Home Entertainment Prog-Emo Surprise by My Chemical Romance and 12 more new songs

Prog-Emo Surprise by My Chemical Romance and 12 more new songs

by YAR

My Chemical Romance, the New Jersey band that fused pop-punk drive, hard rock crunch and opulent glam productions, announced their breakup in 2013 and released their last new song in 2014. Though the band reunited for Touring in 2019, “The Foundations of Decay” is their first new material since then. No punk sarcasm for now; As the music develops from a measured dirge to a forceful anthem, the lyrics acknowledge and criticize the ravages of time, even on the verge of a new tour. JON PARES

On their debut album, “A Light for Attracting Attention,” The Smile is Radiohead’s Thom Yorke and Jonny Greenwood backed by a different drummer: Sons of Kemet’s Tom Skinner. The ingredients of the new band add up largely as expected: a lighter take on Radiohead’s longstanding thoughts of alienation and malaise, pushing the beat to the fore. Skinner kicks off “The Opposite” on his own, with a sizzling, shifting funk beat that’s soon capped off by a buildup of overlapping, kick-starting guitar riffs, each adding a new hint of disorientation. Yorke could be describing the track itself when he sings, “It goes back and forth followed by a question mark.” WALLS

“Welcome to Hell” heralds black midi’s third album, “Hellfire,” due out July 15. It’s a jagged, funky, moody mini-suite, at times brutal and sardonic, with lyrics about the dehumanization of a soldier. “Dying for your country doesn’t win a war/Killing for your country is what wins a war,” sings Geordie Greep. Music is exhilarating; the aftertaste is somber. WALLS

Kendrick Lamar has done a series of songs called “The Heart” as a preface to his albums. “The Heart Part 5” arrived a few days before his new one, “Mr. Morale and the great climbers”. As always, Lamar’s work is multi-layered, self-questioning, thoughtful, rhythmic and bold. The track’s insistent and twitchy conga drums, bassline and choruses come from Marvin Gaye’s “I Want You,” a title Lamar reuses to address fans of his. On the sonic level, Lamar’s rapid voice challenges the congas for its syllable-for-syllable momentum. His mission is “Sacrifice personal gain for everything / Just to see the next generation better than ours.” The music video for the song uses ultra-fake technology to make Lamar look like loaded cultural figures like OJ Simpson, Kanye West and Nipsey Hussle. This is hip-hop working through its own implications, contradictions, and repercussions. WALLS

Flores’ voice has brilliance, but it can also wrap messages of pain and pride in moments of soft sharpness. On “Brown,” from her debut EP “The Lives They Left,” she reflects on her upbringing on the El Paso-Juarez border: the violence of government agencies like ICE and CBP, as well as the small joys of everyday life, which she calls “brown trust” and “brown love”. A lone saxophone echoes under the production, as Flores reflects on the resilience of the indigenous ancestors who came before her: “When they ask you where you come from / 16,000 years we are here / Valleys stained with blood and tears / Mexica let them know / This is the land that we have sown/We put the seeds that grow.” Elizabeth Herrera

“Michael” is a relatively subdued song for an artist as flamboyant and kaleidoscopic as Remi Wolf, but he puts his stamp on it nonetheless. Written with Porches mastermind Aaron Maine, their first time working together, and Wolf’s touring guitarist Jack DeMeo, the song is a sung representation of romantic despair, with Wolf singing from the perspective of someone clinging to a obsessive relationship that he knows is doomed. . “Michael, take my hand and spin me around until I’m dizzy,” he pleads over a murky electric guitar progression. “Loosen my chemicals.” LINDSAY ZOLADZ

Australian singer-songwriter Julia Jacklin’s music is a gradual buildup of small, sharp lyrical details, and “Lydia Wears a Cross,” the first single from her forthcoming album “Pre Pleasure,” is full of them: two young girls “band listening sound of ‘Jesus Christ Superstar'”; a child “singing every word wrong” in a parade float; a catechism teacher instructs her students to pray for Princess Diana. Such snapshots create a broader atmosphere of religious indoctrination and questioning Jacklin’s youth: “I felt pretty in the shoes and the dress/Confused by the rest, can you hear me?” The arrangement is sparse (drum machine, echoing piano notes) to enhance Jacklin’s narration, but a subtle unease creeps in as he hits the haunting chorus: “I’d be a believer, if it was all just song and dance / I’d be a believer, if I thought we had a chance. ZOLADZ

Ben Gibbard sings about numbness and detachment, stating “I’m learning to let go/Everything I tried to hold on to,” on “Roman Candles,” an album preview due out in September. But the music belies any pretense of serenity. Drums, bass, and guitars overload and distort, pounding away in a relentless two-minute surge. WALLS

There’s usually some angst hidden between the muscular classic rock riffs on a Black Keys album. The duo’s new track, “Dropout Boogie,” includes “How Long,” a betrayed lover’s confession of desperate devotion. Just two descending chords, a cycle of disappointment, carry most of the song, with layers of guitar piling up like headaches. “Even in our last hour/See the beauty of the dying flower,” Dan Auerbach sings on the bridge, but the obsession isn’t over; the song ends with the narrator still wondering, “How long?” WALLS

It’s not the Jimi Hendrix song. “You and I know that love is all we need to survive”, insists Joy Oladokun in her own “Purple Haze”, preaching union in the face of terrible possibilities. A syncopated acoustic guitar and Oladokun’s determined vocals hint at Tracy Chapman as she begins the song; more vocals and guitars join her, insisting on optimism even if “maybe we’re running out of time.” WALLS

Ambar Lucid may be known for her raucous, arena-sized voice, but on her new single, she ventures into new territory. “Girl Ur So Pretty” sparkles like pixie dust: In an airy, understated falsetto, the 21-year-old artist serenades her crush over sparkly synths and 2000s girl-group handclaps. It’s a welcome twist. on the bubblegum pop of a bygone era, and also brings her wry humor: “I can’t tell if I’m in love or high,” she sings. “I don’t normally like earth signs.” BLACKSMITH

There is a sense of nervousness and restraint in the music that drummer and vibraphonist Ches Smith is making with his new quartet featuring Mat Maneri on violin, Craig Taborn on piano and Bill Frisell on guitar. It’s not complete dread, but it’s not mere anticipation either. For an LP led by a drummer, “Interpret It Well” is full of long passages without percussion; the latent tension hangs where the percussion might have been. On the title track, Smith plays the vibraphone in a resonant octave pattern, with the rest of the quartet fidgeting behind him. A blues aside from Frisell sends the band into silence, and Taborn plays a long cadenza. At the end of the nearly 14-minute track, the four move forward together. This is the peak, but the stench of anticipation still lingers, as if something stronger, or completely peaceful, awaits up ahead. GIOVANNI RUSSONELLO

Trombonist-composer Jacob Garchik treated his new album, “Assembly,” as a canvas for some impressive formal experiments, and there’s rarely a dull moment. His themes include spontaneous improvisations reformulated through overdubs; complex compositions that mix two different tempos; and dissections of pieces from the jazz canon. On the fast-charging “Fanfare,” as Garchik and soprano saxophonist Sam Newsome harmonize in a series of descending and ascending patterns, the off-track accompaniment of the rhythm section gives the illusion that things are speeding up. Then suddenly a long, laid-back passage begins, just trombone and piano, with Garchik sounding as buttery as Tricky Sam Nanton over changes taken from Duke Ellington’s “In a Sentimental Mood.” RUSSONELLO

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