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Accuracy • Independence • Integrity

April 23, 2019   |   Ithaca, NY

Life & Culture

Review: Singles for the week of 1/20

“7 rings”

Ariana Grande

Released Jan. 18, 2019

 

The success of the confident, flirty and powerful “thank u, next” and “imagine” seemed to have led Ariana Grande to boast about her fame and fortune. The verses, which follow the melody of “The Sound of Music”’s “My Favorite Things” are an unsettling contrast to the trap-pop chorus in which Grande chants, “I want it, I got it.” Though Grande has one of the most impressive voices in pop today, “7 rings” does not showcase it.

 

“Breathe”

Backstreet Boys

Released Jan. 18, 2019

Sony Music Entertainment

The Backstreet Boys are still at it, and their harmonies are as tight as ever. “Breathe” is the fourth single off of the much-anticipated upcoming record, “DNA.” The completely a cappella track is sentimental but energetic and vibrant. Though the Backstreet Boys have long represented nostalgic, early 2000s gimmicks, they are ready to bring their talents into 2019.

 

 “All Over Now”

Cranberries

Released Jan. 15

Curtain Call Limited

Following the tragic death of frontwoman Dolores O’Riordan in Jan. 2018, The Cranberries are set to release one more album in April. “It’s All Over Now” is the first single to be released. Like the Irish punk band’s previous music, this track is both heavy and glistening, as O’Riordan’s voice soars over the distorted guitars.

 

“Almost (Sweet Music)”

Hozier

Released Jan. 16

Rubyworks, Ltd.

Hozier’s latest single sounds both leisurely and jaunty. Its summery sound is a welcome contrast to the cold weather during which it was released. Hozier’s robust vocals echo over buttery guitar strums. This track is set to be a festival favorite.

 

 

“Kids”

PUP

Released Jan. 15

Rise Records

Canadian punk band, PUP is set to release their new album, “Morbid Stuff” in April. The first single off of this record, “Kids” is a punchy and fun track complete with gang vocals and unabashed lyrics. Lead singer, Stefan Babcok’s yell-singing captures both the misery and celebration of nihilistic love.