–Ryan Dombal, “If You’re Too Shy (Let Me Know)” is the 1975 incarnate. We sang this at school when visiting other schools on trips and at girl guides. Axel Flóvent. –Rawiya Kameir, One thing nine months more or less alone reveals is whom to miss and whom to let go. At 17 minutes, “Murder Most Foul” is similarly extended and retrospective—the 79-year-old slowly spins a story that orbits around the 1963 killing of President John F. Kennedy while rattling off many of America’s finest musicians along the way. You can practically feel a distance being bridged between her voice and the microphone, and between despondent fans across the globe. While her earlier releases were sometimes marked by nearly impenetrable abstractions, KiCK i feels just accessible enough to draw listeners into its maelstrom of chaos. This tricky dance between intensity and chaos plays out on Jessy Lanza’s “Lick in Heaven”: The bounce of the bass synth and Lanza’s angelic voice are red herrings for the song’s angry underpinnings. On “Breathe Deeper,” you can hear Mariah Carey in the syrupy verse, the Neptunes in every raw drum hit, early Daft Punk in the finale’s acid house groove, and yet there’s no mistaking this for anything but a Tame Impala song. “It’s all the same shit.” To accompany the voyage, he commands a small band in his head—“Bring in the drums/Cue fake drums,” he sighs—but the actual accompaniment refuses to follow his orders. His voice, dexterous as Prince’s, does the most in a full range of light and shade. In (name a Scout)’s pants ‘Cause (that Scout)’s pants. Capping an album that lingers hauntingly on his past, “I Love” is a tribute to the very streets that shaped him: “Everybody called it the slums, but we know it as home.” –Philip Sherburne, “The Mackenzies” begins inauspiciously, with a broken-down car and some unsolicited advice from a neighbor. –Jackson Howard, Thundercat has Dragon Ball Z tattoos all over his body. She has a rare ability to connect the fragmented images passing by the window to what she feels inside: She shows us funnel clouds dropping from the sky, a slaughterhouse, and a shopping mall, and turns each into a signpost for her own confusion. But as the barbed guitar riffs and methodical bass plucks give way to a chorus made for a hot-pink dressing room montage scene played at 1.5x speed, and a happy hardcore breakdown devolves into a spiky loop of unclean vocals, it becomes clear that the remix is somehow even more amazingly chaotic (and infinitely catchier) than the cyber hellscape that is the original. Over three and a half breathless minutes, she shoots off rounds of snappy taunts and neck-breaking flexes; you can practically feel Flo Milli curling her lips and flipping her hair as she compares you to “a toilet with some lips.” The Alabama rapper serves up plates of deliciously petty barbs and flaunts four different flows, offering us a taste of her lifestyle of money-making and man-taking. Poet LA Warman’s wary monologue sways over a faint backbeat suffused with the kind of dread usually found in haunted dubplates. The song ends with a crunching loop of distortion, sonic rubble from which to once again become whole. It’s what makes their music so fun to listen to, and on “Pussy Talk” they’re at their best, enlisting Doja Cat in a rundown of all the things their pussies want, can or can’t do, will or won’t tolerate. And with “Yo Perreo Sola,” Bad Bunny offers a consent-driven treatise centering a woman’s independence on the dancefloor. Are full of ants (repeat) Chorus . Always ahead of his time, Shamir wrote an anthem for figuring this out before lockdown; lucky for us, he released it just as the loneliness really set in. The song’s rhythm is insistent and unsteady; saxophone and electric guitar spray like seafoam, wild and untamed at the edges. She seems lost in the moment, like she has no one to please but herself. The goal is out of sight, the means absurd. Of the many words that could describe their duet—dirty, vulgar, nasty, explicit—none come anywhere close to capturing the attitude of the acronym itself. “Skin on skin,” he murmurs. It’s a feat that the song exists at all, encapsulating a year in which women have been leading both the statistics and conscience of rap, and even forced conservative talking heads to contend with the extraordinary power of the word “pussy.” –Clover Hope, Listen: Cardi B, “WAP” [ft. Megan Thee Stallion], © 2021 Condé Nast. When he opens his mouth it still feels like the bell sleeve of a trilogy about 's. 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