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2016. december 19., hétfő


Jenny Hval, Solange feat: Sampha, Bon Iver, Anderson.Paak, Iggy Pop, David Bowie, Terrace Martin, Peter Silberman, Burial, Run The Jewels

Jenny Hval - Conceptual Romance 4:32
In Chris Kraus’ I Love Dick, romantic rejection becomes its own form of creativity. Spurned by the sociologist Dick, Kraus in turn rejects consummation as the end point of infatuation, and in doing so, interrogates the intersection of failure and desire. Named for Kraus’ “conceptual romance,” the centerpiece track of Jenny Hval’s Blood Bitch finds the Norwegian visionary opening a similar portal. On the precipice of heartbreak, she loses herself in her “combined failures” rather than succumb to sentimentality, and she arrives at a revelation.

Solange feat: Sampha - Don’t Touch My Hair 4:17
The personal is the political. And in Solange’s “Don’t Touch My Hair,” the political is black agency and resiliency in the face of the everyday. Blackness comes with certain truths in this country. Our blackness is laden with history, adversity, and overcoming. For black women, that is especially true. Admission into white society often inscribes sacrifice of the mind and body. We suppress our emotions in the face of hate. But recently many black women have refused to suppress their hair and, in the process, reclaimed bodily autonomy. We will no longer conform.

Bon Iver - 33 "GOD" 3:33
In between two incongruous moments—a tossed-off reference to the aggressively hip boutique hotel chain the Ace and a sped-up sample of country singer Jim Ed Brown’s “Morning”—something truly strange happens to Bon Iver’s “33 ‘GOD’”: It is besmirched by bird shit. You ears might not have noticed, but it's right there in the lyric video: What could pass for a manipulated string sample is rendered, in the style of a stage direction, as “(bird shit).” Its intended purpose is as inscrutable as anything in the song’s free-associative lyrics, which veer from diaristic fragments (“Sent your sister home in a cab”) to perfect couplets marrying the sublime with the quotidian (“I could go forward in the light/Well I better fold my clothes”). But that very inscrutability goes to the heart of what makes the song so fascinating—not just lyrically but also musically, as Vernon’s ruminative piano chords are tossed this way and that by odd squalls of digital interference.

Anderson.Paak - Am I Wrong 4:13
Dancing and self-consciousness make for one of the uneasiest combinations in music. But Anderson .Paak makes it work on “Am I Wrong” by sneaking it in under the cover of a supremely self-assured performance, shooting off about free time being precious and social effort not going to waste. As far as deflections go, Schoolboy Q playing retro-disco “Love Boat” guest star is a major one; you'd be excused for thinking it's the heart of the track, all no-worries party liberation.

Iggy Pop - Gardenia 4:14
He's absolutely enamored of a woman, Gardenia, but he's not singing some doe-eyed first date tune—this is a song about cheap motels and how "there's always a catch in the darkness." And the chorus, sung with beautiful harmonies from Homme, isn't about how he loves her—it's about how he wants to boss her around. This is a legacy artist foregoing romantic pop tropes and plunging the dagger into arduous, real-life dilemmas—loving someone despite their flaws, wondering if you're ruining their life by entangling it with your own, and finding satisfaction in telling another person what to do.

David Bowie - Lazarus 6:22
There is no resurrection in “Lazarus.” The song arrives as a moment of tension: a lumbering melody tugged along by mournful saxophones and guitars that sound like heavy doors slamming shut. In it, our narrator finds himself in danger. He drops his cellphone and heads to New York City, desperation never too far behind. He has a fleeting vision of himself in the not-so-distant future: “I’ll be free, just like that bluebird.” After a chaotic squall—the kind of wild, jutting rhythm that Bowie used to ride toward the heavens—things abruptly fade, giving the song an eerie, elliptical end. In his last video, Bowie acts out that finale, looking terrified before flashing a sudden devilish smirk and retreating into the darkness. You forget for a second that he’s acting; then you remember he’s not. –Sam Sodomsky

Terrace Martin - Think Of You 5:48
...The production on “Think of You” is as textured as you’d expect, offering a balance of multiple percussionists (including Martin), as well as keyboard, bass, and lightly distorted electric guitar. Martin’s arrangement allows the song to mine familiar forms without seeming too patterned. The relaxed and soulful opening vibe is created by the Fender Rhodes playing and and Rose Gold’s casually come-hither vocals. At the same time, subtle variations in the rhythm section—plus snippets of vocals put through filters—keep the song nimble. And Martin is generous with the spotlight, too. While you can hear his own alto-sax playing early on, he gives the song’s big-solo real estate to his tenor-sax colleague Kamasi Washington...

Peter Silberman - Karuna 8:48
The idea of losing any of your senses is terrifying, let alone losing one that is essential to your livelihood and passion. That’s exactly what struck Peter Silberman, though, when he lost hearing in one of his ears. The Antlers frontman had struggled with tinnitus in the past, but this experience (the sound of “rushing water” becoming silence entirely) was new and devastating. After learning to adjust to this new staticky pain, his return to the music world comes in the form of an upcoming solo album due February 24th via ANTI. Early taste “Karuna” displays the lessons he learned in his time of quiet, both in terms of performance and message. First, Silberman learned that he needed to play guitar and sing quietly to avoid serious pain, and the subtle, mellow track carries a tender fragility without sacrificing the power of his compositions. The song also works to “put a microscope on what’s going on in my mind at a given moment,.."

Burial - Nightmarket 7:25
There’s something innately familiar about “Nightmarket”, one of two new tracks from mysterious producer Burial. The rustling sounds that permeate the track feel like deja vu, like the sound of digging through a drawer for something without knowing exactly what it is you’re looking for. The synths, too, come from someplace deep down yet unspecific, from 100 different classic electronic tracks and yet clearly entirely unique in their stuttering array. The wisps of wordless vocal melody and subsumed spoken word are equally dreamlike, their meaning somehow just out of reach. Burial may have been unmasked as William Bevan, yet he’s no less mysterious, still releasing tracks as if magically pulling half-formed memories out of the collective unconscious.

Run The Jewels - Legend Has It 3:25
Sampled vowel sounds have rarely sounded as good as they do as the backbone of “Legend Has It”, the latest massive uppercut from the duo of El-P and Killer Mike. “RT&J, we the new PB&J/ We dropped a classic today,” Bernie’s pal Mike drops, and he’s not overstating it — this one’s great. From the sampling of the crowd chanting Run the Jewels’ initials to El’s genius rap-game-Tinder analogy (“I am the living swipe right on the mic”), this duo have produced yet another banger worth bragging about.

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