Arthur Russell, "You Did It Yourself"

Arthur Russell"You Did It Yourself"Iowa Dream (out 11.15 on Audika)There's something very fitting about a new project of recordings by the late, great Arthur Russell dropping 6 weeks before the end of the decade. In many ways, the multi-instrumentalist's sound feels at home along the wildly experimental, genre-fluid music Read more

Images & Words: The 1975, "People"

The 1975"People"Notes on a Conditional Form (out 02.22.20 on Dirty Hit)The Used, Head Automatica/Glassjaw, Primal Scream, Marilyn Manson, Blur, The Refused. And that's only six of the roughly 600 random bands that the new 1975 track brings to mind. And somehow, just like mother-fucking always, they pull it off. Read more

Caroline Polachek, "Ocean of Tears" & "Parachute"

Caroline Polachek"Ocean of Tears" / "Parachute"Pang (out this fall on Columbia)Ok, now I'm getting really excited about the ex-Chairlift vocalist/composer's first album under her real name. Following up on her wonderful first single "Door," these two new tracks highlight Polachek's spellbinding voice and evocative, powerful songwriting. Though you can Read more

The Round-Up: The Best Albums of the 2nd Quarter

Ana Roxanne~~~Leaving RecordsThe Oakland bedroom artist’s debut project is a staggering slice of ambient music that pulls subtly from the R&B and pop vocalists that she grew up on. Her voice sounds far away but pulls you in close (think: Grouper’s “Ruin”) and is ready to tell you its Read more

The Round-Up: The Best Songs of 2019, So Far (Honorable Mention)

As promised, here is the rest of my favorite tracks of the year that didn't quite make the cut for my main list. Songs are in no particular order. Chromatics “Time Rider”bahahahahah (Italians Do It Better) “Dear Tommy” is obviously never coming out. But I did get to hear this Read more

No Rome, “Rimbaud, Come Sit for a While”

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No Rome
“Rimbaud, Come Sit for a While”
Crying in the Prettiest Places (out now on Dirty Hit)

I’m not sure this tears of a fuckboi ballad is quite as good as that album title, but that is a pretty damn high bar. The Filipino artist’s second EP is a solid step forward from 2018’s RIP INDO HISASHI. Though things still feel quite low-stakes, Rome really knows his way around an ear-worm and has a knack for making subtly sweet sad songs like this.

Bruce Springsteen, “Hello Sunshine”

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Bruce Springsteen
“Hello Sunshine”
Western Stars (out 06/14 on Columbia)

The Boss rolls back the years and delivers a vintage performance in the shape of this haunting road song. The first single from his first studio LP since 2014, “Hello Sunshine” unpacks Springsteen’s long, now public battle with depression. Backed by gorgeous keyboard and slide guitar filigree and a rolling bass-line, Springsteen basks in the open road’s healing properties, hoping to hold on the freedom and relief it delivers long after his journey ends.

Images & Words: Bedouine, “Echo Park”

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“Echo Park”
Bird Songs of a Killjoy (out 05.31 on Spacebomb)
Fuuuuck. Azniv “Bedouine” Korkejian’s beautiful, windswept picker is really making me miss LA. Languid and subtly majestic, “Echo Park” is a plainspoken love letter to the bustling community and all its perfect imperfections. She rolls her eyes at rising rents and lame scenesters, but can’t help be swept away by the gentle breeze and that beautiful view. Which, unlike just about everything else, arer still free.

Images & Words: Sevdaliza, “Martyr”

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Digital Single

The Tehran native continues to pump out brilliant, fascinating tracks that defy categorization and always have something to say. Taut and quivering with tension, her newest single, “Martyr,” has touches of peak Portishead with its pulsing baseline and pounding drums, and is injected with clever Middle Eastern-tinged, stringed counter melodies. Vocally, she’s so expressive, slithering through the beat dramatically and pulling so much emotion out of every word. Truly one of the best making music today.

Images & Words: Hayden Thorpe, “Love Crimes”

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Hayden Thorpe
“Love Crimes”
Diviner (out 05.24 on Domino)
The second taste of the former Wild Beasts front-person’s debut solo LP is even better than the first. Backed by driving pianos and rising strings, the Lake District native pushes his unique falsetto hard and digs into why we often do such shitty things to the people we love the most. It’s not terribly novel subject material, but the delivery is sublime and singular, which is what separated Wild Beasts from the rest of the pack for during their 10-year career.

