Internet pop artist Cece Natalie has made blingy 2000s-inspired bedroom pop and hypnotic R&B infusions. Her latest track, “Not even lying,” is a moody swirl of downtempo piano and whining synth. Its mesmeric hook describes the unsettling feeling of anticipating a betrayal that never comes: “You were supposed to turn evil, but you never did/YouRead More
Generations of gay sadsacks have found solace and identification in the melancholy blush of ’80s dream-pop and indie rock, and so it goes for Chappell Roan, who, on her new single, “The Subway,” treats an open wound with the sounds of the Cocteau Twins, the Sundays, and the Cranberries. Roan has an uncommonly good ear:Read More
It’s been a little while since Zach Bryan made a real rocker, something like “Overtime” or “Revival” that’ll make you want to raise a fist and scream along. He hit some climaxes on The Great American Bar Scene—the peaks of “Pink Skies” and “Oak Island,” and later with the emphatic charms of “Blue Jean Baby”Read More
Eighteen months since his last EP, Burial drops us in the middle of a desolate plain. Murky drones swirl, winds howl, and a voice full of Biblical portent mutters, “I saw something… flower, bloom from nothing.” Whatever “Comafields,” the title of the new EP’s A-side, might mean to Burial, the 12-minute track certainly suggests aRead More
Born from a fusion of Dominica’s folk music and computerized instrumentation, bouyon has become one of the most bugged-out genres in the West Indies. Me being me, I prefer the side of the scene—currently the hottest music on its birth island and in Guadeloupe—that’s taken on the raunchiness of modern soca and dancehall. I’m talkingRead More
The other day on the BQE, while “Teddy’s Jam” off Guy’s immortal debut rattled out of my car speakers, my sister hit me with her criticism of Justin Bieber’s new album, SWAG. “If you’re gonna name your album that, I want it to make me want to dance like this song does,” she said, asRead More
When does a comfort become a crutch? “You keep on feeding that Afrin addiction,” Karly Hartzman sighs halfway through Wednesday’s “Pick Up That Knife,” “Squeezing the bottle and burning from itching.” If she’s chastising a pal for decongestant overreliance, it’s only in the way someone else at the bottom of the metaphorical bottle can. InRead More
Che and OsamaSon’s new track “Hellraiser” is freakishly bubbly, the kind of staticky delirium that Jay-Z’s “D.O.A.” tried to warn us about. Set off by CXO’s elastic synths, Che and Osama test their breaking points as if to see whose Auto-Tune plugins would crash first. The duo’s scratchy chirrups mulling ketamine and Goyard and siliconeRead More
In the 2010s, Los Angeles churned out a kind of sultry alt-R&B influenced just as much by the sunny hooks of 2000s urban radio as the grooves of the city’s psychedelic beat scene—think early Anderson .Paak, the Internet, or Thundercat. “MTV’s Pimp My Ride,” by L.A.-by-way-of-Sacramento newcomer zayALLCAPS, sounds a little like something from thisRead More
underscores are an anomaly in the chaos vortex of hyperpop. The 25-year-old April Harper Grey approaches albums with the plotting skills of a novelist; 2023’s Wallsocket was themed after an imaginary Michigan town, for which she created a fake website complete with fictional mailing address, student newspaper, and “Moms of Wallsocket” discussion forum. Her songsRead More
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