Hit or Miss?
Our roundup of new releases explores what’s making noise and what’s falling flat
With new music dropping every week, it’s easy to get lost in the shuffle. That’s where we come in. In this roundup, D-Constructed sifts through some of the latest releases—from club bangers to pop sugar—and separates the songs you’ll have on repeat from those you might want to skip.
Tate McRae – “Sports Car”
Straight off the line, Tate McRae’s “Sports car” sounds like a retread of 2006-era Nelly Furtado, with its sparkling synths cruising over a deep groove. But give this promiscuous track some time. As McRae’s sultry falsetto concedes to a whisper chorus of I think you know what this is / I think you wanna uh, you know you’re in for a good ride. It’s a short one at under three minutes, but this certified banger from her new album So Close to What (out today!) is sure to take over dance clubs.
Lord Huron – “Who Laughs Last”
“Who Laughs Last,” the latest single from Lord Huron, is an intriguing shift in style from the ethereal songs you’ve come to expect from this L.A.-based band. It opens with a driving guitar riff backed by a relentless beat. Miguel Briseño’s pulsing bass soon follows, drawing you in even further. But wait, is that…Kristen Stewart? The actress enters with spoken-word lyrics that plays like the narration of a noir thriller, adding a cinematic twist to the unraveling story about an otherworldly road trip. When lead singer/guitarist Ben Schneider finally arrives at the midway point for the chorus and later poses the existential riddle If no one lives forever, who laughs last? the song cements itself as a haunting, transportive mood piece.
Maya Delilah – “Squeeze”
Maya Delilah might not be on your radar yet, but this 24-year-old English singer-songwriter’s new song, “Squeeze,” will change that. Slated to appear on her forthcoming debut album The Long Way Round (due out March 28), this supremely funky nugget oozes Prince influence, from the bouncing bass and synth splashes to the Vanity 6-like chorus. It’s sexy, jazzy, and loose in all the right ways, slipping in horns here and a distorted guitar solo there. If you appreciate a hypnotic groove and tight musicianship, you’ll find yourself wrapping around this like a warm blanket.
Julia Michaels & Maren Morris – “Scissors”
“Scissors,” a dark breakup song disguised as breezy pop, opens with Julia Michaels’ airy falsetto over an acoustic jam. It’s a catchy chorus about cutting ties, and the singer is fine with that: I don’t mind, I’m not even bitter / If you wanna cut ties, I’ll get the scissors, baby. Maren Morris’ smoky alto brings a nice counterbalance to the song, but the real magic happens in the final chorus, where the duo’s voices beautifully entwine over a strong backbeat. Breaking up in two minutes has never felt so right.
JENNIE (feat. Dominic Fike) – “Love Hangover”
Following her BLACKPINK bandmates ROSÉ and LISA, JENNIE just released her solo single: “Love Hangover” featuring Dominic Fike. Not to be mistaken as a remake of Diana Ross’ 1976 disco hit of the same name, this aural trifle has a decent start, delicious middle, and disappointing finish. JENNIE kicks off the song with her high-pitched, rapid-fire vocals skimming over a crisp hi-hat. Then comes the chorus—the kind of ear candy you almost feel guilty about liking so much. If “Love Hangover” was just this, it would be a near-perfect piece of pop confection. Fike, playing the target of JENNIE’s affection, contributes a laid-back rap worthy of inclusion, but it’s not enough to save this song, and the drawn out ending makes me want to pull the covers over my head and go back to sleep.