The Round-Up: The Best Songs of 2019 (1st Quarter)

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Even though we’re a solid week into the second quarter, better late than never right? Here’s a quick round-up of some of my favorite songs of the last three months. To keep numbers manageable, I didn’t include anything from any of my favorite albums list and prioritized songs I haven’t yet written about. For all of our sakes, I tried (and mostly failed) to keep write-ups Tweet length. Songs are in no particular order.

Duggie x Odunsi (The Engine)
“Nightshift” (f/ Omagz)

Sojourn (out now on Blac-Apollo)
I’ll start the list by breaking my own rule. Though I wrote about the criminally under-reported Nigerian producer’s masterful debut EP on my Albums List, I couldn’t make this list without mentioning my possible song of the year so far. “Nightshift” is a beautiful marriage of styles that injects an Afrobeats heart into a smooth late-night R&B body, resulting in a borderless sound that mirrors our increasingly borderless musical world. Odunsi (The Engine) is quickly becoming one of the key figures of Nigeria’s ultra-exciting, new alté generation, and his versatile, playful delivery beautifully matches Duggie’s busy percussion and aqueous synths. Omagz rounds things off with a sublime, laid-back verse that sums up the track’s effortless magic.

Orville Peck
“Turn To Hate”
Pony (out now Sub Pop)
Blessed with a booming baritone and a razor-sharp pen, the masked man from Nevada dropped one of the most interesting debut records of the year. “Turn to Hate” is a rich, evocative country rocker that perfectly sums up Peck’s nontraditional, yet traditional country sound. You can hear classic crooners like Roy Orbison and Chris Isaak in his voice, but there’s a palpable modern edge to his music, which defies characterization and stands out from the rest of the scene.

Digital Single
The talent coming out of LA is insane right now, but the Princess of Compton is as exciting as anybody. Besides being a whole slap, “Spotlight” highlights Azjah’s impressive ability to switch up her flow on a dime, weaving between playful, melodic singing and stinging barbs with ease. “Spotlight” is the kind of track that sticks in your head the moment you hear it and is a press push away from being a smash.

“Kno U See It”

THE DOPE SHOW (self-released)
I probably should have included the Houstonian’s syrup-soaked screw tape in my best albums list, but this Young Joc flipping, molasses-thicc creeper more than stands on its own. Though OG Ron C was always quick to remind you that his music was “chopped up, not slopped up,” Rabit leaves all the slop in, layering dense waves of sound alongside the pitched-down, infernal vocals. What a glorious mess.

Triad God

“Gway Lo”

Triad (out now on Presto!?)

“Know what the fuck I’m saying?” mutters the Vietnamese-born, South London-based Vinh Ngan on this dreamlike track. And even though his words are hard to make out (and sometimes in Vietnamese), if you listen closely, you’ll start to get it. Triad God keeps his voice down low, repeating a few mantras over and over, on top of a gorgeous vocal sample and angelic strings from producer Palmistry. The effect is hypnotic and affecting, and if you listen closely, you’ll realize what the fuck he’s saying much quicker than you think.

La Dispute
“Fulton Street I”
Panaroma (out now on Epitaph)
Though I wasn’t familiar with the Grands Rapid emo vets, this frenetic, wild-eyed freak-out reached out and grabbed me. This track gives off serious At the Drive In and mewithoutyou vibes, and vocalist Jordan Dreyer’s wild-eyes vocals and frantic questioning are as cathartic as anything either band ever delivered.

Dan Bodan
“I Get Along Without You Very Well (Except Sometimes…)”
Digital Single
Though the Berlin resident has mostly kept a low profile since his wonderful 2014 DFA debut LP, “Soft,” he popped his head up on this magical piano ballad that recalls the timeless sound of Cole Porter. Blessed with one of the sweetest voices around, he’s also an affecting, impactful songwriter, who will hopefully be hearing more from this year.

The BoyBoy West Coast
“Bottoms Up”

TikTok Snippet
Though we’re still waiting for the full version, I have a feeling that it won’t be able to match the bonkers magnetism of the “Bottoms Up” original viral snippets. Everything about the clips is striking and unique — from the low-rent, iPhone auto-tune to the eyebrow/goatee combo to the cheeseball mannerisms. It’s abundantly clear that BoyBoy is cut from a different cloth… and that cloth is fire a velour hoodie.

