinsically, like Anthony Kiedis,” she sings, which — sure!). On “Juno,” one of the most promising debut albums of the year, Wolf throws everything she’s got at the wall — and a surprisingly high percentage of it actually sticks. (Read our interview with Remi Wolf.)Remi Wolf makes bold, psychedelic pop that bursts at the seams with ideas.Amy Sussman/Getty ImagesSome runners-up worth mentioning:L’Rain, “Fatigue”Rostam, “Changephobia”Flock of Dimes, “Head of Roses”Lana Del Rey, “Chemtrails Over the Country Club”/“Blue Banisters”Halsey, “If I Can’t Have Love, I Want Power”Palberta, “Palberta 5000”/Lily Konigsberg, “Lily We Need to Talk Now” More
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PinkPantheress Has 1 Million Fans on TikTok
Her songs “Just for Me” and “Break It Off” were breakout summer hits.Name: PinkPantheressAge: 20Hometown: Bath, EnglandCurrently Lives: In London, with a group of childhood friends.Claim to Fame: PinkPantheress is a singer, songwriter and producer whose melancholic yet upbeat track “Just for Me” has been featured in more than 2.1 million TikTok videos, becoming a kind of soundtrack for Gen Z angst and longing. Sample lyric: “My diary’s full of your name on every page.” Her music stitches elements from drum and bass, as well as garage. “A lot of my beats are literally from the early 2000s and late ’90s,” she said. “I think a lot of people probably have heard them before without realizing.”Big Break: PinkPantheress has been creating music since she was 14, when she joined a rock band. On Christmas Day last year, she posted a snippet of her song “Just a Waste,” which samples Michael Jackson’s “Off the Wall,” to TikTok. The following day, she said, she was flooded with requests for the full-length version and the song has been featured in more than 216,000 TikTok videos. “My first TikTok was just to gauge if I should put out a song,” she said. “This is a great way to assess if music is good enough to put out or not.’”Charlotte Hadden for The New York TimesLatest Project: On Oct. 15, PinkPantheress released “To Hell With It,” her debut mixtape of 10 songs, which Jon Caramanica, pop music critic for The New York Times, calls “warmly ecstatic and cheekily gloomy.” “I think a lot of my music doesn’t come from a place of pain or whatever,” she said. “It doesn’t come from a place of me. A lot of it just comes because I really like storytelling.”Next Thing: With most pandemic restrictions lifted in London, she plans to perform at a few shows this month, including the Cause. She also hopes to explore a wider array of music. “Music-wise, I do want to flesh it out a bit,” she said. “I definitely want to do more genres, or try at least.”Mum’s the Word: Despite, or maybe because of, her large social media following (one million on TikTok), PinkPantheress has tried to keep her legal name secret, though some music fan sites say that they have identified her. “I always was private, not because I’m standoffish or I don’t want to have that intimacy with people — it’s just more because it’s hassle free,” she said. “I really enjoy leaving things up to people’s imagination.” More
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PinkPantheress’s Slivers of Dance-Pop Play With Memory Like a Toy
The British singer and producer’s debut release, “To Hell With It,” is full of familiar samples, rendered hazily.Some of the most striking music suffusing TikTok this year has come from PinkPantheress, a British singer and producer who sounds like she’s flirting and aching all at once. Snippets of her songs “Break It Off” and, especially, “Just for Me” have been an optimal melancholic soundtrack for the perpetual tug of war between romanticization and mopiness that dominates a certain corner of online teenage life.Part of main-character sadness is hearing yourself in the culture you’re surrounding yourself with — and sometimes, meshing what’s in your heart with what’s in your ear. That’s how PinkPantheress works: She sounds as if she’s listening and performing all at once, like you are hearing her singing along to whatever’s bumping out of her speakers. Plenty of her songs are based on deeply familiar source material. “Break It Off” functions as an extension of Adam F’s “Circles,” a foundational drum-and-bass song from the mid-’90s. “Pain” rides a bed lifted from a karaoke version of Sweet Female Attitude’s “Flowers,” a pop U.K. garage anthem from 2000.At what point does an experience become a memory? And at what point does a memory become history, fixed in place? We often think of sampling as a choice emanating from a steady, long-in-the-rearview position, but it can function in liminal spaces, too.