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Playlist: Justin Timberlake Stays Funky (for now), and 9 more new songs



Every Friday, the pop critics of The New York Times take part in the new songs and highlights of the week, and in everything else that seems intriguing. This week we are listening to collaborations between Borns and Lana Del Rey, Kendrick Lamar and SZA, and Bruno Mars and Cardi B.

I just want the music? Listen to the playlist on Spotify here (or find our profile: nytimes). I like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a flurry of our pop music coverage once a week, here .

Justin Timberlake, & # 39; Filthy & # 39;

"Haters is going to say it's fake / so real" is the lingering chorus of "Filthy", Justin Timberlake's new single. Why so anxious, Mr. Timberlake? This is an unimaginative but astute electro-funk vamp with acid house accents, produced by Mr. Timberlake with Timbaland and Danja. It is cyclical and deliberate, like the soul music of the great band of the late 70's, and it barely bothers to show the agile voice of Mr. Timberlake. Maybe the elimination of the old Mr. Timberlake is the issue here. See also the video, in which Mr. Timberlake, in a turtleneck Steve Jobs, outsources his dance moves to an elegant robot. (Why this takes place in a "Pan-Asian Deep Learning Conference" in Kuala Lumpur is an unknown)

"Filthy" is not exactly the rebirth promised by the trailer for Timberlake's upcoming album, which was released a few days ago before. The album, which premieres in February, is called "The Man of the Woods", yes, you read it well, and the trailer is full of glossy shades and rich earth tones. There is a bonfire in the shape of a teepee, Mr. Timberlake adopting a baptism posture in a lake, and a moment when he turns his body extremely fast so that he can see the fringe of his flying leather jacket.

Maybe "Dirty" is a fake head, or maybe it's the final chapter of Mr. Timberlake's long-time R & B obsession before he returns to his roots. Or, in the words of the Bossip gossip site:

JON CARAMANICA

Borns introducing Lana Del Rey, & # 39; God Save Our Young Blood & # 39;

The composer Borns wisely surrendered to Lana Del Rey's aura of sensuality on the fleeting West Coast in "God Save Our Young Blood." It opens with a couple that wakes up at sunrise and then thinks of "hot wheels in the sun" and "warm waves on the coast where we love", while wondering idly about good and evil. The song is mixed with the distant fanfares of EDM with the ripple of "Sexual Healing" by Marvin Gaye. While Ms. Del Ray's voice is almost whispered in unison with Borns, it's definitely her world. JON PARELES

Bruno Mars with Cardi B, remix of & # 39; Finesse & # 39;

Another week, another reason to gloat over the rise of Cardi B. In this remix of "Finesse" by Bruno Mars, she hits with a cadence from the 1990s to accompany the spicy New Jack Swing production. But the real joy is the video, filmed as a faithful tribute to "In Living Color", from the multicolored costumes of Cross Colors to the dancers of Fly Girls. The only thing missing is DJ SW1. JC

Chico Mann and Captain Planet, & # 39; Ariwoko & # 39;

Two producers who are experts in rhythms of the African diaspora – Chico Mann, who also plays the guitar in Antibalas, and Captain Planet – collaborated on a 2017 album, "Night Visions" ", and has just released" Visiones nocturnas remixed "with the tracks retouched by a variety of colleagues, they also added a new song:" Ariwoko ", based on Fela Kuti's" Ariwo. "Its base is still Fela-style Afrobeat, but it has a floating and sparkling electronic superstructure and sparkles of styles from Senegal to the South Bronx JP

The Big Ol & # 39; Nasty Getdown, & # 39; Creatures of Habit & # 39;

The Big Ol & Nasty Getdown is a group of stars that crosses the entire landscape of the monster -out funk.In "Creatures of Habit", a new single from the band's upcoming album, "Volume 2", Angelo Moore channels his George Clinton's best juju, warning the listener about a thick bass line by Norwood Fisher (the two are longtime bandmates) at Fishbone). Mr. Moore awakens a rabble of voices in the backup chorus ("Come on, put it together / Come to the front / Come from the back / Funk, funk, funk"), and prepare things for the coup grâce : Snazz's guitar solo, fuzzy, by Vernon Reid. GIOVANNI RUSSONELLO

Kendrick Lamar and SZA, & # 39; All the Stars & # 39;

