A narrative video for one of the more accessible tracks on the excellent Lese Majesty, which I've been coming back to again and again over the last couple months (see previously: #CAKE).
Prince is releasing two full albums before 2015, both of which will be granted, by default, rigorous consideration by people who have at any point prior cared about Prince. But what on Earth does a teenager make of this? Will the youngest listeners hear this song and think, oh, Prince, dad, whatever? Or will they wonder, who is Prince, I've heard of him somewhere, and then maybe Google him? Does he just get to reappear, no questions asked, his legacy venerated unquestionably, his singles made hits in whatever order planned? Or does Prince have to plead a new case? Anyway: a pretty fun song.
A cover of Sam Smith's unavoidable summer moan that alternates gracefully between entrancing and viscerally upsetting. It's a total aesthetic dismantling (and kind of a huge improvement!).
Should you find yourself at some point today overcome by torpor, perhaps due to climatic conditions in your area or simply the prevalence of complaints concerning climatic conditions on social media, this song may provide a brief burst of energy before the fatigue inevitably takes hold once more. Yes, it's going to be hot. The sun will scorch your pasty skin and lethargy will lay its heavy hand upon your sweaty shoulders as it implores you to join it on the couch. But consider: We are barely past June's midpoint here, people. Don't waste all your whining just yet; think of how disappointed you'll be with yourself come August [...]
"I just, kind of always wanted to see what it would be like to, you know, sing for money on the streets. So what I'm going to do is, I'm going to find a good place." Erykah Badu busks in Times Square.
An unexpectedly devastating video for the producer's first collaboration with Kendrick Lamar. Up and away. (See also.)
NPR is streaming the whole new Perfume Genius album. For those who like to try before they buy, I suppose.
The second single from Lost in the Dream, and a rare example of a song that's cheery despite its constituent parts signaling, in unison, overwhelming depressiveness.
I don't miss the '90s one bit, but I guess if I did I'd be glad these guys are around to spread its styles to a generation that is too young to know better. [Via]
Raymond Ian Burns is 60, which means this might as well be stuck in your head for a little while today. Also these.
Most of the songs on Ex Hex's Rips aren't quite as short as "Waterfall"—the twelve tracks on the album, which has appeared on most of the streaming sites by now, clock at thirty-five minutes. But it's a certainly a concise album, and in the best way: quick, full, never dense or rushed. It's an album you can play a few times in a row before noticing that you've started over.
From Here And Nowhere Else, which came out in April, a video for the album's most energetic track—one of the few that might have fit in on the very fun and very catchy self-titled album, from 2011, which has apparently been reassessed as the product of an "introductory phase" that should now be "eradicated." RUDE.
Soaring, almost presumptuously confident pop music. Pristine production, accompanied by a victory-lap tour video with huge, adoring crowds. But then: "Truls?" The answer to any questions you might have here is Norway. (Thanks, Jenna.)
Here is Shabazz Palaces with its first full video from Lese Majesty. The group, like this song, is all sharp edges and extreme angles—the album's tracks often don't take shape until halfway through, which is exhilarating and disorienting. In "#CAKE," Catherine Harris-White shows up about a minute and half in, starts to give us something we can hold on to, then recedes into the chaotic background again.