Syd (1992- )

Subterms

    Latest story

    138 Shares99 Views

    Camila Cabello Gets in Her Head, and 16 More New Songs

    by

    Hear tracks by Kelsea Ballerini, Syd, Oliver Sim 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.Camila Cabello featuring Willow, ‘Psychofreak’Alienation gets an electronic lilt in “Psychofreak” from Camila Cabello’s “Familia,” which is actually stacked with songs about jealousy. In “Psychofreak” she sings about feeling dissociated, insecure and suspicious: “Tryin’ to get connected, no Wi-Fi/tell me that you love me, are you lying?” Against brittle percussion and impassive chords on the off-beats, Cabello sounds relatively unruffled despite what the lyrics say, but Willow (Smith) focuses and ratchets up the anguish. JON PARELESMiranda Lambert, ‘Actin’ Up’Miranda Lambert’s “Actin’ Up” could have been just another feisty, bluesy country-rock song. “I want a sunset ride, a velvet rodeo/A Colorado high, a California glow,” she declares. Its richness is in its arrangement: its stereo, reverbed guitar picking, its syncopated drumming, the echoes and pauses placed behind her boasts. PARELESKelsea Ballerini, ‘Heartfirst’On her 2020 album “Kelsea,” Kelsea Ballerini honed her keen ability to spotlight the sort of anxiety and self-doubt that many other country singers conveniently crop out of the frame. The single “Heartfirst,” though, is all about pushing those impediments aside and jumping headlong into new romance: “That voice in my head says to slow down, but it can’t feel your hands on my hips right now,” she sings. Recommended for anyone who revisited Taylor Swift’s version of “Red” last year and wished someone were still making glimmering, wholehearted pop-country songs like that in the present tense. LINDSAY ZOLADZBanks, ‘Meteorite’Banks’s songs bring a deep wariness to her relationships. “We’re already in bed, you may as well lie,” she sings as “Meteorite” begins. But in this track, syncopation fights pessimism. Handclaps, stop-and-start drums and backup vocals that hint at Balkan and African call-and-response insist that this iffy romance could still push ahead. PARELESPieri, ‘Vente Pa Aca’It was only a matter of time until the textures of hyperpop collided with reggaeton. Consider the Mexican-born, Brooklyn-based artist Daniela Pieri its champion: Her new single “Vente Pa Aca” interlaces a muted dembow riddim, serrated synths and gauzy speaker feedback lifted straight from a PC Music compilation. In an Auto-Tuned shrill, one that carries just enough of a punk edge, she intones, “No te quiero perder/tú y yo hasta el amanecer” (“I don’t want to lose you/Me and you till dawn”). ISABELIA HERRERASyd, ‘Fast Car’“Broken Hearts Club,” the first album in five years from Syd — a member of the R&B collective the Internet and a one-time Odd Future upstart — is mostly an intimate chronicle of a relationship’s demise, but the sultry “Fast Car” conjures a moment before things went sour. A driving, 4-4 beat and glossy ’80s sheen provide a backdrop for Syd’s vaporous vocals (“No one can see inside,” she croons, “do with me what you like”) before a glorious, Prince-like guitar solo breaks the whole song open like a cracked sunroof. ZOLADZOliver Sim, ‘Fruit’Harnessing the high drama of a power ballad, but holding all the airiness of the xx’s gauzy R&B, Oliver Sim’s “Fruit” is the kind of queer anthem only he could make. Produced by his bandmate Jamie xx, “Fruit” is a love letter to a younger self coming to terms with queer identity. “You can dress it away, talk it away/Dull down the flame/But it’s all pretend,” Sim whispers, oozing melancholia. He may have been the last member of the xx to go solo, but it has been well worth the wait. HERRERAFlorist, ‘Red Bird Pt. 2 (Morning)’This one’s a tear-jerker. Emily Sprague — sometimes a solo artist, sometimes the leader of the Brooklyn indie-folk group Florist — recounts the life of her late mother and her own early childhood in a series of vivid, cleareyed snapshots (“I’ve seen photos of the living room, we didn’t have a lot”), sung atop a gentle, fingerpicked chord progression. Synthesizer whirs mingle with bird chirps in the song’s airy atmosphere; Sprague and the band actually recorded it on a porch. That sonic embrace of the natural world becomes even more poignant toward the end of the song, which will appear on a forthcoming self-titled Florist album, when Sprague sings in a peaceful murmur, “She’s in the bird song, she won’t be gone.” ZOLADZDaniel Rossen, ‘Unpeopled Space’“Unpeopled Space,” a dazzling highlight from the former Grizzly Bear guitar virtuoso Daniel Rossen’s first full-length solo album “You Belong Here,” is a searching meditation about leaving the city for the country, as Rossen himself did a decade ago. But his arrangement is so full of compositional surprises and instrumental chatter — shape-shifting acoustic guitar riffs, croaking strings and dynamic percussion from his former bandmate Christopher Bear — that he makes the natural world sound every bit as alive as a teeming metropolis. “Whatever was, whatever will,” he sings to the vast green space around him, “we belong here now.” ZOLADZPink Floyd featuring Andriy Khlyvnyuk of Boombox, ‘Hey, Hey Rise Up’Andriy