Play/Listed Weekly's New Music, Oct 16th, 2020

I don’t have much for an intro today because I accidentally refreshed the page before saving. Oops! But as usual, I’ll remind you that if you’re looking for past playlists, you can probably find them on my Spotify Page. Otherwise, let’s get to the new music that brought you here in the first place!

October 16th’s New Music Highlights

Only Time Makes It Human - King Princess
Although I was ready for the first new track from KP in 2020, this took me a couple listens to really appreciate, because yes, that guitar track is in a whole other key. But the more I listen, the more I feel like the dissonance in the music fits the contradictory nature of Mikaela’s own feelings.
Change - TSHA, Gabrielle Aplin
TSHA is a rad producer/bassist who I will be following closely from now on, and this little jam is a head-bobber.
Live Another Life - Son Lux
This last minute addition to my list found its place from the moment the weird little beat began - before an angsty word was sung, and before entire thing builds into a massive wave of emotional conviction.
Before - James Blake
I’m so glad that James Blake released this song today, otherwise I’m not sure how I would have followed the Son Lux track. I like a lot about this song, including imagining just how in love he must be with Jamila Jamil.
Devil That I Know - Jacob Banks
Jacob Banks’ rich baritone voice is perfect, and somehow it’s even better when paired with a stripped back piano like it is here. This recording sounds so raw, like a living room session, and I’m ready for a whole album like this. Or even better, a concert in my living room. Jacob, consider yourself invited. I’ll wear a mask.
Take Me Away - Sinead Harnett feat. EARTHGANG
Sinead Harnett should be no surprise. Actually these last three are all artists that I’ve likely written about on this blog in the past. But just because they’re predictable doesn’t mean you shouldn’t try them out. Sinead is another vocalist that can do almost no wrong, and EARTHGANG has continually been impressing me with their bouncy rap verses and the quality of performers to which they link themselves.
BONUS TRACK: Can’t Put It In The Hands of Fate - Stevie Wonder, Rapsody, Cordae, Chika, and Busta Rhymes
I couldn’t fit this in the playlist because the truth is that I don’t like it as much as I want to like it. Yet, how could I not talk about a song with this lineup? What we have here is a classic Stevie protest song (with an f-bomb from our usually squeaky clean icon), choral section included, with 4 rap verses from some of our most conscious and talented lyricists in the game. But part of the issue is that all 4 of those verses are way too short. The song starts with Rapsody spelling her name, but we don’t get to hear anything from her past the first 30 seconds of the track. So yeah, I have feelings about this and you can decide whether you check it out.

Over the last several weeks, Omar Apollo has been releasing singles in prep and promo for Apolonio, his third album in 3 years. It is equal parts sexy R&B, Latin flavours, and moody bisexual feelings, and I am here for all of it.

I’m finding it challenging to select highlights, so I’m going to do a quick rundown of all 9 tracks, with special interest in the bi representation. ;)

Beginning with the understated “I’m Amazing,” Omar reflects on the divide between his growing celebrity status, and his inability to get the true object of his affections to show real interest. Next is “Kamikaze,” one of the singles that I’ve been grooving to for a few weeks now. He directly references a boy who hits him up on occasions.

The next two tracks are main contributors to the steamy factor of this record. The Ruel-featured “Want U Around” could easily be a Miguel b-side, with a glorious Prince-inspired moment, and “Stayback” is particularly angsty. It also features the most bisexual chorus since Frank’s “Chanel”. Speaking of Frank, did I mention Apolonio is mixed by Jeff Ellis, the same guy that did Channel Orange? No wonder I like this so much.

Kali Uchis shows up on “Hey Boy,” which feels like the perfect collaboration for Apollo (are they singing to the same boy?), and “Dos Uno Nueve (219)” is full of brilliant and bright Mexican guitar riffs, as he sings about his hometown in Indiana (219 is his home area code).

“Useless” is one more unrequited love anthem that bleeds into my new favourite song on the album, whose second verse describes not liking his friend’s girlfriend, and explaining “you irresistible, that’s why I spend my time here”. Also, it’s called “Bi Fren”. So yeah.

Finally the album ends with the upbeat and simple “The Two of Us”. The more he sings the repeated 3 lines, I find myself hearing them differently. Maybe I’m just overthinking things by now, but I like it as an album closer, and I like everything about Apolonio. Hope you enjoy it too!

Streams of Thought, Vol. 3: Cane and Abel - Black Thought

I’ve said it before and I’ll say it again, Tariq Trotter, aka Black Thought is one of the most underrated rappers alive, and his latest solo release, Streams of Thought Vol. 3: Cane and Abel is further evidence of that fact. His story-telling through rhyme is top notch, and a little old school (without sounding tired). Plus the productions from Sean C are slick and make everything sound fantastic.

“I’m Not Crazy (First Contact)” begins with some timely John Trundell poetry about Columbus, setting the stage for a politically engaged record grappling with an American (and world) legacy of colonialism and white supremacy, while also reflecting on personal relationships and history on tracks like “We Could Be Good (United)” and “Fuel”. The latter track is one of three unexpected collaborations between Thought, Portugal. The Man and The Last Artful, Dodgr. And yes, there was way too much punctuation in that sentence. Don’t blame me.

“Good Morning,” which features heavy-hitters Pusha T and Killer Mike on the mic as well as Swizz Beats acting as a hype man, is an easy highlight, but I also like the flexing “Magnificent” that follows.

But if I had to pick one track that stands out to me, it’s “Thought vs. Everybody". So many lyrical shots are fired at institutional powers over this dissonant and stunted piano line and a tight, continuous drumbeat.

Whether Black Thought is repping The Roots, guesting on someone else’s track, or giving us his own solo collection like he does here, it’s worth paying attention to. If you have some patience for a lyrically packed experience, set some time aside for this LP.