Sam Binga x Paul Wall
Digital Single
A Houston vet and a UK bass-music futurist might seem like an odd couple, but they combine deliciously on this slithering single. Binga’s delicious, cinematic keyboard filigree and bouncy bass is the perfect tonic for Wall’s relentlessly quotable bars (“Pockets fatter than a pregnant giraffe”) and evergreen charisma.

Laura Stevenson
“Living Room, NY”
The Big Freeze (out now on Don Giovanni)
On one of the high-points of the Hudson Valley singer-songwriter’s undeniable fifth album, Stevenson injects a little extra urgency into her modern folk stylings. The result is a simple, yet spellbinding tune about yearning to be with someone (or somewhere) and the way those urges can dominate every inch of your thoughts.

Lucinda Chua
“Feel Something”
Antidotes 1 (out now, self-released)
The London composer’s debut single, “Somebody Who,” was one of my favorite tracks of 2018. And this year, Chua gave it a worthy project to belong to. The EP’s first track injects a little bit of quiet storm into her sound and pushes her mega-soothing voice a little higher into the mix. The results are subtly stunning.

Hayden Thorpe
Diviner (out 05.24 on Domino)

Though Wild Beasts are rarely mentioned among the best bands of their generation, the Lake District quartet was always one of my favorites. And though I was disappointed that they broke up last year, I’m optimistic about vocalist Hayden Thorpe’s forthcoming solo work. First single, “Diviner,” pairs his odd, quivering falsetto with sparse, twinkle-toed pianos to delicious effect.

Townes Van Zandt
“Sky Blue”
Sky Blue (out now on Fat Possum)

Posthumous releases are always dicey, even when it comes to legends like TVZ. “Sky Blue” is a bit of a grab-bag — mostly covers and live versions of well-known tracks — but its title track is a rare gem. One of the disc’s two previously unheard originals, the Texan sounds utterly miserable here, just a lonely picker, struggling to find meaning in it all.  It’s that certain kind of melancholy that he made his name on and is tailor-made for his worn, but warm voice.

Carly Rae Jepsen
“No Drug Like Me”
Dedicated (out 05.17 on Interscope)
Carly Rae is the queen of the pre-chorus. Nobody in modern pop does a “big build to a chorus” better than 33 year-old, and “No Drug Like Me” is one of her absolute best. The way she slightly hangs on “starry-eyed” and “open wide” ratchets up the tension beautifully before the chorus hits and lets the song breathe again. It’s a clever trick that ensures that each of her hooks feel like big releases, and she’s an absolute master at it.

PSYCHODRAMA (out now on Neighbourhood)
To be honest, I just haven’t quite gotten to the South Londoner’s debut LP yet, but fuck, “Streatham” is hard. Over crawling piano melody, the 20 year-old weaves a pair of vivid, characteristically sharp verses about the neighborhood that made him who he is. Dave’s got this unique ability to drop heavy bars without weighing down the tracks, allowing him to hit on serious topics without coming off preachy. A huge talent.

Colin Self
Siblings (out now on RVNG Intl.)

Though the record came out on the back-end of last year, I had to mention this swirling, swelling single from the Berlin-based multi-disciplinary artist. The disc deals with searching for a home for yourself in an often unfriendly world, and “Survival” is its soaring centerpiece. Self delivers one of the most unforgettable vocal performances of the year, as a bed of strings and monstrous drums rise around them.

“Outer Body”
Dolos (out now on Coil)
The Manchester producer’s long-awaited debut LP is a labyrinthine jungle of sound built around Blade Runner synths and skittering futuristic grime percussion. Early standout, “Outer Body,” undulates and wobbles like an open ocean without doing too much and getting the listener seasick.

Weyes Blood
“A Lot’s Gonna Change”
Titanic Rising (out now on Sub Pop)

Though I haven’t gotten to it yet, I will write more about the Natalie Mering’s bewitching fourth album soon. For those who haven’t dug in, its first song is a perfect place to start. The LA singer lays her powerful voice on top of an impossibly lush bed of strings and piano, singing to her younger self about the rocky road that lies in front of her. She doles out the kind of advice we could all have used in our younger years but never would have actually listened to.

