In early 2021, it seemed like Chance The Rapper was gearing up to release a new project, one that would be his first release since 2017’s The Big Day. He kicked off the year with the reflective “The Heart & The Tongue,” and prior to that, he returned with “Shelter” alongside Vic Mensa. The latter stood as the Chicago rappers’ first collaboration in years, and while Mensa has delivered multiple projects since then, Chance has not. Maybe 2022 is the year for a new body of work from Chance, but that remains to be seen. Until then, we can enjoy his newest single with help from painter Naila Opiangah and singer Moses Sumney.
Together, the trio arrives with “Child Of God,” a mellow track that sports bare-bone production which allows Chance the show off his rap skills. He uses his bars to look back on simpler times in a world that tends to be very complicated. The track also arrives with vocals from Moses Sumney and an accompanying music video that captures Chance rapping the lyrics to the song as Opiangah paints what turns out to be the song’s cover art on a large canvas beside him.
Chance premiered the video at the Museum of Contemporary Art where he spoke about his next project and what could be expected from it. “They all come from a space of me finally feeling empowered and me finally feeling ready to go speak on all the things that I think about,” he said about the project’s songs according to the Chicago Sun-Times. “This project does explore a lot darker themes than I have in the past couple of projects. But, it’s all still from a place of understanding that it’s all a process.”
“Child Of God” arrives after he reconnected with his SaveMoney crew earlier this month to release “Bag Boy,” their first song in eight years. Prior to that, he reunited with Supa Bwe for “ACAB” and also teased an upcoming song with Vic Mensa.
You can listen to “Child Of God” in the video above.
Chance The Rapper is teasing new music set for release this Thursday. The Chicagoan dropped two clips on Instagram and Twitter, each containing previews of a new single called “Child Of God.”
The first clip sees a close-up of Chance’s face, shouting his signature “igh” ad lib, before a screen reading the text “Child Of God” appears. The next screen reveals a release date of March 24. According to the post’s caption, the new song features Naila Opiangah and Moses Sumney.
In a second clip, shared today, a woman is seen painting as Chance stands in the background. Set to the same instrumental, we once again hear the “igh” and see the “Child Of God” text, along with the March 24 release date.
Earlier this month, Chance revealed a snippet of new music with Vic Mensa. He also dropped new songs with Supa Bwe and his SaveMoney crew, marking the latter’s first song in eight years. Last year, Chance collaborated with R&B legend Dionne Warwick on a ballad called “Nothing’s Impossible.”
Outside of music, Chance has teamed up with Ben & Jerry’s to drop Mint Chocolate Chance, a mint chocolate-flavored ice cream filled with chunks of brownies. A percentage of sales of Mint Chocolate Chance goes to Chance’s non-profit SocialWorks, aimed toward empowering Chicago youth through arts, education, and civic engagement, with additional programming focusing on education, homelessness, mental health, and performing and literary arts.
A24 has revealed the massive 49-song tracklist for its upcoming science fiction film Everything Everywhere All At Once. Experimental trio Son Lux, who scored the film, enlisted the likes of Andre 3000, playing flute under his birth name Andre Benjamin (as Consequence notes), along with Mitski, Moses Sumney, and Randy Newman for the star-studded soundtrack.
Everything Everywhere All At Once will premiere at SXSW on March 11th, before receiving a wide theatrical release on April 8th. The soundtrack will be released on the same day as the film’s wide release.
“Even though we knew from the moment Daniels [directorial duo Daniel Kwan and Daniel Scheinert] asked us to score this film that it would push us in new and unexpected directions, we couldn’t have predicted how much we’d learn from the project,” said Son Lux in a statement. “What emerged was our most ambitious undertaking to date, over two years in the making, resulting in two hours of new music. It was an opportunity for us to play, to infuse humor into our work, and to experiment from and beyond our various musical backgrounds.”
Check out the tracklist below.
1. “This Is A Life (Extended)” Feat. Mitski and David Byrne
2. “Wang Family Portrait”
3. “Very Busy”
4. “Vvvery Busy”
5. “What Are You Thinking About?”
6. “What A Fast Elevator!”
