SHUF­FLE

The week’s best clips, sin­gles, down­loads and au­diostreams

The Irish Times - Friday - The Ticket - - MUSIC REVIEWS - Eoin But­ler

PSY ft. CL Daddy ★★★ YG En­ter­tain­ment

Just when it ap­peared his 15 min­utes were up, PSY pulls us back in with what is (even by his own stan­dards) a truly un­hinged mu­sic video. Ac­cord­ing to K-pop fan­sites, the rap­pers’ lyrics are full of all sorts of smutty in­nu­endo that is only in­tel­li­gi­ble if you’re flu­ent in both English and Korean. But fear not, be­cause there’s still more than enough overt smut to sat­isfy even the most ar­dent per­verts. Think Dirty Danc­ing meets Win­dowlicker.

MIA Bor­ders ★★ In­ter­scope

“Bor­ders?” muses MIA, sound­ing more like a puffed-up car­i­ca­ture of a right-on pop star than ever. “Pol­i­tics? What’s up with that?” As a for­mer mi­grant her­self, the rap­per is bet­ter placed than most to weigh in on the cur­rent refugee cri­sis. This video mo­bilises a cast of hun­dreds to recre­ate the present chaos at Calais-Fréthun. But much like Bono, when he’s singing about Derry (or Bos­nia, or 9/11), it’s not en­tirely clear whether she’s em­pathis­ing with, or merely ex­ploit­ing, the vic­tims of tragedy.

COLD­PLAY ft. BEY­ONCE Hymn for the Week­end ★★ Par­lophone

The sec­ond track re­leased from Cold­play’s A Head Full of Dreams al­bum is called Hymn For The Week­end and it’s eas­ily as ex­cit­ing as go­ing to mass. Ac­cord­ing to an in­ter­view Chris Martin gave the Wall Street Jour­nal, the cho­rus orig­i­nally went “Drinks on me / Drinks on me...” But the band de­cided that was too edgy for their tastes, so they forced Martin to change it to “Drink from me / Drink from me...” Which is just dis­gust­ing, quite frankly.

ANOHNI 4 De­grees ★★★★ Se­cretly Cana­dian

The artist for­merly known as Antony He­garty (she now iden­ti­fies as fe­male) has de­scribed the forth­com­ing Hope­less­ness as “an elec­tronic al­bum with some sharp teeth”. 4 De­grees is one of those in­cisors. It’s an an­guished med­i­ta­tion on cli­mate change, with some of the most omi­nous strings this side of The Im­pe­rial March.

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