V's New Music Round-Up

V's New Music Round-Up

V's New Music Round-Up

Here are some of the best and biggest releases of the week

Here are some of the best and biggest releases of the week

Text: Ahad Sanwari

Hello and welcome! Too hot to handle out there? Looking forward to any excuse to stay home (well that took a turn) and sit under the fan/air conditioner/refrigerator grate? Then welcome to V’s new music round-up, where we tune you into some of the week’s biggest and best releases, whether they be singles or albums. Perfect sitting at home music!

Here are this week’s top picks:

Planet Her by Doja Cat

Image courtesy of Kemosabe/RCA

Doja Cat’s highly anticipated third studio album is a definite progression in the right direction. At this point, we’re all familiar with what a Doja Cat rap-pop(ish) hybrid sounds like, and this album cements that in while slowly trying to look elsewhere. Nothing too extremely risky, just as much as the territory calls for. But is it an absolute smash for summer? Most definitely.

CALL ME IF YOU GET LOST by Tyler, the Creator

Image courtesy of A Boy Is a Gun/Columbia

The triumph of this album is in not sounding like anything Tyler’s ever done before, yet sounding exactly like what you’d expect him to do. It’s like if BROCKHAMPTON, Run DMC, and Tupac all collaborated on a record that was taken forward by his own distinct style, this animated emo kid who just makes good music on the side. It’s perfectly Tyler to not just put himself in one box, but all of them, and use that to stand out.

Love and Lies by Anthony Ramos

Image courtesy of Republic Records

It’s astounding when, after listening to this entire album, you realize that Anthony Ramos is someone who didn’t really become a household name till mere weeks ago with In the Heights. But the Hamilton alum proves with his second studio record that he’s a bonafide pop sensation, with a seasoned understanding of production and with huge potential to be the next chart-topping man of the hour.

VICE VERSA by Rauw Alejandro

Image courtesy of Sony Music Latin/Duars Entertainment

Alejandro really leans into the experimental on here, opting for some sci-fi optics over traditional latin, urbano music. It seems, though, that at some points, he’s too shy to fully let go. Because the moments where he unleashes the crazy, like “Track 4,” “Aquel Nap ZzZz,” and the Anitta collab “Brazilera,” are the ones that make you sit up and really listen and appreciate someone going way outside of the safe zone.

What A Song Can Do (Chapter One) by Lady A

Image courtesy of Big Machine Label Group

Through fleeting themes of romance, contemplation, and a search for their identity, Lady A arrives at their first album since their name change. It’s definitely as much a cautious look at the future as it is a warm embrace of their past, diving into the wholesome country and Americana music that made them household names while also looking to add touches of change here or there. It’s just a step forward, but given that’s their intention, you can appreciate it.

“Bad Habits” by Ed Sheeran

Image courtesy of Asylum Records/Atlantic Records

It’s odd to say this is the most mainstream Ed Sheeran has sounded, because he’s basically as mainstream as he could be. Let’s just say, now he actually sounds like what he’s populating the charts with. It’s a quite looser, fresher version of Sheeran that really should be a path forward; Ed Sheeran, dance pop icon, nightclub sensation. Has a nice ring to it.

“Red Light Green Light” by DaBaby

Image courtesy of Interscope

As soon as you hear that pan flute, you think, “Oh, this is the Legend of Zelda soundtrack, got it.” But nope! In comes DaBaby, just spitting through every conquest, every fast car license plate, every achievement he can in under three minutes. Similarly to last week’s “Ball If I Want To,” you’re not really sure you should be hearing this. But that pan flute really just makes you want to river dance, so why not?

“Lipstick” by WILLOW

Image courtesy of MSFTS Music/Roc Nation

If her last single was just the awakening, this single is the complete rebirth of Willow Smith into a grunge, rock icon. Her voice packs the sort of emotional power and raw unadulterated goodness that just hits every syllable harder and harder, similar to someone like, say, Florence Welch, where you not only get what they’re saying, it becomes so much clearer. WILLOW has clearly come into her own as a dynamite artist. Speaking of which…

“BYE” by Jaden

Image courtesy of MSFTS Music/Roc Nation

It’s interesting to see how completely different directions the two siblings take with their new releases. If WILLOW is stomping on your soul with crushing heft, Jaden is picking up the pieces and putting it back together with a rose in his mouth. It’s the sort of dreamy synth pop-rap track that takes you on a journey where you realize this singer is someone girls want to put up posters of on their walls. He’ll hold your hand, but with consent.

“Nothing Else Matters” by Miley Cyrus ft. WATT, Elton John, Yo-Yo Ma, Robert Trujillo, and Chad Smith

Image courtesy of Blackened Recordings/Universal)

Maybe the only thing that was left for rock star Miley to reach her zenith was be in one of the weirdest collab line-ups ever covering a diamond of a Metallica song. Yet, she’s the one who really, really makes this work. She has the gravitas to pull off the switch from begrudging acceptance to dramatic hurt in an instant. Every other member of the group fills their role, including Sir Elton John and Metallica bassist Robert Trujillo, but it all feels like a build-up to the ascendance of Miley Cyrus.

“Slumber Party Remixes” by Ashnikko ft. Princess Nokia

Image courtesy of Parlophone/Warner

It’s technically a single? Done many times? Look, disregard the order here, the important thing is that Ashnikko goes from a crazy, sexed-up, school girl type on the original, to one that’s gone into the deep end of unhinged techno. Each new version of the track just gets crazier than the last, making you wonder how the conversation around this happened and thanking the lord that it did, because every version on this is a trip and a half.


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