Khlyvnyuk from the Ukrainian band Boombox returned to his homeland to fight the Russian invasion. From Kyiv, he made an Instagram post of his defiant, full-throated rendition of a resistance anthem, “The Red Viburnum in the Meadow,” singing with a rifle slung across his chest. It moved Nick Mason and David Gilmour of Pink Floyd to build a full-length track around it — their first new Pink Floyd song since 1994, which will benefit Ukrainian relief. Pink Floyd accompanies Khlyvnyuk with somber gravity, buttressing him with organ chords and choir harmonies; a wailing, clawing Gilmour guitar solo sustains the mood of grim determination. PARELESJoyce Manor, ‘Gotta Let It Go’Emo bands tend to be verbose, but Torrance, Calif.’s Joyce Manor are unusually efficient — as if Taking Back Sunday had attended the Guided by Voices school of songwriting. “Gotta Let It Go,” a two-minute ripper from the band’s forthcoming album “40 oz. to Fresno” (out June 10 and named after an autocorrected text about Sublime) showcases the lead singer and guitarist Barry Johnson’s rabid but melodic holler, alongside the sort of crushing waves of distorted guitar that wouldn’t have sounded out of place on late-90s alt-rock radio. “You say it’s cute but you think it’s ugly,” Johnson shouts on the pummeling bridge — yep, a bridge in a two-minute song! Told you these guys are efficient. ZOLADZEl Alfa, Braulio Fogón, French Montana and Kaly Ocho, ‘Máquina de Dinero’El Alfa’s ascent as the king of Dominican dembow has come with its fair share of missteps: diluted EDM bangers, or pop-dembow tracks with a little too much gloss. So “Máquina de Dinero,” from his fourth studio album, “Sabiduría,” is an unexpected bombshell. El Alfa deploys his double entendres and witty raps over a gritty, shrapnel-like beat from his go-to producer Chael Produciendo, its deliciously raw, unfinished texture aligning more closely with the coarseness of his own early hits. His guests are surprising, too — Braulio Fogón and Kaly Ocho, titans of el bajo mundo (the underground dembow scene), along with French Montana. Just try not to laugh out loud when Montana says, “’Rican or Dominican, she bustin’ out the skirt,” and mimics the addictive hook from El Alfa’s summer heater “La Mamá de la Mamá.” HERRERAAlicia Keys, ‘City of Gods (Part II)’Alicia Keys let herself be treated as a mere hook singer alongside Fivio Foreign and Kanye West on “City of Gods,” shunted aside as they touted their careers. But with “City of Gods (Part II)” she reclaims the song as the plea of a spurned lover, begging, “Don’t leave me, go easy,” amid towering piano chords and cavernous bass tones, a voice trying to find its way through the cityscape. PARELESSun’s Signature, ‘Golden Air’Sun’s Signature is the partnership of Elisabeth Fraser from Cocteau Twins and Damon Reece from Massive Attack. In the 1990s, both groups conjured encompassing atmospheres, but in different registers. Cocteau Twins were mistily ethereal; Massive Attack was bassy and seismic. “Golden Air,” the first song from an EP due in June, is more protean. It works through multiple transformations — tinkly Baroque-pop, Minimalist a cappella vocal layers, shimmering psychedelic march — as Fraser sings cosmic musings: “My heart shall say to me/Do with me something.” PARELESS. Carey, ‘Sunshower’S. Carey, a longtime collaborator with Bon Iver, goes for billowing bliss in “Sunshower.” His multitracked falsetto harmonizes with cascading guitars and saxophones as he surrenders to the unexplainable beauty of a deep connection: “I don’t know myself before I knew you,” he realizes. PARELESSam Gendel and Antonia Cytrynowicz, ‘Something Real’One afternoon in Los Angeles, the saxophonist, keyboardist and composer Sam Gendel improvised some songs with Antonia Cytrynowicz, the younger sister of his partner, the filmmaker Marcella Cytrynowicz; at the time Antonia was 11 years old. They haven’t played them before or since. Luckily they recorded them, and realized they were good enough to release as an album; “Live a Little” is due May 13. In “Something Real,” Gendel circled through an undulating, slightly gloomy four-chord keyboard pattern as Antonia mused about what she was hearing: “Never knowing, never feeling/Like a sound, that is nice,” she sang. “You’re nice and gentle.” But dissonant feedback wells up at the end, suggesting that safety is fragile. PARELESMyra Melford’s Fire and Water Quintet, ‘For the Love of Fire and Water: II.’On “For the Love of Fire and Water,” the esteemed pianist and bandleader Myra Melford helms a new band featuring some of the most distinctive players in improvised music today: Ingrid Laubrock on saxophone, Tomeka Reid on cello, Mary Halvorson on guitar and Susie Ibarra on drums. On Track 2 of the 10-part suite, the quintet pulls itself forward with a mix of lethargy and restlessness, Halvorson and Laubrock — longtime musical intimates — carrying the nervy melody over Melford’s halting left-hand pattern, then improvising together in dyspeptic bursts. The tune itself is hard to keep track of, and the meter tough to count, but the stubbornness of the pulse and the resonance of the harmony may linger in your ear long after the track fades away. GIOVANNI RUSSONELLO More

