Lorde’s Solar Power Is Our Song Of The Week and Lots of New Music

Song of the Week broke down and talked about the part of the song that we never get out of our heads every week. Find these songs and many more of us Playlist of Top Top Songs. For our favorite new songs from emerging artists, check out our Playify New Sound playlist. This week, Lorde returns with a brilliant new song after four years.

It’s been four years since we got new music Lorde, and he seemed happy. That is enough to make us happy too.

After disappearing almost everything from the public eye in 2017, the New Zealand singer-songwriter has only been heard from on a few joint occasions. Understand: it may be difficult to write or share new music from Antarctica, where Lorde spent part of his rest.

From one severe to another, Lorde released “Solar Power” with little praise or promotions. Fittingly, he opens the track with, “I don’t like winter, I can’t stand the cold.” Most dreamy must have been a hot summer day, “Solar Power” in most sounds, with an even more devastating music video. In happy gaze, Lorde and friends gathered on the beach, the example of the unaccompanied.

Not surprisingly, “Solar Power” reunites Lorde with trusted collaboration Jack Anotonoff, who remains booked and busy, but the song is a marked departure from his previous discography. It’s light, bouncy, and unobtrusive. Known for her introspective lyrics and new production options, she chose to return to the scene adorned in yellow and smile at the camera.

Who would have expected a Lorde collaboration between Clairo and Phoebe Bridgers (providing backing vocals) to be… happy? The thing is, we didn’t have the same in the first four years. Lorde is not involved.

– Mary Siroky

Contributing Writer

Respectful Discussion:

Jon Batiste – “Freedom”

Anyone who has attended a Black Life protest is cause to know that there is as much dancing as there is praise at the events. With his latest single, “FREEDOM,” Jon Batiste writes an ode to the magic of grooving as a form of freedom. With overly uptempo drumming and marching horn horns, he shouts shaking, shaking, and every move in between brings a smile to his face. “If I move my body like this, I don’t know why but I feel free,” she sings, coming out the last word as she unites every last drop of joy from it. Watch the delightful music video-it’s impossible not to rush to move and participate.

– Nina Corcoran

Marina – “Venus Fly Trap”

Not only is the “Venus Fly Trap” one of the most crowded bops from the excellent Marina Ancient Dreams of a Modern Earth album, from today (June 11), it is the statement of intent of the pop star. “Don’t underestimate me ’cause one day you’ll see / You’re in a losing battle, babe, you can’t stop me anytime soon,” he declared in the chorus. If you need to further prove he refuses to “play for money or fame,” there’s a camping video on the music track, which shows the singers live in many classic movie troupes-from silent movie star to B horror movie – before literally burning the Hollywood sign. An entire album taken from putting her Marina and the Diamonds persona to rest, the lone Welsh pop star has never been clearer as to who holds the power and rein to her sound, her image , and throughout his career.

– Glenn Rowley

HONNE, Pink Sweat $ – “WHAT WILL YOU DO”

UK electro-soul duo HONNE may tread familiar pop territory with “What Would You Do?”, But the resulting jam is a perfect example of how special their music is. Complete with a frequent verse from the fast -rising crooner Pink Sweat $, “What Will You Do?” Take away the old concept that “the world can end at any time, so take the day off!” and dressed it in a fine linen velvet suit.

HONNE gave their time to create a hypnotic groove interspersed with ’70s disco and’ 90s hip-hop, not to lose their signature touch of cool romanticism. And if the track slowly commands us to “tell someone you love them before it’s all too late,” HONNE does it very quickly. The song truly marks a more carefree, euphoric time for the duo, and it’s one that will continue our lives in the present era.

– Paolo Ragusa

Laura Stevenson – “State”

In time from his 2019 album The Great Freezing, Laura Stevenson has endured a lot of turmoil, both beautiful and devastating; by the time she became a first mother, someone close to her was about to die. In “State,” the lead single from Stevenson’s upcoming self-titled album, the Long Island musician echoes these simultaneous highs and lows as he struggles with a bitter vain life.

The track flits between quieter moments and explosions of anger, with Stevenson’s voice seamlessly rooted from a gentle coo to a cathartic belt. “I’m angry, a shining example of pure anger / Pure and real and sticky and moving and sweet,” he sings, letting the words come out of him that he eventually accepts the possibility that it all all.

– Abby Jones

Lucy Dacus – “Brando”

After releasing some very good singles for the upcoming LP, Video at Home, Lucy Dacus returns with “Brando,” a track that symbolizes her prowess for test storytelling and compelling equipment. Speaking of an old friend who promoted his own passion for film and “classic Hollywood” to Dacus, he told about their one-sided relationship: “You call me cerebral / I don’t know if what do you mean / But now I do it. Did you kill / to be called beautiful? “

Even as the track of disappointment continues on all tracks, Dacus provides a sense of peace with his straightforward lyrics and live acoustic guitars. She expresses a need to be known for who she is, rather than who this person wants her to be – and in doing so, regains her sense of self and perspective. Looking at old relationships isn’t easy, but Dacus always finds a way to look back while running forward.

– Paolo Ragusa

Jam & Lewis, Mariah Carey – “Pretty Loved (There You Break ‘My Heart)”

For “Pretty Beloved,” the first solo on their debut album, the legendary songwriting and producing team Jimmy Jam and Terry Lewis signed none other than Mariah Carey. It’s probably been decades since the late collaboration with Elusive Chanteuse – they did most of the 1999’s rainbow and 2001 Glitter – but ten seconds into the track, obviously the magic chemistry of the pair with the icon is still there. Mariah delivers a melancholy sound thanks to Jam & Lewis ’happy production, which brings the Lambs back in time before sending the song to the rafters using her ageless whistle tone. .

– Glenn Rowley

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