7. “Switch Shoes To The Wrong Feet”
8. “Nothing Could Possibly Matter More”
9. “A Choice”
10. “Chapstick”
11. “The Fanny Pack”
12. “Jobu Tupaki”
13. “The Alphaverse”
14. “The Mission” Feat. Nina Moffitt
15. “Deirdre Fight”
16. “Waymond Cries”
17. “I Love You Kung Fu”
18. “My Life Without You” Feat. André Benjamin
19. “The Story Of Jobu” Feat. Nina Moffitt
20. “Rendezvous At The Premiere”
21. “It’s You… Juju Toobootie” Feat. Chris Pattishall and Nina Moffitt
22. “Everything Bagel”
23. “You’re Living Your Worst You”
24. “The Boxcutter” Feat. André Benjamin
25. “Send Every Available Jumper”
26. “Opera Fight” Feat. Surrija and yMusic
27. “Dog Fight” Feat. André Benjamin
28. “Drummer Fight”
29. “Plug Fight”
30. “Pinky Fight” Feat. André Benjamin
31. “I Have Been Watching” Feat. Rob Moose and Nina Moffitt
32. “Somewhere Out There In All That Noise”
33. “Jobu Sees All”
34. “The Temple”
35. “Evelyn Everywhere”
36. “Evelyn All At Once”
37. “This Is How I Fight”
38. “In Another Life”
39. “It All Just Goes Away”
40. “Clair de Lune (Pied au Piano)” Feat. Chris Pattishall
41. “Come Recover (Empathy Fight)”
42. “Your Day Will Come (Empathy Fight)”
43. “Let Me Go”
44. “Specks Of Time”
45. “This Is A Life” Feat. Mitski and David Byrne
46. “Fence” Feat. Moses Sumney
47. “Now We’re Cookin’” Feat. Randy Newman
48. “Sucked Into A Bagel” Feat. Stephanie Hsu
49. “I Love You”
Come December 8th, Moses Sumney will be out with a new concert film entitled Blackalachia. Set in the Blue Ridge Mountains of Western North Carolina, it was filmed in the fall of 2020, when playing in front of live crowds was something we all weren’t sure of when would happen again. Part of WeTranfer’s Wepresent series, the 67-minute set sees Sumney playing songs off of both Græ and Aromanticism, along with some new material, which is what brings us here today.
On “In Bloom (In The Woods),” Sumney operates with a renewed comfort vocally. Perhaps it’s the bucolic setting, but there’s a distinct peace-of-mind in his delivery as he sings over gorgeous strings and a modest beat. You can almost hear the insects chirping in the background of the audience-less recording. The film itself obviously stars Sumney, but it was also directed by him. “Over the course of two days, we filmed 14 songs, totally live, the trees as our audience, the grasshoppers our background singers,” Sumney said in a statement. “The film is a wild imagining of what can happen when we seek not just to reclaim nature, but to reintegrate with it.”
Listen to “In Bloom (In The Woods)” above and watch a whip-fast drone-filmed trailer for Blackalachia below.
As a song, “I Love You, I Hate You” is the fulcrum of Little Simz’s devastating and beautiful album, Sometimes I Am Introvert. It’s incredibly vulnerable and visceral songwriting from the British rapper, as she dissects the relationship (or lack thereof) with her absent father. When you dive into lyrics like, “You know what was destroyed, but you don’t know what was left,” it’s clear that there was deep soul-searching required to arrive at the stunning final track, produced by Inflo.
Now, Little Simz has just released a short film commissioned by WeTransfer’s “WePresent” platform and it adds depth and context to Simz as a songwriter. With a story conceived by the rapper, it marks her film debut in the 22-minute piece written by Caroline Adeyemi and directed by Sam Pilling (who has been behind a number of The Weeknd clips and also directed the epic Run The Jewels and DJ Shadow “Nobody Speak” visual).
In the film, Simz’s lead character is a writer on a deadline, spending time in the British countryside with her partner and close friend. It’s beautifully shot and spares no emotions as the imagery and collateral damage of creating lasting work is depicted in numerous ways.
In a statement, Simz shared some thoughts on the project:
“I Love You, I Hate You is the story of abandonment. How trauma can affect us in our adult lives if never confronted. I wanted to make this film because I feel it’s a universal story that many people can relate to. It’s been incredible to work with a partner like WePresent (the digital arts platform of WeTransfer) who are so invested in telling stories like this. They understood and trusted my vision from the jump and had my back to create the film I set out to make.”
Up next in the WePresent series will be a performance film by Moses Sumney entitled Blackalachia, out on December 8th. In it, Sumney and his band come to the Blue Ridge Mountains of Western North Carolina, to play songs off his albums Grae and Aromanticism. “The film is a wild imagining of what can happen when we seek not just to reclaim nature, but to reintegrate with it,” Sumney said.
Little Simz’s I Love You, I Hate You the film is out now and you can watch it above. Check out the trailer for Moses Sumney’s Blackalachia here.
“Basically, I tweeted a joke that I assumed Pheobe Bridgers would probably write the vaccination anthem of our times on her next album, which would probably come out in a few years. But then, I decided I would write it instead in the meantime,” she laughs. “This tweet that I thought was very niche ended up blowing up.”
The song, aptly titled “Immune,” opens with the lyrics, “Traffic from the East Side’s got me aggravated / Hotter than the day my brother graduated / Wait four hours in the sun / In line at Dodger Stadium / I’m not scared of dogs or getting vaccinated.” The song resonated with fans and Bridgers herself, who retweeted the clip of the song with the simple comment, “oh my god.”