    More stories

    • 138 Shares99 Views

      in Music

      Arcade Fire Ignites a Fresh Era, and 11 More New Songs

      by

      Hear tracks by Normani, Brad Mehldau, Valerie June 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.Arcade Fire, ‘The Lightning I, II’Rarely does critical consensus pivot as quickly and sharply as it did for Arcade Fire, a band that began the 2010s snagging a surprise album of the year Grammy for its beloved, towering double album “The Suburbs,” and ended the decade caricatured as out-of-touch scolds when its 2017 technology critique “Everything Now” left just about everybody cold. The overwhelming return-to-form narrative that has greeted its first new music in five years, from an album due May 6, though, suggests that many were simply waiting for the group to once again make songs that sound like “The Lightning I” and “II.” “I won’t quit on you, don’t quit on me,” Win Butler sings through gritted teeth on the first part of the song, which moves at the tempo of someone running against the wind. Then, all at once, the track kicks into a rapturous gallop and becomes the kind of urgent, clenched-fist anthem the band was once known for: “Waiting on the lightning, waiting on the lightning, what will the light bring?” Butler sings, burning once again with an earnest, fiery hope. Somebody kept the car running after all. LINDSAY ZOLADZOumou Sangaré, ‘Wassulu Don’Oumou Sangaré has carried a women’s song tradition from Mali’s Wassoulou region to a worldwide audience. Her first new song since 2017, from an album due in April, is the Malian fusion of “Wassulu Don”: the quavering vocal lines and call-and-response of Wassoulou songs propelled by the modal, six-beat electric guitar picking — echoing Ali Farka Toure — that has been called “desert blues,” topped by an openly bluesy slide guitar. The song, it turns out in translation, praises regional economic development “thanks to colossal investments”: a prosaic text for a euphoric piece of music. JON PARELESNormani, ‘Fair’Her debut full-length is so long awaited, to some people the phrase “new Normani album” has come to mean roughly what “Chinese Democracy” used to, or — heaven help us —“#R9” still does. But the arrival of Normani’s new single “Fair” is promising on two counts: It indicates that 2022 really could be the year she puts out that mythical album; and it’s much better than “Wild Side,” the sultry but ultimately snoozy Cardi B duet from 2021. Mining the liquefied sounds of Y2K-era TLC or Aaliyah, “Fair” is an anguished ballad with a deep, menacing undertow. “Is it fair that you moved on?” Normani asks, “’cause I swear that I haven’t.” All the while, the moody track throbs with a sputtering but persistent heartbeat. ZOLADZInside the World of RosalíaIn just a few years, the Spanish singer from Catalonia has grown into one of the most worshiped, scrutinized and counted on young artists in the world.Reinventing Flamenco: Rosalía first burst onto the scene with her take on tradition, earning worldwide acclaim and introducing new generations to the genre.New Album: With “Motomami,” the singer adds irony and humor to her thematic arsenal, while turning up the sex and swagger.The Making of a Star: Before racking up magazine covers and millions of views with her YouTube videos, Rosalía spent years training in one of the world’s oldest musical art forms.Diary of a Song: For her hit “Con Altura,” the singer and her collaborators entered the studio with the express mission of paying tribute to old-school reggaeton.Residente featuring Ibeyi, ‘This Is Not America’Setting aside his intramural reggaeton beef with J Balvin, the Puerto Rican rapper Residente returns to major sociopolitical statements with the furious “This Is Not America,” which is rapped in Spanish but purposefully titled in English. It’s a darker sequel to the hemisphere-spanning “Latinoamérica” by Residente’s former group, Calle 13: a far-reaching indictment of repression, corruption and abuse across North, Central and South America. Driven by deep Afro-Caribbean drumming and choir harmonies, it insists, “America is not just the