“‘I’m Waitin’ for the Man,’ words and music, Lou Reed” announces a familiar voice at the beginning of this recording. This is the first known demo of what was destined to become a rock and roll standard. An aspiring poet and rock star who was only 23 at the time, he had practical reasons for branding this recording as such. This unreleased version of ‘I’m Waiting for the Man’ kicks off Light in the Attic’s upbeat new lead his archival collection ‘Words & Music, May 1965’, with jungly rockers coming two years later. are stylistically quite different. Two years later, the Velvet Underground’s immortal debut, The Velvet Underground & Nico. The lovely sloppy, acoustic-guitar-driven demo is essentially a folk song, with an occasional almost country-tinged gait. Despite all the differences in arrangement, it’s worth noting that Reed’s vision for the song was already complete, and how few changes were needed to turn this unpretentious blueprint into a counterculture classic. That’s what it means. Reed’s then-new friend and future VU bandmate of his, John Cale, can be heard singing backup, learning and sometimes forgetting the lyrics of this early number in real time.Lindsay Zoraz
Wise Blood “It’s not just me, it’s everyone”
Natalie Melling’s soft, clear voice sounds like a delayed transmission from a 1970s AM radio, the exploratory tone of Joni Mitchell and Karen Carpenter’s celestial voice from the Coat and Spark era. There is a mixture of tranquility. She uses the instrument to stir effect on “It’s Not Just Me, It’s Everyone,” the first track and single from her upcoming album, And in the Darkness, Hearts Aglow. “It’s been such a long time since I’ve really felt known,” Melling said of her sadness while playing wallflowers at a party where everyone else seemed immune to the loneliness she felt. I will admit it with unflinching candor. But a little paradoxically, when Melling realizes that loneliness is one of the most universal human conditions, her song suddenly blossoms into such a balm of pain. “Yes, we all bleed the same way,” reassures Melling Harp, which provides additional upbeat company.Zoraz
Mightmare “Enemy”
The Disarmers leader Sarah Shook’s Pandemic project was a self-played, self-produced, self-engineered solo album under the name Mightmare, due for release on October 14th. There’s a hint of Appalachia in the song—”I’d rather be your enemy/Than vanish like a childhood friend”—a modal melody. Behind the relentless beats and distorted guitars, electronics and other instruments lurk like unwanted memories.pareles
Bomba Estereo and Manu Chao “Me Duele”
Any pain seems quite bearable on “Me Duele” (“It Hurts Me”), a refreshing collaboration between Colombian band Bomba Estéreo and French-Spanish singer Manu Chao. They complain of false guarantees — “If you’re going to leave me, don’t ask me to wait for you” — while electric guitar hooks meander over lightly syncopated drums, strumming Over the beat that laces the played Andean mini-guitar. voice. “It hurts, it hurts, it hurts,” sang by Ciao and Bomba Estereo’s Liliana Someme, adding, “Until it doesn’t hurt anymore.”pareles
Jessie Reyez “Mutual Friend”
“Mutual Friend,” a song about “this heartbreak turned into hate,” from Jessie Reyez’s new album Yessie, mixes vintage elegance, just the right amount of sweetness and underlying anger. Pizzicato strings and classic doo-wop chord progressions feel retro restrained, but accented with sampled shouts. Reyez treats her original attempts to reconnect with contempt.You’re about seven months behind” — it escalates into an all-out counterattack, oscillating between icy denial and hoarse regret.
Kerela, “washed away”
Avant-garde R&B artist Kerera’s elusive follow-up to 2017’s excellent debut Take Me Apart is so highly anticipated that even Kerera herself recently posted a wink. compile Among all the “Where’s Kerela?” memes (saucy, it’s set to be the theme song for “Law & Order: Special Victims Unit.”) it’s her first new song in four years. was her way of setting the scene for half Time from “anti”. Chill out, people! The song is an immediate reminder not only of Kerela’s idiosyncratic, stone-smooth voice, but also of her confident self-control over her artistry. Again, as usual, she’s moving at her own pace.Zoraz
Il and Mon Raferte “Traghito”
“Traghito” is a drink, and alcohol further disrupts a troubled romance in this untraditional, passionate and ambivalent bolero by Puerto Rican songwriter and singer iLe and Chilean Mon Laferte. A pair of elegantly intertwined acoustic guitars join with bass and percussion to propel the singers forward and provide counterpoint. The singer sketches love-hate relationships that can still end in lust.pareles
Trick “The Strongest Weapon”
The dreamlike “Greatest Weapon,” from Meg Duffy’s one-man indie folk project Hand Habits, covers a lot of territory in less than three minutes, morphing from understated acoustic ballad to psychedelic pop anthem, layered and layered. An undulating chorus flows. Perhaps that efficiency is a cunning denunciation of the “greatest weapon of all time,” which Daffy reveals her true identity to in the middle of the song. “It is time itself. Time is the ruler of my hell.” Zoraz
Ouri “Osatura”
Canadian electronic musician and singer Ouri follows her medical and spiritual journey with ‘Osatura’. The song, she says, was inspired by treatment with the consciousness-altering drug ketamine. This song from her album Frame of a Fauna is slow, steady and surreal. In the video, she wakes up to see her “her grandmother” and leaves her weapon in her hands. On audio, her voice glides, echoes, and amplifies over clinks, throbbing electronics, and a cello that ultimately still leads to physicality.pareles
Daphnis Prieto featuring Luciana Sousa, “Guajira en Sol”
How many drummers write full-fledged songs with lyrics and melodies (with beats)? Daphnis Prieto, the drummer (and MacArthur Fellow) who has ignited jazz in New York City since arriving in Cuba in 1999, will be singing them on his new album Cantor, which features Brazilian singer Luciana Souza. join the She sings in English, Spanish and Portuguese. The album opens with “Guajira en Sol” (“Country Girl in the Sun”). It’s an homage to a beautiful girl who is also a marvel of acrobatic musicianship, with Souza’s voice leaping and gliding over tricky but fun melodies. Angular charm and harmonious charm.pareles