\n<\/p>\n
All things patriarchal, capitalistic and obtuse are targets for Lambrini Girls, the gleefully obstreperous English punk duo Phoebe Lunny and Lilly Macieira. \u201cCompany Culture,\u201d a blast at workplace harassment from their debut album, \u201cWho Let the Dogs Out,\u201d revs up instrumentally for nearly a full minute \u2014 clattery drums, buzz-bombing bass, dissonant guitar \u2014 before Lunny lets loose a brutally sarcastic tirade: \u201cHuman resources say I\u2019m asking for it,\u201d she barks. PARELES<\/p>\n
Chrystia Cabral, a California songwriter who records as Spellling, proclaims \u201cI don\u2019t belong here!\u201d with mounting vehemence in \u201cPortrait of My Heart,\u201d which will be the title track of her fourth album, due in March. She sings about a psychological and spiritual crisis \u2014 \u201cI need a stroke of luck \/ \u2019Cause I kicked down all my angels to the dirt\u201d \u2014 in a crescendo of choppy drums, layered guitars and orchestral strings, exulting in the drama. PARELES<\/p>\n
Heartache and heritage mingle on Bad Bunny\u2019s new album, \u201cDeb\u00ed Tirar M\u00e1s Fotos\u201d<\/a> (\u201cI Should Have Taken More Photos\u201d). Like many of its songs, \u201cBaile Inolvidable\u201d (\u201cUnforgettable Dance\u201d) morphs between current and vintage sounds, underscoring the multigenerational continuity of Puerto Rican music. \u201cBaile Inolvidable\u201d begins as a blurred dirge of synthesizer lines and Bad Bunny\u2019s vocals, mourning a lost romance; \u201cI thought we\u2019d grow old together,\u201d he sings in Spanish, and admits, \u201cIt\u2019s my fault.\u201d But the track switches to an old-school salsa jam, with organic percussion and horns and a jazzy piano; the lessons of the girlfriend who taught him \u201chow to love\u201d and \u201chow to dance\u201d have stayed with him. PARELES<\/p>\n In \u201cWhat Do I Do\u201d \u2014 from \u201cLana,\u201d her album-length addition to her album \u201cSOS\u201d \u2014 SZA answers her phone to hear an accidentally dialed call and the sounds of her boyfriend with another woman. A lean, finger-snapping track backs her as she grapples with the shock in brief, colliding phrases: old loyalties, new anger, hurt, disgust and the clear realization that \u201cIt\u2019ll never be the same again.\u201d PARELES<\/p>\n The Caribbean-rooted British band Cymande, whose first three albums were released in the early 1970s, is about to put out a new one, \u201cRenascence,\u201d after decades of hearing its music recycled as samples. \u201cHow We Roll\u201d brings back the group\u2019s hand-played, Afro-Anglo-Caribbean grooves and hardheaded idealism: \u201cWe must never lose determination.\u201d Its patient, cymbal-tapping beat and electric-piano chords hint at Miles Davis\u2019s \u201cIn a Silent Way,\u201d while the horn lines look toward Fela Anikulapo Kuti\u2019s Afrobeat. And deep-voiced guest raps from Jazzie B, the founder of Soul II Soul, connect across British R&B generations. PARELES<\/p>\n<\/div>\nSZA, \u2018What Do I Do<\/a>\u2019<\/span><\/h3>\n
Cymande featuring Jazzie B, \u2018How We Roll<\/a>\u2019<\/span><\/h3>\n