Ice Spice Joins Taylor Swift’s ‘Karma,’ and 9 More New Songs

Mutual appreciation or celebrity damage control? Taylor Swift’s Apparently New Boyfriend – Matty HaleySince 1975 – mocked Bronx rapper Ice Spice and made other offensive comments on a since-deleted podcast that may (or may not) have been humorous; Social media erupted. Now, praise and good feelings all around, Ice Spice Swift gets her moment on a remixed track that predicts karmic vengeance on all the singer’s detractors and obstacles. Ice Spice seizes the opportunity in his verse to warn, “Karma never slows down.” Jon Perles

Beyoncé has now dedicated the opening minute of her song “America’s Got a Problem” to Kendrick Lamar – the Pulitzer Prize-winning rapper she’s collaborated with before. His verses use multiple voices and registers to pick fights with corporations (Universal) and technology (Artificial Intelligence) while acknowledging hip-hop’s history while praising Jay-Z. It is a commercial inclination “Renaissance” An album that also deepens a sense of layered traditions and traditions. Somehow the timing of the new track adds 4:20. Pearls

“I don’t play it safe,” Dua Lipa insists on her sparkling, disco-kissed “Dance the Night,” the first single from the soundtrack to the upcoming “Barbie” movie. But the song itself — with a bit of a rehashing of the trusty “Memories of the Future” formula “Can’t stop the feeling!” Thrown – makes the opposite argument. Though disappointingly self-serious and light on the “Barbie Girl” camp, “Dance the Night” is a wildly fun summer jam that showcases Lipa’s easy confidence: “Oh my dress is too tight,” she says. Sings, “You Can See My Heart Beating Tonight.” Lindsey Zoladz

“Everyone’s Crushed,” the title track from Brooklyn art-rock duo Water From Your Eyes’ excellent new album, is a kind of lyrical Rubik’s Cube, finding Rachel Brown spinning and rearranging some deadpan phrases while exploring Until they click into a new meaning. “I’m with everybody I love, and everything hurts,” Brown declares, prompting Nate Amos to belt out a caustic, angular guitar riff. The song makes room for both a collective sense of general anxiety and the relief of sharing it with others: “I’m with everybody that I’ve hurt,” Brown concludes, “and everything. love is.” ZOLADZ

Squid is one of those British bands reframing prog rock in a post-punk context, mixing musical technique and caustic attitude. In “The Blades,” Squid sets a tense 7/4 beat and a snarling counterpoint of guitar, drums, and horns, as Ollie Judge sings, insisting, and eventually screaming, about surveillance and indifference. . The song climaxes with an eerie vision of a crowd that looks like blades of grass, “begging to be cut,” then leads to a quietly isolated coda. Pearls

Long Island punk life Jeff Rosenstock’s voice as well as songwriting skills are on full display in “Like You Better,” a single that’s as stripped-down as it is catchy. Racing thoughts and a pounding heartbeat set the song’s antithetical pace, before he shrugs it all off in a cathartic refrain: “I liked you more when you weren’t on my mind.” ZOLADZ

A drum machine beat from a cellphone app ticks behind “Time and Accidental,” a song about a newfound romance with a longtime friend from a city he rarely visits. Jess Williamson, born in Texas but well traveled, recently collaborated with Katie Crutchfield (Waxahatchee) as a country indie-rock band. plain; It will be the title song of his next solo album. “My life is somewhere far away,” she sings, and later, guitar and banjo join her, “Look me in the eye, I know it’s experimental.” But the song is happy to be inspired. Pearls

The situation is clear — “You, man, I’ve got a girlfriend” — but the music is murky and brooding, as R&B songwriters Bullock Odyssey, from Austin, and Kirby, from Memphis, commercialize expressions and a disloyalty. Rationalism about what caused it. “Dopamine and Hennessy.” Over a slow, slow beat, between echoing vocals and electric stars, Bulk Odyssey delivers disbelief and hesitation, answered by Kirby’s high-pitched whisper, both uncertain and then charming. “See you in the next life,” they vow before parting. Pearls

“Space Orphans” joins Ichiko Aoba’s extensive catalog of quiet, skeletal, soothing songs, often accompanied only by her acoustic guitar. They are similar to bossa nova, American folk pop and Japanese koto tunes. A string arrangement—warmly sustained and at times harmonically ambiguous—opens the track as its Japanese lyrics speak of an otherworldly romance, where “we sleep every night/in a quiet place, they neither There is no land and no sea.” In an initiative led by Brian Eno called EarthPercent, Earth is recognized as a co-author and receives royalties for environmental programs. Pearls

“The King” has clear echoes of the minimalism of Philip Glass, Meredith Monk and Steve Reich. The track moves from a complex, wordless chorale to a keyboard arpeggio whirlwind as Injemel sings biblical allusions and wise counsel: “What doesn’t kill you almost kills you,” he observes. Pearls

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