San Francisco Chronicle - (Sunday)
Bay Area’s own Saweetie among best new tunes.
The Chronicle’s guide to notable new music releases.
NEW ALBUMS
Khruangbin, “Mordechai” (Dead Oceans): The Houston threepiece has gone where it rarely has gone before for its third album: the vocal booth. Almost every song on “Mordechai” features lyrics, unlike the mostly instrumental melting pot of textures of its first two records. But the world-wandering influences remain.
The funkdisco of lead single “Time (You and I),” the SpanishbywayofAfrica guitar rhythms provided on “Pelota” and the Serge Gainsbourg-worthy “Connaissais de Face” end up making total sense together.
Haim, “Women in Music Pt. III” (Columbia): After a twomonth delay due to the pandemic, the sister pop trio returns with one of the most anticipated releases of the summer for music critics. Haim’s third album features hints of altcountry (the guitar part on “The Steps,” for example), summery pop on “Don’t Wanna” and a Joni Mitchell reference on the depressionriddled “I Know Alone,” with plenty here to fulfill the expectations of the band’s longtime fans. The album feels like a part three, a continuation of the story, rather than a reboot.
Jessie Ware, “What’s Your Pleasure?” (Virgin/EMI): Since the British electropop singersongwriter’s 2017 album, she has branched out into foodie podcasting (“Table Manners,” hosted with her mother), designing kids clothing and cookbook writing (her first is due out this year).
But back to her musical roots, she offers singles like “Ooh La La” and “Save a Kiss” as aural glitter and confetti, best heard under a large mirror ball with a glass of Champagne in hand.
CeeLo Green, “CeeLo Green Is Thomas Callaway” (BMG): The Goodie Mob member and half of Gnarls Barkley teamed up with Black Keys singer and songwriter Dan Auerbach for an album of truly oldschool Southern soul, straight from the church steps.
This is Sunday afternoon music, relaxed and mature.
Thomas Callaway is Green’s legal name, and the record feels more personal than any of his previous work.
Brian McKnight, “Exodus” (SRG/ILS Group/UMG): The legendary soul singer has said that this, his 20th studio album, is to be his last of original material. If so, it’s hard to overstate his impact on R&B. Over 28 years, he’s worked with everyone from Earth, Wind & Fire to Kobe Bryant (no, really), and was a constant presence on Billboard’s R&B
charts, especially in his first two decades of releases.
The tribute to mature drinking “’42 (Grown Up Tipsy)” and the trapinfluenced “Neva Get Enuf of U” hints that there may be more for the 51yearold to say.
#ICYMI
Teyana Taylor, “The Album” (G.O.O.D. Music/Def Jam): The singersongwriter and choreographer released a monster of an album on Juneteenth, with features from seemingly half the industry: Lauryn Hill, Erykah Badu, Quavo, Missy Elliot, Future, Kehlani and King Combs all appear. But the star is still the R&B singer; her music walks the line between that classic
’90s sound (think Mary J. Blige and the aforementioned Ms. Hill) and modern influences, like the trapflavored “Boomin’,” across 23 songs – more than her first two albums combined.
SONG OF THE MOMENT
Gregory Porter, “Mister Holland” (Blue Note): Taken from the Grammywinning soul star’s upcoming album “All Rise,” “Mister Holland” is a thankyou note to the white father of his love interest. “You invited me into your home, treated me as if I was grown,” Porter sings over a bed of brass, a reminder that we’re not too far from — and in some cases, are still in the midst of — a time when a young black man would be considered a predator, not a suitor.
YOUR STAYATHOME DANCE BREAK
Saweetie, “Tap In” (ICY/ Artistry/Warner): The Santa Claraborn MC’s latest kicks off with a Too Short sample and ends with the line, “F— around and bring back hyphy,” referring to the Oaklandoriginated hiphop subgenre. Is this the most Bay Areafocused song of the year thus far?