Home » Taylor Swift and Put up Malone’s Regretful Duet, and 9 Extra New Songs

Taylor Swift and Put up Malone’s Regretful Duet, and 9 Extra New Songs

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“I really like you, it’s ruining my life,” Taylor Swift and a subdued Put up Malone sing to one another, filled with breathy remorse, in “Fortnight,” the track that opens Swift’s new double album, “The Tortured Poets Division: The Anthology.” They’re each obsessing over a quick however unforgettable affair, despite the fact that each of the track’s narrators at the moment are married — and, to make issues worse, neighbors. “Your spouse waters flowers, I wanna kill her,” Swift notes. The music is a measured march with vocal harmonies wafting by digital areas the place the recriminations can smolder.

Greg Gonzalez, the songwriter behind Cigarettes After Intercourse, units decadent, morbid, sex-and-drugs eventualities to plush, slow-motion retro-rock that David Lynch may respect. In “Darkish Vacay” he’s taking capsules, “sipping Château Lafite Rothschild” and listening “to the final message that you just left/Then the voice from the suicide hotline.” He’s calm, even just a little self-satisfied, as he invitations somebody to “Really feel it throughout you/Crash and fall.”

The association is basically acoustic, but there’s nearly a trip-hop undertow to “Raat Ki Rani” (Urdu for “Queen of the Evening”) by Arooj Aftab, the Grammy-winning, culture-fusing Pakistani singer who’s now based mostly in New York Metropolis. One piano be aware repeats all through; Asian percussion provides deep, deliberate syncopation, and Maeve Gilchrist’s harp swirls between verses. Aftab sings about attract and longing in a long-breathed melody suffused with melancholy poise.

Most of Claire Rousay’s discography has been wordless ambient music, filled with ephemeral, edge-of-perception sounds. However her new album, “Sentiment,” is nominally a set of pop songs, with melodies and lyrics. It’s pop at its most fragile, attenuated and surreal. “Lover’s Spit Performs within the Background” — named for a Damaged Social Scene track — is a ballad of lonely self-assessment, set to delicate guitar choosing, cello drone tones and eerie reverberations. “For probably the most half I hate me too,” Rousay sings, together with her voice electronically filtered, alienated even from herself.

The guitarist and songwriter Ben Seretan has a catalog that encompasses songs and instrumentals, quiet ambient tracks and blaring rock. “New Air,” from his coming album “Allora,” presents yet one more aspect. Recorded in 2019 with a power-trio lineup of guitar, bass and drums, it’s a jammy, droney, eight-minute track that circles again to the chorus “We breathe new air for the primary time.” It hints at kraut-rock and psychedelia, eases again for an occasional vocal and builds to pummeling, skirling peaks.

In 2016, Yannis Philippakis, the guitarist and lead singer from Foals, seized an opportunity to document in Paris with a band led by Tony Allen, the drummer who pioneered Fela Kuti’s Afrobeat and died in 2020. Now he has gotten round to ending 5 songs for an EP, “Lagos Paris London,” due August 30. “Stroll Via Fireplace” rides a crackling, ever-surprising Allen beat — there’s no telling the place a fast little drumroll will erupt — and more and more distorted guitar riffs, whereas Philippakis summons the apocalyptic tone of Jim Morrison, howling, “Town burns whereas it says my identify.”

Self-doubt provides solution to decided hope in “Gentle as Grass” by the English songwriter Lucy Rose. She wonders whether or not another person can ever perceive her; she’s prepared to take the prospect. The construction matches the thought course of. For a lot of the track, she performs blunt piano chords that map a tough, fluctuating meter. However as she reaches the refrain — “I noticed you” — all that uncertainty is swept right into a waltz.

Richard Thompson has been writing steely, stoic British trad-rock songs because the Sixties. His newest, “Freeze,” is from his subsequent album, “Ship to Shore.” With rumbling drums, a crisp mandolin and temporary, probing solos from Thompson’s electrical guitar, the track jigs its manner by usually bleak Thompson predicaments — “One other day with out a dream/With no hope, with out a scheme” — for characters frozen at a second of resolution.

Dusty piano arpeggios carry “How It Begins” by the off-again, on-again trio Loma, whose members overcame profession and geographical separations to document a brand new album, “How Will I Reside With no Physique?” The track itself suggests a tentative however inevitable reunion: “That is the way it begins to maneuver once more,” Emily Cross sings, as Jonathan Meiburg (from Shearwater) and Dan Duszynski construct an association behind her, gathering heft as they reconvene.

Kenny Wollesen — a percussionist who has performed with Tom Waits, Laurie Anderson, Invoice Frisell, John Zorn and lots of others — leads Latrala, a jazz quintet laced with electronics. “Uptown,” from an album due Might 3, revolves round a two-chord vamp that’s layered with a number of little vibraphone motifs and melodies, generally flipped backward. In the meantime guitar and saxophone wrangle on the sidelines. It’s a meditation that simmers with inner drama.

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