EGN NEWS DESK
“Prologue” is definitely the ultimate observe on Kamasi Washington’s coming album, “Fearless Movement,” and it’s dense and bustling. Double time drumming, frenetic percussion and hyperactive keyboard counterpoint roil round a melody that rises resolutely over descending chords, whereas breakneck solos from Dontae Winslow on trumpet and Washington on saxophone exult in sheer agility and emotional peaks. JON PARELES
Shabazz Palaces — Ishmael Butler from Digable Planets — units up a sci-fi situation in “Take Me to Your Leader” from his album due March 29, “Exotic Birds of Prey.” He and a visitor rapper, Lavarr the Starr, must persuade a strong, mysterious queen that “our race deserves to outlive.” Amid blipping electronics and slow-pulsing bass, with voices warped by echoes and results, they set out a method of presents, philosophizing, seduction and “a steady-bumping beat she will be able to freak with.” PARELES
Salt Cathedral, ‘Off the Walls’
A decade-long friendship by some means turns into an ecstatic romance in “Off the Walls” by Salt Cathedral, the duo of Juliana Ronderos and Nicolas Losada. “Getting alongside wasn’t our robust swimsuit/however I’m joyful that we noticed it by way of,” Ronderos sings in a observe that melds hovering electronics, crisp programmed beats, Afropop-tinged guitar curlicues and Ronderos’s multitracked vocals into sheer bliss: “Feeling like I by no means did earlier than.” PARELES
4batz that includes Drake, ‘Act II: Date @ 8 (Remix)’
“Act II: Date @ 8” by 4batz is clearly indebted to music coming from Toronto within the early 2010s, when Drake and the Weeknd have been collectively laying the bricks to remake the sound of pop. And in order that gradual, sensual, saccharinely off-kilter down-tempo R&B hit — which has run rampant by way of TikTok and elsewhere over the for the previous couple of months — getting an old school Drake-remix bump is a full-circle second. It’s additionally a student-teacher conference: 4batz’s rendering of an infatuation has an fringe of titillation, whereas Drake’s is calm and picked up. JON CARAMANICA
Somewhere between a hymn and a sea chantey, “All in Good Time” — from Iron & Wine’s album due April 26, “Light Verse” — has Sam Beam’s earnest tenor and Fiona Apple’s huskiest alto buying and selling traces about togetherness, estrangement, shared reminiscences and classes realized: “You wore my ring till it didn’t match,” Apple observes. Piano chords ring and strings swell because the track’s two ex-partners harmonize to seek out, if not reconciliation, a mature sense of resignation. PARELES
Mustafa, ‘Imaan’
The Canadian people singer Mustafa’s specialty is isolation and longing, rendering them with magnificence and, by some means, with out nervousness. On “Imaan,” the primary single from a forthcoming album, the topic is about how two star-crossed individuals try to seek out methods to attach when religion (and perhaps different issues) demand that they don’t: “You say praying isn’t straightforward/And all of the methods you want me are from God/And all of the methods you attain him are flawed.” It’s concerning the stress between the carnal and the religious, however extra merely, about two people who find themselves speaking proper previous one another, as a result of the value of speaking straight to one another could also be far too excessive. CARAMANICA
Swamp Dogg, ‘Mess Under That Dress’
Still a provocateur at 81, the wry Southern soul veteran Swamp Dogg plans to launch “Blackgrass: From West Virginia to a hundred and twenty fifth St.,” an album that has him backed by bluegrass virtuosos like Sierra Hull on mandolin, Noam Pikelny on banjo and Billy Contreras on fiddle. “Mess Under That Dress” bounces alongside as Swamp Dogg sings a few lady who’s so sultry, she even has the undertaker fearful. “You’re dangerous for enterprise,” he frets. “You’re gonna elevate the dead.” PARELES
In the early days of corridos tumbados, a technology hole grew between the younger performers injecting regional Mexican music with new rhythms and perspective — and gaining widespread consideration — and the older musicians who had been plugging away for years discovering success inside the scene however going largely unheard elsewhere. Those partitions have, fortunately, been dissolving, as evinced by this vibrant collaboration between Fuerza Regida, one of many pioneer bands of the final decade, and Eden Muñoz, the previous frontman of the long-running and very standard band Calibre 50. It’s a tag-team of chest-thumping bravado — not in opposition to one another, however collectively. CARAMANICA
Laufey, ‘Goddess’
“I’m a goddess onstage, human once we’re alone,” the ever-poised Icelandic pop-jazz crooner Laufey sings in “Goddess,” envisioning a post-show hookup. The tune is an old school, acoustic piano waltz with a sudden, grandiose buildup. Like a lot of Laufey’s songs, it pinpoints a decidedly up to date stress, between excellent picture and earthly actuality. PARELES
Moor Mother that includes Alya Al Sultani, ‘All the Money’
Deep-voiced and completely unflinching, Moor Mother — the poet and vocalist Camae Ayewa — turns her consideration to the British Empire, and all its colonial plunder, in “All the Money” from her album “The Great Bailout.” With manufacturing by the keyboardist Vijay Iyer that floats echoey piano notes over a cavernous bass pulse, swirling echoes and a wailing operatic voice, Moor Mother considers church buildings and museums and artwork objects. She lists dates and catalog holdings within the thousands and thousands; she cites “thieves disguised as explorers” and whispers, “Where did they get all the cash?” PARELES
