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Giveon is back with a new song called “Time.” The song appears on the soundtrack for the upcoming David O. Russell film Amsterdam, which stars Christian Bale, John David Washington, Margo Robbie, Taylor Swift, and others. The track was written by Giveon, Drake, and Daniel Pemberton, who also composed the score for the film. Pemberton is also credited as a producer on the song alongside Jahaan Sweet. Listen to “Time” below.
We’ve done this before. Three times, actually: once in 1999, once in 2003, and then again in 2010. So, why battle over the “Best of the 1990s” again? Well, for the same reason any good music is worth revisiting: because our understanding of it changes the more we learn; because there is still a thrill in discovering something we didn’t know about (or quite get) before; because taste evolves and grows, enriched by the passing of time. Nevermind that our current cultural moment oozes ’90s influence and nostalgia. What are the albums and songs from the ’90s that our current writers and contributors find indispensable? That have made a lasting impact on the way music is made and how we listen to it now? And what just doesn’t hit the same way it once did?
Questlove will executive produce a feature documentary on J Dilla. Dilla Time is adapted from Dan Charnas’ recent biography Dilla Time: The Life and Afterlife of J Dilla, The Hip-Hop Producer Who Reinvented Rhythm. Co-directed by Summer of Soul producer Joseph Patel and Darby Wheeler, the film “will be part biography, part musicology, and part musical meditation,” according to a press release, and is being produced in cooperation with the late Dilla’s estate.
Lil Baby is back with a new single. Titled “The World Is Yours to Take,” the track is built around an extended sample of the classic Tears for Fears song “Everybody Wants to Rule the World.” Check it out below. The song is set to appear...
Alvvays have shared two new songs from their new album, Blue Rev: “Belinda Says” and “Very Online Guy.” Colby Richardson created the video for “Belinda Says” while members of Alvvays contributed 16mm film loops. “Very Online Guy” was co-directed by Richardson alongside the band’s own Molly Rankin and Alec O’Hanley. In a press release, the band said, “This was easily the funnest thing we’ve ever shot. Enjoy our clunky low-bit collage of aliased key clacking and step-dance scramble on your CRTs.” Check out both songs below.
Queens of the Stone Age are reissuing their self-titled debut album in two editions, on black or orange vinyl, on October 21. It will be restored to its original track listing, omitting the tracks added on the 2011 reissue, and will feature the original Frank Kozik artwork and an obi-strip designed by the band’s longtime collaborator Boneface. Reissues of the band’s two latest albums, 2013’s Like Clockwork and 2017’s Villains, will follow on December 9, also with new obi-strips and on colored vinyl.
Have not released music in five years, but the band’s influence has been omnipresent: It’s there in Snail Mail’s thorny heartache anthems, Willow’s anxious pop-rock, and Meet Me at the Altar’s thrashing pop-punk manifestos. They practically topped the charts while on hiatus thanks to Olivia Rodrigo’s “good 4 u,” which credited their 2007 hit “Misery Business.” After much teasing, the real deal has finally returned. Taking notes from the Talking Heads and maybe even the Red Hot Chili Peppers, the trio’s comeback single, “This Is Why,” builds on the funky pop that colored 2017’s After Laughter, but shifts away from its predecessor’s bright gloss for something muddier and vaguely threatening. “This is why I don’t leave the house,” Williams chants on the spiky chorus, sharing cryptic frustrations with the world beyond her front door. “You say the coast is clear/But you won’t catch me out.” Marimbas add suspense at the bridge, and the song creeps forward, ultimately never pulling itself out of its paranoid spiral.
With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new albums from Alex G, Beth Orton, Makaya McCraven, Marisa Anderson, Sofie Royer, Lucki, and the Wonder Years. Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.)
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Bill Callahan has shared a new song from his upcoming album YTILAER. After recently sharing the album’s lead single “Coyotes,” today he’s back with “Natural Information.” Listen to the regular version of the song below, or if you’d rather, settle in for the six-hour YouTube visualizer below.
Maya Hawke’s success in Stranger Things and recent teen dramedy Do Revenge have solidified her as a promising new presence in Hollywood, or at least on Netflix. But she’s found another foothold in understated indie folk. Hawke’s second album, Moss, the follow-up to her 2020 debut Blush, sets endearing and melancholic self-reflection against warm, drumless instrumentation. She narrates each song in a white-smoke soprano, viewing herself and others through eyes both critical and kindly.
