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Jorja Smith, ‘What’s Done Is Done’
What could have been a sullen, bitter good-riddance song — and still is with lyrics like “Was it always just words or was it always just her?” — is downright festive instead. Jorja Smith sings the accusations of “What’s Done Is Done” over pizzicato strings, a brisk beat and backup vocals that might as well be taunting, “nyah-nyah.” She’s dancing her way out the door.
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Drake, ‘Road Trips’
Drake tries to shrug off a separation that might well be a breakup in “Road Trips.” Backed by blipping, ticking synth-pop, he admits that “Destiny is telling you to go,” but his goodbye isn’t exactly gracious; he hints that she’s selfish and money-grubbing, and he gripes, “Why is the solution always running away?” He adds, “I’m supposed to be the one whose heart is made of ice,” putting self-pity first.
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Genesis Owusu, ‘Stampede’
“Time to start a riot,” Genesis Owusu declares in “Stampede.” Born in Ghana and based in Australia, Owusu is a rapper and singer whose political messages have grown increasingly blunt on his third album, “Redstar Wu & the Worldwide Scourge.” Galloping electro-pop, topped by electric guitar, makes Owusu a cheerful class warrior as he raps lines like “Giving my reply with a bat / Find a oligarch, get him taxed.”
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KatzPascale, ‘Hold Me (Slowly)’
KatzPascale, the duo of Sammi Katzmann on saxophone and Jenna Pascale on cello and vocals, uses loops, multitracking and effects to construct a sonic haven in “Hold Me (Slowly)” from a coming EP, “Elegy.” Elaborate counterpoint ripples around Pascale’s breathy vocal harmonies as she sings about falling into sensuality.
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What’s New in Jazz
Davíd Sanchez, ‘Benkos y Los Cimarrones’
Davíd Sanchez, a saxophonist from Puerto Rico, found historic inspiration on a visit to San Basilio de Palenque, Colombia, a region founded in the early 1600s by “cimarrones” — runaway Afro-Colombian slaves — who were led by Benkos Bioho. In the local music he heard connections to the Puerto Rican bomba beat, a diasporic kinship. Fierce percussion drives “Benkos y Los Cimarrones,” which opens with sprinting saxophone and drums and leads into a deliberative melody and expansive solos, soon meshed with unstoppable Afro-Caribbean percussion.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.nytimes.com ’