“Ghetto Angels”
Digital Single
A modern hymn for anybody who has ever had to bury a close friend, the rising Alabama artist absolutely pours his heart out over spare 808s and Sunday Mass pianos. The verses are dripping with all the feelings that accompany a tragic loss: the initial shock, the hollow feeling that follows, and finally, the steely determination you’re left with to live for your friend and honor their memory. The feelings are heavy, but the music is light — ascendant even — and it drags NoCap’s lonely, weary vocals to the finish line, until they’re finally raised high by the rest of his friends who join him on the last chorus. Hard to find a better song than this one this year.

Russ Splash
“Gun Lean

Digital Single
No song called “Gun Lean” should be this innocent and carefree, but the UK driller’s breakthrough single is as buoyant as anything I’ve heard this year. A massive viral dance craze in his native England, the Gun Lean has been lighting up everything from TikTok to Premier League pitches and shows no signs of slowing down.

03 Greedo
“Traphouse” (f/ Shoreline Mafia)

Digital Single
Though he sits incarcerated in Texas for a non-violent crime, 03 Greedo’s presence still looms large. The LA native’s whiny refrain (“no sheets on top of my behhdddd”) drives this weightless West Coast banger and outshines solid verses from members of the city’s most popping group, Shoreline Mafia. It’s a testament to how much Greedo can do with a single line and a sad reminder that he was cruelly denied the moment that his elite talent deserved. Free Greedo.

Steel Banglez
“Fashion Week” (f/ AJ Tracey & MoStack)

Digital Single
Quickly becoming one of the most consistent hitmakers in the UK, the East London producer seems primed for a stateside takeover. On “Fashion Week,” Banglez enlists a few of the usual suspects on one of smoothest songs of the year. Over steel drums and syncopated drum patters, AJT and MoStack go verse for verse, dripping with dangerous levels of charisma and confidence.

Lil Uzi Vert
“Free Uzi”

Digital Single
The Philadelphia rapper is quickly developing into the rarest kind of superstar: the one with enough resources to do exactly what they want and the guts to do it. A few months after announcing his retirement (¯\_(ツ)_/¯), Uzi dropped this ultra-dynamic, frenetic new single out of the sky and shut the internet down. Very few people have this much power and even fewer choose to wield it in such an exciting way.

The Japanese House
“We Talk All The Time”

Good At Falling (out now on Dirty Hit)
I never would have guessed that Imogen Heap would become one of the dominant influences in indie-pop, but here we are, and I’m not mad about it. Nobody does Garden State-core better than the Japanese House (né Amber Bain), and “We Talk All The Time” is probably my favorite song she’s ever written. An affecting elegy on the last days of a relationship, Bain beautifully chronicles the gradual, painful way that two lovers can pull apart at the seems — with physical intimacy often being the first casualty.

Holy Ghost!: “Escape from Los Angeles”

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Holy Ghost!
“Escape from Los Angeles”

Work (out 6.21 on West End)
After six years away, the former DFA disco dudes of yester-decade are returning with another collection peak-era Williamsburg analog vibes. “Escape from Los Angeles” is the third (and tastiest) new single from their forthcoming third LP, featuring lush beds of synth pads, tasteful percussion, and nostalgic, faraway vocals.

The Round-Up: The Best Albums of 2019 (First Quarter)

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Gah, I can’t believe we’re already 25% through 2019. That said, Spring is in the air, and we’ve enjoyed an excellent, diverse crop of music during these first three months. Have a look at some of my favorite LPs of the year so far in no particular order.

Dawn Richard
“New Breed”
Our Dawn
Probably my favorite project from my favorite R&B artist of the last ten years, “New Breed” is the New Orleans native’s most personal statement to date. In just over half an hour, Richard guides us through the eclectic, electric sound of her hometown, talking her shit and telling her story without fear, apology, or one ounce of bullshit. Truly a one of a kind.

Read my longer review for No Recess, here.

Default Genders
main pop girl 2019
Aka “Love in the Time of Fentanyl,” James Brooks’ (formerly of Elite Gymnastics) second LP was one of my favorite musical surprises of the last few years. Though his previous work is pretty patchy, this project is absolutely breathtaking and impossible to categorize. The Minneapolis native paints twelve affecting portraits of young people on the brink, with Rockwell’s eye for detail but none of his idealism.

Read my longer review for No Recess, here.