Duties are neatly divided into "All the Stars," the first single from the soundtrack that Kendrick Lamar and the president of his label oversees for the Marvel movie "Black" The victorious and inspiring tasks of a movie theme they are driven by the rhythm of the march and by the chorus of SZA, singing about dreams and proclaiming: "All stars are closer". And to make sure no one is complacent, Mr. Lamar is a combative credential: "Tell me what you're going to do with me / Confrontation is nothing new to me," he says. JP

They Might Be Giants, & # 39; All the time, what & # 39;

A rattle, a raucous rhythm, squeaking saxophones, fuzzy guitars and the nasal voice of John Flansburgh are signals of a more ironic and witty song in the voluminous They Might Be Giants. catalog, arriving shortly before a new album, "I Like Fun." But the lyrics are not that funny; They are trying to cope with a sudden and devastating break. J.P.

Trippie Redd with Swae Lee, & # 39; TR666 & # 39;

We are at the turning point where SoundCloud rap is becoming the soul of the new era. This duo between Trippie Redd and Swae Lee is an elaborate dance of lovely moans and sighs, Trippie Redd singing in the clouds and Swae Lee delivering sweet precise melodies. J.C.

Jamison Ross, & # 39; All for One & # 39;

Jamison Ross won the Thelonious Monk International Jazz Competition for drums in 2012, playing a reliable hand: he avoided pyrotechnic displays in favor of a dynamic and catalytic pulse, slightly intertwining New Orleans funk in his standard jazz swing . He was framing himself less as an innovator and more as the guardian of a new hybridated tradition. Since then, Mr. Ross, 29, has recorded two albums, both a mix of originals and covers with heavy debts to jazz and R & B from Crescent City, his adopted city. In the title track of the second album, he covers a little-known New Orleans R & B gem, superimposing the syncopated swirl of an Elvin Jones rhythm to what was once a cheery doo-wop melody. Their voices sink into a deep melody, betraying influences from across the map: jazz singer Gregory Porter, gospel star Marvin Sapp, and a singing drummer from an earlier era, Grady Tate. GR

Big Shaq with Lethal B, Chip, Krept and Konan and JME, & # 39; Mans Not Hot & # 39; (All Star Remix)

Sometimes the parody, in its effort to dismantle, ends up becoming universal, and it can unravel something true from the subject of its humor that otherwise might not have been the center of attention. Such has been the path of "Mans Not Hot", the grime parody of Big Shaq, a character of the comedian Michael Dapaah, who lovingly and deeply satirizes the grime culture.

What started as a viral sketch became a song, which went on to n. ° 5 on the British singles chart. (Imagine a song from "CB4" or "Fear of a Black Hat" becoming a Billboard hit along with Dr. Dre in the mid-1990s). His lyrics are absurd: "When the tinkle became squawk-croak / Your man crouching" – but his pose is almost serious. The stoicism of the song is the key: it is hot, but the jacket will not be removed, a tragicomic interpretation of the posture of a tough guy.

But the longer the song lasts, the simpler everything becomes. What is the distance between a huge boast given sincerely and an imagined excessive boast delivered comically, but with a serious face? Not much.

"Mans Not Hot" has been remixed ad nauseam in the months following its release, but the new All Star Remix, which features verses of titans and British rap, shows its true reach. It is true to the peculiarities of the original: the other rappers play effectively with the conceit of "quick math" by Big Shaq (Konan: "I call my young Jay-Z, why do you think he got the .44?") And also his glorious shooting sound effects, a grime staple, which prompts Lethal B to revise his hit "Pow (Forward)". Fundamentally, everyone takes the task seriously, which indicates that they understand at least a little of its fundamental absurdity.

In a way, more important than this remix is ​​the clip of the live presentation last month in which Big Shaq was accompanied on stage by many of the same rappers that appear in this remix, and also the star of Grime Stormzy. They smile like crazy while hitting with him: they know all the words, they know all the poses. They are happy to follow them. J.C.

Jon Pareles has been The Times' main music critic since 1988. He has played in rock bands, jazz groups and classical ensembles. He specialized in music at Yale University. @JonPareles

Jon Caramanica is a pop music critic for The Times and the host of Popcast. He also writes the Critical Shopper column for Styles men. He previously worked for Vibe magazine, and has written for Village Voice, Spin, XXL and more. @joncaramanica


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