With a string ensemble, a hopscotching melody, homey piano chords and guest vocals from James Mercer of the Shins, “My Resolve” contemplates art-making and Sisyphus. The deluge of TikTok videos soundtracked by her songs was sudden, and demonstrated a bottomless appetite for abandon, salaciousness and cheek. (Read the review.). Enjoy it as a playlist. The Weeknd looks back to the 1980s on “Blinding Lights.”. Stephen forgives and is martyred. Jeremiah 36:1-8, 21-23, 27-28, 31:31-34; Jeremiah's words are written on a scroll. It’s like you are peeing on my leg and telling me it’s raining. Amid fingerpicking and gusts of low-fi distortion, Phoebe Bridgers whisper-sings a mysterious dream-logic tale of growing up and trying to find herself. But time has added a depth to her writing (“Betty, right now is the last time I can dream about what happens when you see my face again”; swoon), a freedom to her embodiment of fictional characters and, perhaps most thrillingly, a few well-earned quarters to the swear jar. “I twerk alone,” the Puerto Rican phenomenon Bad Bunny sings over a skeletal but insinuating beat; the song’s video features him in drag. Born in Colombia and based in Canada, Lido Pimienta fuses Colombian traditions and electronics in startling and satisfying ways on her second album, “Miss Colombia.” In “Nada,” she sings about sorrow, loss and fearlessness, with a clip-clopping Andean beat and a mesh of woodwinds, voices, samples and synthesizers, at once steadfast and eerie. An abyss opens under the syncopated guitar picking and demurely isolated vocals of Bonzie — Nina Ferraro — as she captures a quintessential quarantine mood. The song on “Folklore” that most directly called back to Taylor Swift’s debut album was “Betty,” an agonized tale of teenage misdirection and regret that doesn’t let anything get in the way of Swift’s pinpoint descriptions of what it’s like to see yourself as both the hero and the victim. The Atlanta hip-hop group Goodie Mob, founded in 1991, merged rapping and singing long ago. Click on "Find Related Songs" to search for worship songs for a given service. on. “We all do what we gotta do to pass in this world where they say, ‘It’s not personal, it’s business,’” she croons on the inviting but incisive “4 American Dollars,” a song that practically invents its own genre of late-capitalist disco. By comparison, Megan plays it straight on “WAP,” though she’s much looser on the remix of “Savage,” which extended the song’s life beyond its TikTok breakthrough. Plenty of songs purport to tell stories, and the narrative ballad of course has a long enough history that the two forms certainly aren't alien. the Prince of N.Y, “Need Me”; Smoove’L, “New Apolos” (renamed “Apollo”); StaySolidRocky, “Party Girl”. There’s nothing to do but succumb to the sheer smiley calibrated optimism of this K-pop smash — and, perhaps, to marvel once again at how much Michael Jackson taught pop. Find contemporary worship songs based on Scripture, Genesis 2:4b-7, 15-17, 3:1-8; Creation, Garden of Eden, fall into sin, Genesis 15:1-6; God promises Abraham descendants as numerous as the stars. By Jon Pareles, Jon Caramanica and Lindsay Zoladz. 1 Samuel 1:9-11, 19-20, 2:1-10; Samuel's birth as God's answer to Hannah's prayer. Bells, percussion and electronics meld with a Yoruba prayer honoring ancestors, at once futuristic and hypnotic. In a year when the context of musical discovery and absorption was in more turmoil than ever, this act of breezy happenstance was a jolt. But of course, the Queen is really here for a coronating co-sign of Megan Thee Stallion — the defining artist of a year that seemed a never-ending showcase for her bravado, poise and finely calibrated fury. And despite the jaunty harmonica hook, his anger at the injustices of 2020 is unmistakable. Dumpstaphunk delivers funk with a message. The circumstances of 2020 threw an age-old debate over the role of music in our lives into sharp relief. Using both Minimalistic repetition and continual change, the music is prismatic, undulating and restless. Yet in the end Joseph forgives. A rabble-rouser with a gift for severe sentimentality, Morgan Wallen is torn between being a Nashville disrupter or a smooth cog. (Read the feature. It has the ease of