“After its Own Death / Walking in a Spiral Towards the House”
When a new Liz Harris project arrives out of the blue, you don’t ask questions. You just thank your lucky stars and hit play. I don’t know what a “Nivhek” is and why this isn’t a Grouper record, but I do know it feels like a welcome callback to her (even more) experimental early work. Though it only has four tracks, it’s her longest project in years, stretching almost to an hour. Each of the songs have movements that shift between ambient moments of stillness, harsh synth drones, and the odd bit of singing. It’s the kind of thing that will give back what you put in and only start to reveal itself on repeat listens.

Various YouTube Videos
Trying to keep up with the rising PG County rapper’s music is a full-time job. There’s basically no info about him online or a hub for his thrilling, unpredictable music on Spotify, DatPiff, Soundcloud, or social media. So, YouTube searches and random clicks are as good as it gets. And honestly, that sense of random discovery and lack of context is a perfect microcosm for Xan’s music, as his stream of consciousness, oft-arrhythmic flow doesn’t fit into categories or marketing best practices. It just fucking goes.

Jayda G
“Significant Changes”
Ninja Tune
The ground is thawing, the days are getting longer, and New Yorkers are emerging from their holes at a rapidly increasing rate. It’ll never be a better time to throw yourself into the gorgeous, multi-faceted dancefloor odyssey from Berlin-via-Vancouver artist Jayda Guy. The incredible disc’s nine tracks touch on everything from deep house to 90s rave to R&B to straight up disco with the touch of a master DJ who knows how to intertwine a bunch of different sounds to craft one cohesive, exhilarating set.

A real hidden gem, I literally have found zero information online about the Lagos-based producer or his magnificent new EP. However, everything you need to know about this guy can be heard on this incredible project, featuring three near-perfect slices of modern R&B-meets-Afropop. The intoxicating first is a silky devotional, sung by rising crooner Kaysnap, while “Popular” is a playful, late-night number with dancehall touches. The third, “Nightshift,” is probably my favorite, pairing two strong voices from Nigeria’s alté scene on a track that deserves to be a global smash. I need to do some more digging on Duggie, but context be damned, these are three of the absolute best songs I’ve heard in 2019.

Listen to the EP on Spotify.

American Football
American Football
A double helping of #dadfeelings, the emo legends’ wonderful third LP features some of their most beautiful guitar-work and Midwestern mope master Mike Kinsella’s most cutting lyrics. Built around endless layers of impossibly twinkly guitars, Kinsella uneasily tries to ease into fatherhood, wondering how they hell he got here and whether he’s the right man for the job. Jokes aside, it’s an affecting, considered look at growing up, accompanied by tuneful, tasteful musical virtuosity.

“Future Hndrxx Presents: The WZRD”
San Nayvadius’ hot-streak continues on this uneven, but exciting new project. Admittedly, it’s probably 8 tracks too long. But this is 2019, make yourself a playlist. Tuneful, upbeat pre-release singles “Jumpin on a Jet” and “Crushed Up” both delivered the goods, but Future really gets in his bag on the back-half of this project. Whether he’s crooning his ass off on “Baptize” or trading daggers with Young Thug and Gunna on “Unicorn Purp,” the 35 year-old still has so much to give.

“M for Empathy”
Double Double Whammy
At just 16 minutes for 11 songs, you could be forgiven for writing off the Texas folk experimenter’s new album as inessential sketches. You’d be wrong, of course. But I’d understand. The truth is, her third LP is a powerful collection of tracks that explore empathy and care (for herself and others) with arresting insight and a real intent to connect. Some may find her earnestness off-putting, but in this world, we need it more than ever.

Chief Keef
Glo Gang
Chief Keef and Zaytoven have so much in common. Though they are good collaborators, the duo basically operate in their own respective lanes, creating sounds and vibes that are all their own. So it’s no surprise that their joint LP is a fantastic, surprising journey into the minds of two of the great sonic auteurs of the last ten years. Zay serves up a tasty, multi-faceted collection of beats — from muscular street rap (“Sneeze,” “Han Han”) to reflective, luxurious piano magic (“Ain’t Gonna Happen,” “Petty”) — and Keef switches his flow up to match each of them, bringing out some of his most forceful, personal raps.

