Single file

There’s a bunch of great singles out right now, across numerous formats. Some I’ve blurbed for The Singles Jukebox, and some I’ve missed. Here’s a brief round-up.

 

Welcome back to the pop world, Aubrey! I mean, obviously he’s not been gone — “God’s Plan” just spent 11 weeks atop the Hot 100, felled only by Drake himself — but that was more of that bullshit Soundcloud/streaming ecoverse sadcore rap. “Nice for What” is a jam, a banger, a gonna-sound-awesome-on-the-radio-all-summer-long HIT. I’ve never responded to New Orleans bounce music before, largely because there’s not enough there there for my tastes. But finally, here’s N.O. bounce married to a real pop song, with verses, chorus, and ohmygod that sample from Lauryn Hill’s “Ex-Factor” which underpins the whole thing. The video’s glorious, too. Faux-feminist or not, this kicks. (Also, read what Chris has to say about why it’s #1.) [9]

 

More gorgeous deep house from Mondo Grosso, mixing in a touch of Timbaland ca. ’98 on the verses (which remind me of some of his most spatial work for Aaliyah). Aina the End, out of her comfort zone, sounds perfect against Mondo Grosso’s textures. Everything about this rings true. [10]

 

Everybody knows that Carrie Underwood sings big, but she really kinda outdoes herself here. This is a stellar slice of Nashville feminism penned by Underwood herself with three of the town’s greatest songwriters, Hillary Lindsey, Liz Rose and Lori McKenna (talk about a murderer’s row), also co-produced by Underwood, and it balances tenderness with just the right touch of bombast. This is a declaration of intent from the biggest woman in contemporary country music; she’s not fucking around. Neither is this song. [9]

 

Moby gets a “feat.” credit because this is basically A$AP Rocky spitting bars over a huge chunk of “Porcelain.” And that alone — from a major-label-signed platinum-selling rapper — makes this some avant-garde shit. [8]

 

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About thomasinskeep

I write about music.
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