{"id":81858,"date":"2023-08-11T17:33:24","date_gmt":"2023-08-11T17:33:24","guid":{"rendered":"https:\/\/happylifestyleinc.com\/?p=81858"},"modified":"2023-08-11T17:33:24","modified_gmt":"2023-08-11T17:33:24","slug":"olivia-rodrigos-sassy-pop-rock-banger-and-8-more-new-songs","status":"publish","type":"post","link":"https:\/\/happylifestyleinc.com\/entertainment\/olivia-rodrigos-sassy-pop-rock-banger-and-8-more-new-songs\/","title":{"rendered":"Olivia Rodrigo\u2019s Sassy Pop-Rock Banger and 8 More New Songs"},"content":{"rendered":"
Every Friday, pop critics for The New York Times weigh in on the week\u2019s most notable new tracks. Just want the music? <\/em>Listen to the Playlist on Spotify here<\/em> (or find our profile: nytimes). Like what you hear? Let us know at <\/em>theplaylist@nytimes.com<\/em> and <\/em>sign up for our Louder newsletter<\/em>, a once-a-week blast of our pop music coverage, and <\/em>The Amplifier<\/em>, a twice-weekly guide to new and old songs.<\/em><\/p>\n The 20-year-old pop phenom Olivia Rodrigo extends her winning streak on \u201cBad Idea Right?,\u201d the latest reason to be very excited about her second album, \u201cGuts,\u201d due Sept. 8. Departing from the sound of the album\u2019s first single, the rock-operatic \u201cVampire,\u201d \u201cBad Idea Right?\u201d is a bright, kaleidoscopic head-rush of a pop song that inhales a dizzying array of influences \u2014 the chatty call-and-response hooks of \u201960s girl groups, the gum-smacking sass of Toni Basil\u2019s \u201cMickey,\u201d the chugging guitars and elastic bass lines of early aughts pop-punk \u2014 and spits them all out in Rodrigo\u2019s singularly conversational voice. \u201cSeeing you tonight,\u201d she sings of an ex, \u201cIt\u2019s a bad idea, right?\u201d Then she shrugs, mutters an expletive with sharp comic timing, and dives back into the mess. It\u2019s a playful track, but there\u2019s also something invitingly intimate about the way Rodrigo puts the rush of her own internal thoughts and feelings on display here. (\u201cMy brain goes \u2018ahhhhh,\u2019\u201d sings a multi-tracked chorus of Rodrigos.) A girl\u2019s got to make her own mistakes, after all. But if the listener is able to eavesdrop on her internal dialogue, she\u2019s never completely alone. LINDSAY ZOLADZ<\/p>\n The Chicago-based rapper Noname \u2014 Fatimah Nyeema Warner \u2014 wraps contentious positions in smooth grooves and high-speed, rhythmically adept wordplay on her third album, \u201cSundial,\u201d her first since 2018. \u201cThe whole world is culpable\/Why complacency float the boat the most?\u201d she asks in \u201cNamesake.\u201d The song also gleefully attacks headliners of Super Bowl halftime shows as \u201cpropaganda for the military.\u201d With a smile in her voice, Noname raps, \u201cGo Rihanna go \u2014 watch the fighter jet fly high\/War machine gets glamorized.\u201d But then she calls herself out for playing Coachella this year: \u201cI said I wouldn\u2019t perform for them\/And somehow I still fell in line,\u201d she admits. Careers are complicated. PARELES<\/p>\n Sheer affection courses through \u201cAdore U.\u201d The prolific dance-music producer Fred again.. surrounds and destabilizes the house thump with shimmering electronic syncopations, airborne sustained lines, choppy chords and looped vocal interjections. It\u2019s a dizzying backdrop for the Nigerian-British singer Obongjayar, who croons his praises \u2014 \u201cYou walk through life just like a dancer\u201d \u2014 in a tremulous falsetto; he sounds awe-struck. PARELES<\/p>\n Miguel builds a monumental enigma in \u201cNumber 9.