“Break It Off” and “Just for Me” are both elegant in their own right, and also encapsulate the enthusiasm and thrill of listening to someone else’s elegant song, one that rousts you from your shell and thrusts you into your own joy or sadness, or both at the same time.This layered approach makes PinkPantheress’s debut album, the warmly ecstatic and cheekily gloomy “To Hell With It,” so striking. It’s short, controlled and lived-in.The press materials refer to “To Hell With It,” which includes 10 songs and totals less than 19 minutes, as a mixtape — often, that’s a head fake designed to avoid the pressure and scrutiny still associated with the term “album,” which is an increasingly outmoded concept anyway. But in PinkPantheress’s case, using the term mixtape invokes one of the classic uses of the phrase, a collection of rapping over other people’s beats. In other words, a way of testing yourself against the context of the recent past. The brevity of the songs underscores that — they are immediate and flexible.But unlike, say, the sometimes bombastic sample choices that appear in mainstream pop, hip-hop and reggaeton, which are so grand and smoothly polished that they become obstacles to creativity, PinkPantheress’s relationship to her source material is at the level of hazy tribute. “I Must Apologise” reimagines the woozy jangle of Crystal Waters’s “Gypsy Woman (She’s Homeless).” “Passion” opens with a light acoustic guitar that recalls the intro of Craig David’s pop-garage smash “7 Days.” “Last Valentines” incorporates bits from Linkin Park’s “Forgotten.” They’re suggestive, but not delineative.Which leaves plenty of room for PinkPantheress, a pop singer with light R&B contours, to hone her vocal approach. Lost in the conversation around her relationship to yesteryear is the way even her singing encapsulates the tension of memory.Her writing is diaristic in the sense that it doesn’t always hew to a clean syllabic structure — sometimes she’s cramming words to make them fit, and sometimes she’s lingering over them as if humbled. The key juxtaposition in her music is how the lightly detached sweetness in her tone masks the sweaty anxiety of her words. Take “Just for Me,” which verges on saccharine while spooky obsession hovers just beneath the surface:I followed you today I was in my carI wanted to come and see you from afarIf you turned around and saw me I would dieI’d pretend I was a person driving byOn “All My Friends Know,” she sings about what happens after a relationship ends, but you can’t quite tell everyone yet, especially your mother: “She knows that I’m so fond of you/So she can’t ignore how everyday/She knocks but I don’t answer my door.”Most of “To Hell With It” is about this sort of romantic anxiety, the sort that often exists in your head to fill the space left behind by a failed love. But PinkPantheress also applies the same clarity to her family on “Passion,” a song about a broken-down family: “I called my dad, he told me, ‘There’s no room for me’/Down at the house that we had when we were living as a three.”PinkPantheress self-produced her earlier songs, which were teased as snippets on TikTok and released on SoundCloud. Those older tracks have been mixed and mastered for this release and sound crisper. On some new songs, though, like “Reason” and “All My Friends Know,” the balance is slightly off: She sounds more firmly embedded in the music, not quite riding atop it. It’s a light disruption of her mode of simultaneous performance and listening.But in the same way that TikTok provided an optimal milieu for PinkPantheress to try out this style, the app, which accelerates all culture consumption, has begun to reabsorb her, too. She herself has become source material of recent nostalgia for others — recently, “Just for Me” was sampled by the melodic drill rapper Central Cee, first on TikTok, and later on a full song, “Obsessed With You.” She’s someone else’s memory now.PinkPantheress“To Hell With It”(Elektra/Parlophone) More