U.S.A.,” with a video that recapitulates brutal human-rights abuses in nation after nation. PARELESBrad Mehldau, ‘Cogs in Cogs, Pt. I: Dance’A three-part suite, “Cogs in Cogs” sits at the center of Brad Mehldau’s new album, “Jacob’s Ladder,” which collects 12 complex, hard-toggling tracks: an attempt to use the tools of prog-rock — his first musical love — to explore how a worldly life might have both shaken and strengthened his Christian faith. Mehldau, who continues to build out from his fixed identity as one of the country’s top jazz pianists, plays almost every instrument on Part 1 of “Cogs in Cogs”: piano, Rhodes, harmonium, mixed percussion and more. He sings some, too. Underpinned by the syncopated rhythm and woven harmonic progression that he outlines at the start, the track works as a patient immersion, providing some balance to the heady overload of so much of this album. GIOVANNI RUSSONELLODonae’o featuring Terri Walker, ‘Good Mood’Everyone in this dystopian moment wants something better. Here’s a song for whenever, eventually, the situation might feel right: a stripped-down bit of electronic funk topped by gritty human voices, placed in a digital grid but hoping there’s a warm, real, physical space beyond it. PARELESSyd and Lucky Daye, ‘Cybah’On the brink of a new romance, Syd — Sydney Loren Bennett, the songwriter and producer who emerged from Odd Future — airs her misgivings in “Cybah,” whispering a question to a prospective partner: “Could you break a heart?” Lucky Daye responds with conditions of his own: “Promise me you’ll always keep my heart in a safe place.” The hesitancy is built directly into the track, three slowly descending chords atop a bass line that sometimes falls away into complete silence, keeping the next step uncertain. PARELESValerie June, ‘Use Me’Valerie June’s “Use Me” isn’t the 1972 Bill Withers song. It offers a more kindly, less exploited version of the same generously loving sentiment: “I’ll let you use me when the world is doing you wrong,” she promises. It’s a soul waltz that gathers a circusy momentum from an oom-pah-pah beat, slightly delayed snare-drum rolls and jovial horns that sound like they wandered into a bar and decided to stick around. PARELESRosalía, ‘Hentai’A delicate, demure piano arrangement serves as a sonic red herring for the raunchiest song Rosalía has released to date. On the surface, “Hentai” is achingly gorgeous, as sparse and intimate as anything the pop-flamenco queen has ever done. “So, so, so good,” she croons ecstatically on the chorus, starry-eyed and accompanied by nothing more than a few plinking notes — the sound of a multifaceted artist revealing yet another side of herself. ZOLADZEthan Gruska and Bon Iver, ‘So Unimportant’Two meticulously disorienting songwriters and producers — Justin Vernon (Bon Iver) and Ethan Gruska (Phoebe Bridgers’s producer) — collaborated remotely on “So Unimportant.” It’s a waltz that mingles an argument and an apology, with Gruska eventually deciding, “It’s so unimportant what started the fight.” What could have been a folksy, homey waltz is layered with hazy sonic phantoms — echoes, altered voices, electronic tones, a hovering string arrangement — that hint at the emotional complexities of everyday frictions. PARELESDanilo Pérez, ‘Fronteras (Borders) Suite: Al-Musafir Blues’As the founder of the Berklee Global Jazz Institute in Boston, the celebrated Panamanian pianist Danilo Pérez has a utopian goal, framed by his own experience of jazz: He sees the music as a tool for international solidarity, and a pathway toward some kind of global sonic language. Pérez’s Global Messengers are a transnational band that has grown out of his work at Berklee, and that seeks to put some evidence behind the ideas. “Al-Musafir Blues” comes as part of the “Fronteras (Borders) Suite,” which contemplates the pain of forced migration. “Al-Musafir Blues” is an 11-minute epic unto itself, starting with a plodding, lovely pattern from the Palestinian cellist Naseem Alatrash that melds slowly into a full-band arrangement; by the end, Pérez’s scampering piano is guiding the conversation. RUSSONELLO More