Both on their own and side by side, Joy Orbison and the brothers in Overmono have a knack for big-room anthems. Overmono cuts like “Le Tigre” and “So U Kno” strike the perfect balance between potent and pliable; credited to Joy Overmono, the collaborative production “Bromley” pulls off a similar trick. (Orbison, of course, pretty much invented the supersaturated, endorphin-rushing style that currently rules UK dance music with his 2009 single “Hyph Mngo.”) “Blind Date” is the first release from the three musicians since 2019’s “Bromley,” and it might cut an even more imposing figure than that song. Like its predecessor, it’s built around a snatch of vocals that’s been chopped into wordless delirium. But where they deployed the “Bromley” hook only sparingly, sending it tearing across the stereo field at unexpected moments, a tightly looped vocal snippet stretches across the length of “Blind Date,” like a particularly inviting expanse of shag rug. The real drama happens in the extended breakdown, when a more extended vocal sample goes sailing out over a void sketched by yawning, detuned synths. Oscillators whir; that hiccupping monosyllable pans desperately back and forth. It's dizzying, vertiginous, practically a parody of festival-sized drama—cartoonish in the best way, like the moment Wile E. Coyote goes skating off the cliff’s edge and hangs suspended in mid-air. Then, bang, the downbeat returns, and everything goes plummeting giddily back to earth.
Pitchfork is delighted to announce the final wave of artists for the second edition of its London festival, taking place across the city from November 9 to 13. Kae Tempest, Danny L Harle, I. JORDAN, Lucinda Chua, LCY, and Samia all join the lineup. Previously announced artists include Animal Collective, Faye Webster, Jenny Hval, Cate Le Bon, William Basinski, and Black Country, New Road.
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If any group could capitalize on indie’s embrace of pop and submission to nostalgia in the last decade, Yeah Yeah Yeahs surely might have reshaped their volatile Technicolor swagger to fit the bill to a tasteful T. But leave it to Karen O and co. to explode out of their hiatus with a cannon blast. Slowing down the drum beat of Show Your Bones opener “Gold Lion” to a mechanized crawl, “Spitting Off the Edge of the World,” the lead single from their first new album in nine years, hurls the band into a cinematic fever dream, trading the former song’s folky guitar strums for the cosmic churning of synthesizers. O, joined by experimental pop prince Perfume Genius, stares down the apocalypse with a commanding sermon, defiant but reflective as she comes to grips with leaving a rotting world to her son.
Content This content can also be viewed on the site it originates from. Over the last couple of years, Skilla Baby has floated around the Detroit rap scene as a protege of sorts of Sada Baby. While he was frequently drowned out by Sada’s theatrics on their joint tracks, his personality has really begun to shine on his own lately, whether it’s how he sounds like he’s arguing with himself on “Leave It in the Streets” or the way he directs his slick shit talk at an unconventional target on “Randall Upshaw.” Randall Upshaw is a lawyer that Skilla Baby hired who dropped the ball, so in the second verse he leaves the rap equivalent of a Google review: “Don’t ever hire Randall Upshaw for yo’ case that nigga weak.” Aside from that obvious highlight, the track has got a breezy instrumental and nice vocal touches, like his muffled delivery at the midpoint. He won’t be getting overshadowed for too much longer.
Natalia Lafourcade has announced the release date for her upcoming album: De Todas las Flores is due out October 28 via Sony Music Entertainment México. The album was produced by Adán Jodorowsky (son of filmmaker Alejandro Jodorowsky), and includes contributions from Marc Ribot, Emiliano Dorantes, Sebastian Steinberg, Cyril Atef, and more. It is Lafourcade’s first album of completely new material in seven years.
Run the Jewels were featured on Jimmy Kimmel Live!, playing their song “Ooh La La.” Killer Mike and El-P also brought featured guests Greg Nice and DJ Premier. Watch the performance below. Run the Jewels recently wrapped up the first leg of their North American tour opening for...
Overmono and Joy Orbison have teamed up on another new track as Joy Overmono, this one titled “Blind Date.” It follows the UK bass artist’s collaborative 2019 debut “Bromley.” Check out “Blind Date,” featuring a vocal hook from Abra, below. Read Pitchfork’s review...
Christine and the Queens is back with a new song from the Redcar project. The single is called “rien dire,” and it’s set to appear on the upcoming album Redcar les adorables étoiles (out November 11 via Because Music). Listen below. “Rien dire” is French for...
The Brownsville neighborhood of Brooklyn depicted in Ka’s music is stark: bleached of artifice, enhanced by religious levels of penance and gratitude. There’s constant talk of being damned, of making the best of bad situations brought about by poverty, police, drug dealing, and the irrevocable nature of street ties that bind. But the beats and bars that Ka conjures never feel one-dimensional. His voice flows through cracks in the street corners where friends were shot down, the directness of his writing birthing dark, cavernous alleyways and cupboards reeking of instant soups and desperation. The scope of early projects like Iron Works and Grief Pedigree is vast and gutting enough on its own, but Ka’s work grew more potent once he began using themes and concepts to canonize his story as an epic in its own right.
Saxophonist and jazz legend Pharoah Sanders has died, the label Luaka Bop announced. His cause of death has not been revealed, but the label wrote, “He died peacefully surrounded by loving family and friends in Los Angeles earlier this morning. Always and forever the most beautiful human being, may he rest in peace.” Sanders was 81.