a kiddie anthem: even though the lyrics talk tough, nothing about it is a threat. They soon found out that they were studying in the same school on Bellmore, Long Island, but never met. The narrative in 2020 must speak about gender equality which will only come from empowering the women who've been given the short end of the stick for far too long." Exodus 32:1-14; Golden calf shows unfaithfulness at the foot of Mount Sinai. The crown jewel of “Folklore” is a return to both the sound (openhearted acoustic guitar) and the setting (the cutthroat jungles of high school hallways) that first made Taylor Swift a star more than a decade ago. Woods also released a “hardcover” version of the song, backed by a funk beat, but it’s the sparse “paperback” cut, featuring accompaniment from Justin Canavan’s arpeggiated guitar, that allows her luminous voice to shine brightest. His world of casual scamming, drug-trade chicanery, anti-cop rancor and ecstatic flexing is beatific. Pop Songs with Narrative: Pretty Much Pop Discusses Tunes Ranging from Bob Dylan’s “Hurricane” to “The Pina Colada Song” with Songwriter/Author Rod Picott. Priscilla Block gained attention online for self-aware, lightly comic feminist pop-country songs like “Thick Thighs” and “PMS.” “Just About Over You” is more conventional, and demonstrates that her pokes at genre pieties are rooted in reverence. But how do our listening practices conditioned by pop music jibe with recognizing and understanding narrative? Pop Smoke is gone, but drill persists, in this case executed by a rapper from Staten Island and a producer from, of all places, Cyprus. “Sometimes I feel OK, some days I’m so frightened,” Charli sings on her quarantine confessional “Anthems,” a blaring, strobe-lit plea for the normalcy of a night out with friends. “It feels like there’s mold in my brain, spreading down all the way through my heart and my body,” sings Sophie Allison on Soccer Mommy’s searching second album “Color Theory,” providing an especially striking description of the paralysis of depression. The term ballad is also applied to any narrative “Rain on Me,” her winning house-pop duet with Ariana Grande, captured this complicated feeling particularly well: “I’d rather be dry, but at least I’m alive,” the two sing, before the beat drops and the chorus explodes into an embrace of cathartic acceptance. Donald Trump gave another speech at the White House this … It’s still committed to truth-telling with a backbeat: “Molotov cocktails, chaos, mayhem, picket signs, tear gas, courtesy of Uncle Sam,” its voices snarl. Create a new account or sign in with your existing account on Facebook, Gmail, AOL and more. Ether! “Gaslighter,” the Chicks’ first album in 14 years, sometimes had to contort itself a little awkwardly to address both the personal and political. Tiwa Savage pairs a strong statement with global grooves on “Koroba.”, Dua Lipa takes aim at men’s entitlement on “Boys Will Be Boys.”, American Broadcasting Companies/Agence France-Presse — Getty Images. Tracks responding to real-time events and a spectrum of moods captured the hodgepodge feelings of life in lockdown. Facebook Twitter Reddit. A cool whisper of close-friends tragedy, in which you can’t save the person you care about so deeply, largely because you can’t save yourself. US Elections. Built on the melody of the Nitty Gritty Dirt Band’s “Bless the Broken Road” (turned into a peak-treacle country-pop anthem of the mid-00s thanks to a Rascal Flatts cover), RMR’s version trades the original’s romance for hymnal tragicomedy. The 1975 uses the bright, brassy sound of late-80s pop to tell a tale that back then would have sounded like science-fiction: a series of sexual encounters conducted over video chat. Luke 24:13-35; Emmaus road Our hearts burned along the road, as he opened to us the Scriptures. The Narrative Innovation Showcase 2020 7 April, 2020 Clara Fernandez-Vara For this year’s GDC, Matthew Weise and I had prepared the 5th consecutive Narrative Innovation Showcase at the Game Developers Conference (GDC) in San Francisco. In a year that surfaced so many of the ambiguities of the American experiment, this long, hypnotic song was a welcome space for rumination. 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