That he’d comeback via Harlem Shakes still felt like a madlib, though. Who’s the best producer? It’s a heady mix of cultural critique and self-help, but Davidson’s locomotive synths keep it all moving at a breakneck pace. Malkmus, that he worried the song sounded too much like Roxy Music’s “A Very Good Time,” but it sounds more like a love letter to the band’s polished art-rock rather than outright theft. — RICH JUZWIAK, What better way to write a pop song about a crush than construct it as a grid of overlapping heartbeats? Salaam Remi keeps the snares as crisp as Tamia’s performance. It was released as a single in … The, shouting functions similarly to rap ad-libs, while the, -style hand clapping gives the song its minimal, percussive backbone. It’s easy to tag “High” as a mixed metaphor about getting lit and laid. The music is atmospheric and sleazy, evoking sweaty afternoons hungover from the cool, breezy, late-into-the-hour night before with gorgeous women and numbing drugs. At Power Trip’s 10th anniversary show in Dallas last month, Gale said he wrote the song about when he realized that he’ll never be in the 1 percent. The Chicago artist is singing about confusion, of course, as she sputters out lines like “you got me wondering where the spunk went / where the funk went.” But where other superficially similar artists might imbue those lines with resignation, Lenae embeds herself into Steve Lacy’s carnivalesque production by asserting [Janet Jackson voice] control. — ANDY CUSH, Mark Ronson and Diplo’s Silk City were always going to produce hits—or at least songs that racked up 8-figure YouTube views—but it was harder to predict the late-night, windows-down brilliance of “Electricity.” Continuing Ronson’s impressive record of soul-inflected production with help from a guy who, if you can say anything for him, clearly knows his dance music history, “Electricity” stays true to house’s funk and disco roots, pairing gorgeous Paradise Garage piano chords with artful flourishes of EDM production. —, Drake’s superpower is his ability to constantly refine and reduce his persona—to become not more and more Drake, but more and more “Drake.” “In My Feelings,” then, is “Drake” as the Incredible Hulk, a pillow-soft homage to New Orleans bounce that ropes in legends like Lil Wayne, Magnolia Shorty, and the producer BlaqNmilD all in the service of… well, what else but Drake showing his bleeding heart to some girls whose status he aims to level up? Girls is actually far too broad in the types of agitation it expresses to simply place it under the protest/activist-art umbrella, but one thing this music shares with exemplars of rebellion like The Clash and Bob Marley is that it makes you feel positively giddy while also elaborating on reasons to get deadly serious.

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