Barbra Streisand’s Silky Duet With Hozier, and 9 More New Songs

Nilüfer Yanya, ‘Cold Heart’

With his new single, “Cold Heart”, Nilüfer Yanya leaves aside his reliable toned guitar of Fuzz. In the midst of the wavy chords of the keyboard and the scheduled rhythms, it sings about desire, separation, resentment and anguish: “I do not want to endure Buren’s burden” because it hurts like hell, “he sings. Many of his previous songs have been built towards dirty catharsis, but in” cold heart “, the chords continue to cycle around him; he has still struggled by her;

Bambii with Jessy Lanza and Yaeji, ‘Mirror’

Bambii, a Jamaican-Canadian DJ turned into a producer and composer that is based in Toronto, continues to reconfigure a low and syncopated riff and breakbeats in “Mirror”. Jessy Lanza sings in English and sings Yaaji and Rapea in English and Korean, reflecting on connection and identity – “I look in the mirror / I see your eyes” – as the rhythms bounce.

Indigo de Souza, ‘Heartthrob’

Indigo de Souza brings unbridled enthusiasm even to situations that regrets. For “Heartthrob”, by Souza and his collaborator of composition and production, Elliott Kozel, they kick the rhythm and accumulate in the guitars. The choir is former physical: “I really put my back,” sings on two galloping chords. Meanwhile, the verses are full of lessons learned: “Hello, I really fooled me / I let me touch where Hey wanted”, that still does not prevent him from waiting “a complete glass / a true drowning.”

Sami Galbi, ‘L’Mjmr’

Sami Galbi-A Swiss, French and Moroccan Musician with headquarters in Lausanian and the electronic experience of Casablanca applications with modal, Arabic styles of North Africa such as Rai and Chaabi. “L’Mjmr” of his new album, “Ylh Bye Bye”, flaunting automatic vocal harmonies, percussion of traps and synthesizer lines buzzing with the Moroccan essence of the melody.

“Sing that cradle song to the abyss,” Jack Barnett sings in “A Season in Hell”, carefully summarizing one of his band’s missions, these new Puritans. “It is in Hell” establishes a gloomy industrial rhythm, then attacks it with bleak lines of the Bach -shaped church while Barnett imagines being “tied to the wheel, nailed to the ground / put to the sword, fed to the Housds.” In the end, Caroline Polachek adds speechless and canceling the close pace to perfect the gloom.