Teen punk rock anti-hate anthem and 10 more new songs


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It can be heartwarming, at times like these, to be slapped in the face by an undeniable truth. And so it is with the Linda Lindas, a group of four Asian and Latino teens and tweens – Bela, Eloise, Lucia, Mila – who got a clip this week from a recent performance at the Cypress Park branch of the Los Angeles Public Library are going viral. The song is “Racist, Sexist Boy,” and it doesn’t fire any punches, alternating between 13-year-old Eloise singing in an urgent and aggrieved manner (“You’ve got racist and sexist joys / We’re rebuilding what you destroy “) and the drummer, Mila, 10, whose sections are fast and undulating (” You turn away from what you don’t want to hear “). The Linda Linda generated a significant wave of attention in the three years since the group’s inception. Some of the members’ parents are cultural luminaries: Martin Wong, founder of Asian-American cultural magazine Giant Robot; and Carlos de la Garza, mixer and sound engineer for bands like Paramore and Best Coast. The group is beloved by Kathleen Hanna, who chose them to open one of Bikini Kill’s reunion concerts; and he appeared in the recent Netflix movie “Moxie”. The group’s eponymous 2020 EP is indie pop with pronounced punk accents. And this new song, which Eloise says was inspired by a real-life experience, is an unexplained distillation of righteous anger. It’s very difficult to understand, so shout with the group: “Pose! Imbecile! Scum! Shake face! »JON CARAMANICA

It has been 12 years since high-profile South African band Blk Jks released their debut album, “After Robots”; he’s back with “Abantu / Before Humans”, which he describes, in part, as an “Obsidian rock audio anthology retracing ancient spiritual technologies and exploits of prehistoric and post-revolutionary Afro bionics and sacred texts from the Great Book on the Arcane. “Blk Jks draws on music from all over Africa, including South African choral traditions and West African guitar riffs, as well as psychedelia, funk, jazz and a strong sense of political urgency. “They’ll never give you the power / You will have to take the power” they chant to open the song, heralded by a barrage of drums and thrusting into a syncopated thicket of horns and vocals with acceleration at the end. JON PARELES

On Angélique Kidjo’s next album, “Mother Nature”, she collaborates beyond borders and generations. Kidjo – who is from Benin – shares “Africa, one of a kind”, with Salif Keita, from Mali, and Mr. Eazi, from Nigeria. The lyrics are multilingual and the rhythmic mesh, with little guitar lines tickling against crisp percussion and choral affirmations, is cheerfully Pan-African. PARÉLES

A large-scale wall of sound – through ‘Born to Run’ topped with glockenspiel – runs through ‘Like I Used To’ as Sharon Van Etten and Angel Olsen grapple with the prospects of post-pandemic reopening and reconnection. The sound and the voices are heroic; the lyrics are more hesitant, but full of hope. PARÉLES

“It’s too late now to fix this mess,” observes Carsie Blanton, “So honey, put on that evening dress. Blanton ignores impending doom in a broad-shouldered southern rock track covered in guitars, which allows him to miss “the snow in winter, rain in summer” as well as “the drums and drummers that bang”. PARÉLES

Three not totally compatible types of ecstasy mix together on the first single from the upcoming soundtrack to “Space Jam: A New Legacy”. The triumphant production of Just Blaze finds an optimal partner in Kirk Franklin’s exhortations. Lil Baby’s twisty, reeded raps might not be quite as sturdy, however – they look like a light watermark atop a striking mountain peak. CARAMANIC

“Fly or Die Live” sounds like a play with the two studio recordings that Jaimie Branch – a trumpeter and songwriter, loosely defined as jazz, but with a punk musician’s contempt for musical joke – released over the years. last years with Fly or Die, his cello-bass-drums quartet. This is mainly because these records already had a rich, grainy, textured, semi-ambient vibe: they already felt pretty much live. But “Fly or Die Live,” which is packed with long excursions by individual band members and intense, pushing sections driven by Chad Taylor’s drums, finds the band clicking and taking off in a way that feels different. It’s particularly palpable on “Theme 001”, originally a highlight of the band’s debut album, this time with new textures thanks to Lester St. Louis’ reverb-drenched cello. GIOVANNI RUSSONELLO

Look, these are just sweaty TikTok-era talk about “Planet Rock,” which in today’s pop ecosystem is really all it takes. CARAMANIC

Daniel Lopatin, aka Oneohtrix Point Never, has spoken with his new remake of “Nothing’s Special”, the closing track from his 2020 album “Magic Oneohtrix Point Never”. He replaced his own processed voice, which faded into the track, with Rosalía in his latest unexpected collaboration. She sings a Spanish translation of the lyrics, with thoughts of staring into nothingness after losing her best friend. The original electronic track has been tweaked and transposed upward, with its hazy descending chords, sampled vocals, and a hammered dulcimer. Rosalía’s voice is frank: soft, sad, trembling and humiliated with grief. Now the song is unmistakably an elegy. PARÉLES

Less than two months after happily stoking a moral panic with “Montero (Call Me by Your Name)”, Lil Nas X returns in an unmistakably benevolent form: fighting suicidal thoughts in “Sun Goes Down”. In a low and reassuring purr of a melody, dampened by benevolent guitars, voluminous bass sounds and a string section, he recognizes old wounds and self-destructive urges, then rises with determination above them. : “I know you want to cry / But there is more to life than dying for your past mistakes. PARÉLES

Drummer Ralph Peterson Jr., who would have turned 59 on Thursday but passed away earlier this year, was known for the propulsion of his swing and the power of his playing. But he was also subject to patience and tenderness, when circumstances demanded it, and on “Raise Up Off Me”, her latest studio album, it’s her subtlety that sends the album’s message of frustration and dignity home. That’s true on the semi-abstract title track, which opens the album, and on “Tears I Cannot Hide,” a contemplative ballad written by Peterson, to which rising star Jazzmeia Horn adds lyrics and vocals. RUSSONELLO

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About Joan J. Hernandez

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