Ariana Grande
“thank u, next”

Though it doesn’t feel quite as ubiquitous as her other projects, this sharp, consistent LP is probably my favorite Ari record front to back. We all knew the lead single was a classic going in, but playful swooners like “needy” and “bad idea” are among the most weightless, joyful pop songs that you’ll hear. That said, centerpiece “ghostin” stands on its own. The spellbinding, farewell ballad to ex- fiancé Mac Miller beautifully underlines trauma’s ripple effect — the way the death of a loved one spreads far beyond the person you lose and wriggles into all the corners of our lives. An absolute masterpiece.

“When I Get Home”
Frankly, I’m surprised by the fairly tepid response to Solange’s long-awaited follow-up to 2016’s beloved “A Seat at the Table.” Maybe its unhurried, subtle elegance is anathema to the way we consume culture in 2019, or maybe it was just missing a breakthrough single. Whatever the case, the jazzy “When I Get Home” extremely deserves your time. The disc takes listeners on a personal, loving journey through her hometown, revealing so much about what drives her and what makes her the artist that she is.

Jessica Pratt
“Quiet Signs”
Even though she’s quite well-known, Jessica Pratt’s music feels like a secret — like you found it at the bottom of a box of records in your grandma’s attic. Her hushed third LP is another direct hit, deftly expanding on the pastoral folk of her first two albums with well-chosen moments of pan flute, organ, and strings. The results are languid, soothing tracks that can’t help but conjure up memories and spark daydreams.

Croatian Amor
Posh Isolation
Danish producer Loke Rahbek has the ability to conjure up both dreams and nightmares, often in the scope of a single song. “Isa,” his sixth LP, delivers plenty of both, striking a deft balance with aqueous ambient synths, industrial percussive touches, and the odd, fleeting human voice. The result is an engulfing, cinematic journey into our increasingly robotic hearts, considering where the organic material ends and the digital begins… or if there’s even a line at all anymore.

“Freewave 3”
The Chicago native’s new project feels like it’s submerged in 10 feet of water. Over a cavalcade of downtempo, downtrodden beats, he lays out his bleary-eyed reality, dogged by addiction and tragedy. Few artists tackle addiction with the unglamorous, brutal honesty of the 22 year-old, and in a scene that often glorifies drug use, Lucki does anything but.

Better Oblivion Community Center
“Better Oblivion Community Center”
Dead Oceans
Though the Phoebe Bridgers/Conor Oberst collab is probably my least favorite Bridgers-related project, BOCC still has a handful of lovely moments. The duo sound best to me when the arrangements are spare (see: “Dominos” and “Didn’t Know What I was in For”) and Bridgers takes the wheel. Ultimatley, there’s just too much of Oberst’s creaky voice on here for me, but hey, some Phoebe is better than no Phoebe.

“Better EP”
Memory Music
“Sounds kinda like Lifehouse and Third Eye Blind” may not sound like a compliment at face value, but the Philly four-piece’s updated take on the 90’s mod-rock sound of my youth tickles all my musical pleasure centers. Led by the solemn vocals and evocative writing of front-person William Lindsay, the “Better EP” explores the cruel wages of addiction that he observed both from his North Philly neighborhood and in his own life. Though it’s only three songs, it has a hell of a lot to say.

Images & Words: Bedouine, “Bird”

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Bird Songs Of A Killjoy (out 5.31 on Spacebomb)
The LA-based folk singer (né Azniv Korkejian) is prepping the follow-up to her excellent 2017, self-titled debut, and this swooning stunner is our second taste of it. “Bird” adds the light touch of strings to her normally stark, acoustic guitar-driven arrangements. The fuller sound adds an extra helping of drama to the song, matching her heartsick lyrics that beautifully deal with the struggle to move on from somebody you love(d).

Sky Ferreira, “Downhill Lullaby”

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Sky Ferreira
“Downhill Lullaby”
Masochism (out soon? on Capitol)
It’s been almost six years since we’ve heard from Sky Ferreira — the person behind one of my favorite songs of the last 10 years — but the talented 26 year-old has kept busy, appearing in a ton of movies, modeling, and, of course, tinkering with her oft-delayed second LP. Its first single is a gothic, foreboding funeral jam that pairs her doleful voice alongside a creeping Type O Negative baseline and cinematic, swooning Lana Del Rey strings. It’s an unexpected move, but it fucking works and also underlines what makes Ferreira such a compelling figure. I can’t wait to hear the rest of the project.