\u201d Over a stark but triumphal electronic march, he overdubs his voice into antiphonal choirs, trading lyrics like \u201cIn the gun a kiss\/Let it blow your mind\/Till the dust returns\/To the number nine.\u201d Lil Yachty arrives midway through to announce \u201cI am the grim reaper.\u201d Neither one sounds daunted by mortality. PARELES<\/p>\n \u201cI haven\u2019t been on a date since I was 22,\u201d Kelsea Ballerini sings in \u201cHow Do I Do This\u201d \u2014 an arena-country song, with programmed drums and reverberating chords, about starting over even though she\u2019s \u201cscared of looking stupid.\u201d The song elevates the awkward, in-between moments, then stops dead just as something might begin. PARELES<\/p>\n A crush-struck Jill Medford \u2014 who records as Ian Sweet \u2014 crafts an infectious, slightly gross hook on her latest single, which will appear on her upcoming album \u201cSucker\u201d: \u201cKiss me like you mean it, kiss me like you\u2019re leaving,\u201d she sings. \u201cYour spit tastes different.\u201d Medford\u2019s dreamy, sing-songy vocals dance atop the song\u2019s driving electronic beat and squelching synths, giddily evoking fresh infatuation. ZOLADZ<\/p>\n On \u201cI\u2019m a Dog,\u201d the latest single from the Canadian dream-pop duo Faith Healer\u2019s forthcoming album \u201cThe Hand that Fits the Glove,\u201d Jessica Jalbert wryly confesses her baser animal instincts in an incongruously serene voice. \u201cYou can try to wash me if I\u2019m dirty in the yard,\u201d she sings as the song proceeds at a stately, parade-like tempo, \u201cI\u2019ll get into the kitchen and I\u2019ll rip the trash apart.\u201d ZOLADZ<\/p>\n The Canadian songwriter Ora Cogan revisits an eerie Celtic traditional song, \u201cKatie Cruel,\u201d about a woman scorned as her beauty fades. \u201cWhen I first came to town\/They called me the roving jewel,\u201d she sings. \u201cNow they\u2019ve changed their tune\/They call me Katie Cruel.\u201d She and her band entwine the melody with modal guitar curlicues and distant vocals, yet somehow she sounds more alone than ever. PARELES<\/p>\n Rachel Brown, who is half of the duo Water From Your Eyes, has been recording solo since high school as thanks for coming, and \u201cLoop\u201d is from an EP due in September. There\u2019s more than one loop in \u201cLoop,\u201d a waltz that resigns itself to an obsessive, unequal romance: \u201cI like you better\/But you are never mine,\u201d Brown sings. The track is an ever-thickening tangle of guitar, bass, piano and vocal lines over a stubbornly off-kilter drum loop. Brown knows that recognizing a pattern doesn\u2019t break free of it. PARELES<\/p>\n Jon Pareles<\/span> has been The Times\u2019s chief pop music critic since 1988. A musician, he has played in rock bands, jazz groups and classical ensembles. He majored in music at Yale University. More about Jon Pareles<\/span><\/p>\nOlivia Rodrigo, \u2018Bad Idea Right?\u2019<\/h2>\n
Noname, \u2018Namesake\u2019<\/h2>\n
Fred again.. featuring Obongjayar, \u2018Adore U\u2019<\/h2>\n
Miguel featuring Lil Yachty, \u2018Number 9\u2019<\/h2>\n
Kelsea Ballerini, \u2018How Do I Do This\u2019<\/h2>\n
Ian Sweet, \u2018Your Spit\u2019<\/h2>\n
Faith Healer, \u2018I\u2019m a Dog\u2019<\/h2>\n
Ora Cogan, \u2018Katie Cruel\u2019<\/h2>\n
thanks for coming, \u2018Loop\u2019<\/h2>\n