Lizzo rose to fame at just the right time: back in 2019, when pop music was full of messages body positivewho pushed to respect and visualize all types of bodies – including their own – subtext of the songs that were part of their album Because I love you. Such stunning singles as “Juice” or “Good As Hell” starred in all television commercials between 2019 and the different lack of confidence the following year, in which the singer brought a little lightness. The difficult revalidation comes along Specialwho tries to repeat this formula without being tiresome: powerful and self-confessed messages, but never leaden, complemented with a wink R’n’B vaguely retro but always digestible through funk formulas. You first single, “About Damn Time,” was an up-and-coming disco anthem that fell short. Lizzo is doing better on this second try, which has her wondering if she should break the habits of a single woman and be totally sovereign, when an unexpected love shows up. It works perfectly, although it’s hampered by a certain penchant for lightness, leading Lizzo to steer clear of the role models she seems to imitate, like Michael Sembello’s “Maniac” or Laura Branigan’s “Gloria”. ALEX VINCENT
In 2012, the Atlanta rapper released his album rap music, one of the best hip hop albums of the year. It seemed like he was finally getting the success he deserved. And he almost did. But in a twist that was as surprising as it was rewarding for the next 10 years, Killer Mike teamed up with the producer of rap music, El-P, and together they formed Run The Jewels, one of the most perfect music machines of this century. This “Run” is his first solo release since then. Produced by No ID, it’s backed by a sluggish bassline and a killer Mike who seems to have flow even when reading the newspaper. Out of Prison, Young Thug collaborates with some verses that, without being essential, add some dynamic to the song. The video plays a monologue by David Chapelle and brings out Soldiers, Nazis and Confederates in a visual representation of the edit with all the intricacies gutted. XAVI SANCHO
There are albums that belong to a certain moment and that no matter how much time passes and no matter how many times you listen to them, they will always be connected to that time. It happens with the albums, the songs that accompanied us during the months of imprisonment. This music is always associated with baking bread at home, burning cakes because you never thought to turn on the oven, or sitting up in the living room because you’ve been drinking a lot of beer for three weeks and moving around alone, live from the sofa to the bathroom, back and forth. Taylor Swift, Dua Lipa, Waxahatchee, Fiona Apple… and sorry. British band sensation In the As of this late winter 2020 he released his debut, 925, on March 27 of this year. And in the homes where 1994 is longed for, the ground has been leveled. Now they’re back with this “Let the Lights On”, a preview of their second LP, a little more pop than their previous references scruffy, some electro from broken guitars and rusty basses. It’s a cynical, clingy, and addictive love theme. Everything has a nasty edge in Sorry. And that’s why they’re special. XS
A few weeks ago, Billie Eilish presented a new song live in Manchester. And the moment went viral. First, because it’s been five years since Eilish presented anything new live. Second, because the song, which describes a moment of universal intimacy – gives an emotional hangover zap– dedicating a verse to two of the themes that have shaped the news in 2022. “The internet has gone crazy seeing movie stars in court while they’re Roe vs. Wade,” she sings, referring to the Deep and Heard trial and the 1970s abortion rights case in made the United States constitutional. Only with voice and guitar to the climax, where a Synthesizer underpins the melody, and the song offers a similar structure to the theme that won Eilish an Oscar with a few months ago. In the final part, the Mancunian audience is heard singing choirs: a fitting homage to the same place where the 2017 terrorist attack took place during an Ariana Grande concert. BEATRIZ G.ARANDA
Nothing beats summer to release a melodic song with suggestive lyrics. after two singles More experimental, the Londoner comes to life with something more approachable but equally interesting, using a voice more typical of R&B than the hip-hop deconstructions we’re used to. Co-produced by three of the most precocious producers in recent British pop music, Mura Masa, Sega Bodega and Karma Kid, the song serves as a soundtrack to those moments in bed where reality and dreams intertwine and where anything is possible in between the erotic and the sound avant-garde, who play with onomatopoeia and fluid sounds and once again demonstrate the original talent of a unique artist. BGA
Like so many bandleaders, Marcus Mumford, singer-songwriter with Britain’s Mumford & Sons, has opted for a solo path. In September he wants to release the first album without a band. Is about self proclaimed and will feature collaborations with Clairo, Phoebe Bridgers, Brandi Carlile and Monica and will be produced by Blake Mills. This first preview, video clip captured by Steven Spielberg with a mobile camera, shows a more relaxed Marcus with a production lofi, almost near Sufjan Stevens. The Mumford & Sons hallmarks emerge in the final section of the song with that lofty, euphoric, somewhat epic string passage. It doesn’t look like we’ll see a very different Marcus from the group, although hopefully the final production will be less bombastic and more subtle and appreciative. FERNANDO NAVARRO
Contemporary North American folk always has big plans to band together. One of the most recent is Bonny Light Horseman, the group formed by Anaïs Mitchell and Eric D. Johnson of Fruit Bats and The Shins with Josh Kaufman who has starred with The National, Hiss Golden Messenger or Josh Ritter. With such exquisite credentials, Bonny Light Horseman released an outstanding and delicious first album. Now they’ve just announced a second album, and Summer Dream is a preview that seeks, in his words, “the spirit of a summer gone by.” With the rhythm of a hot and sleepy night, this mid-tempo captivates with its intimate and elegant touch, reminiscent of Norah Jones. The harmonica unfolds until it invades the subconscious as if it were the nostalgia of an unforgettable summer. Precious. Everything indicates that Bonny Light Horseman will offer us one of the albums of the year. FN
Needless to say, Beyoncé’s seventh solo album is one of the events of the year as of yesterday. As he has already indicated singleBreak My Soul, the album, is inspired by the multiple impacts that dance music has had over the last few decades, through an almost endless series of tongue-in-cheeks that follow one another at a frenetic pace and have the considerable merit of not sounding eternal Déjà-vu. Right from the first listen, this “Cozy” stands out, in which Beyoncé alternates the different registers she’s covered over the past decade, ceding a starring role to the deaf and fast rapping she’s already explored lemonade and on the Carters album. He demonstrates this with bombproof alliteration (“Been down, been up, been broke, collapsed, recovered‘ he sings with a Flaubert-worthy sense of omission). The lyrics urge their interlocutor not to mess with his sister, which has reminded broadcasters of the infamous 2014 elevator brawl between Jay Z and Solange Knowles, which he referenced in a remix of “Flawless.” this new theme may remind you from afar. It is most likely a non-negotiable. In the final verse, a series of chromatic verses recreates the colors of the rainbow flag and takes the listener to another of the leitmotifs of the album: the LGTBIQ collective’s contribution to the liberation space that will have been dance music. a.v.