“When I tweeted the Phoebe Bridgers parody, which then became a real Jensen McCray song, I didn’t expect it to do what it did,” says the 23-year-old singer/songwriter who found herself suddenly famous. “I always thought there was some artifice to it, but in my case, and in a lot of other people’s cases, it really is just an accident. It was very much fortuitous timing, and I think I wrote a pretty good verse that people liked as well.”
Growing up in a bi-racial Black and Jewish family, the Los Angeles native always knew she wanted to be a musician. She took music lessons as a child and when she attended the Grammy Camp at USC at 16 years old, it cemented her desire to pursue music professionally. She returned to USC for her undergraduate degree, this time to study performance with an emphasis on songwriting, and while she was there, her manager found her on Instagram and, as she shares matter of factly, booked her for a show.
She released her first single, “White Boy” in December 2019, following it with “Wolves” in February of 2020. The plan was to continue rolling out music, but the pandemic put those plans on pause. However, the same mixture of inherent talent and social media magic that had brought McRae to her manager was conjured up again. She was awarded the honor of joining 2021’s YouTube Black Voices campaign, where she hopes her music will “[illuminte] one tile in the mosaic of the Black American experience.”
“I feel like the point of my music is to provide another example of Black womanhood and Black female existence in the world,” she shares when asked about the socially and politically conscious nature of her music. “I think even in my music where I talk about things that are not directly related to my demographic identity, it informs the work I do anyway. When I talk about mental health and unrequited love and adolescence, and in addition, political issues, I feel like my perspective as this person who is at the intersection of a few different marginalized identities comes through always.”
McRae has seen success in the same communities her idols have created, though, in her experience, there’s still more work to be done for women of color in alternative music. “When I would play shows, people would always ask me before I played if I made R&B or if I made ‘urban’ music,” she digs. “I don’t even know what that means. That’s kind of a big word in music. Then after I played, they’d be like, ‘oh, you remind me of “insert white artists here”, but with more soul,’ which to me was just like code for ‘you’re Black.’ I think as with many other fields, white women kind of got the exposure first, and now people are opening up their definition of womanhood and rock music and folk music a little bit more to include women of color in that space.”
When McRae reminisces about her favorite artists, her eyes light up, her speech quickens, and fits of laughter punctuate her sentences. Here, she pays homage to the Black artists who have not only inspired her music but, in some ways, have made her music possible.
Alicia Keys
Alicia Keys is the reason I am a musician. My mom played me her music, and I was so drawn to it right away. She was a mixed girl with braids and I was a mixed girl with braids and I was like, ‘This is everything to me.’ Really, it was her piano playing more than that I was really drawn to. I don’t even really play piano primarily anymore but the piano was my first instrument. Alicia Keys showed me a model of musical identity that really resonated with me when I was a kid. I just loved everything she did — especially The Diary Of Alicia Keys, Songs In A Minor, and As I Am. Those three albums were really important to me.
Stevie Wonder
Alicia Keys and Stevie Wonder were two of the first artists I listened to in childhood. Stevie Wonder [was] just fun and the virtuosity that he had was really inspiring. I just remember being in the car with my older brother and my mom and just begging to hear “Black Man.” We would just scream, “Black Man, Black Man, Black Man!” so she would play that over and over again. My dad is a lawyer, but he has a beautiful singing voice and he used to sing a lot of Stevie Wonder to my mom. That was part of how he courted her, so that’s a very important part of my story.
Tracey Chapman
Tracy Chapman is important in the sense that I get compared to her a lot. I am honestly not as well-versed in her discography, everything that I know I love, but I have to acknowledge the historical lineage that led to me as a musician. She’s a Titan. I’ve seen so many different live performances of her playing “Fast Car” and her silencing arenas with just her and her guitar. That’s really important to me because even though I love playing with a band and that’s something I definitely want to do when shows come back, just the knowledge that it’s possible to silence an arena with just you and your voice and your guitar is something really remarkable. And also alto representation. Higher “feminine-sounding” voices are often favored, and having a super deep voice sets me apart — which is cool but it can also be sort of isolating. There are not a ton of female-identifying artists who have those super deep voices, at least not in the genres I traffic in. So, whenever I do find other artists who have that deep resonant alto, I feel very seen.
Corinne Bailey Rae
One of the other biggest artists in my childhood would be Corinne Bailey Rae. I listened to her self-titled debut constantly when I was a kid. She was another Black woman with a guitar making this interesting fusion of pop and folk and jazz, and she’s British. I’m kind of an Anglophile. I love how delicate and feminine her depiction of Black womanhood is. There [are] a few songs on the album that are so special to me. Obviously, “Put Your Records On” — the big hit — just makes me happy. But “Like A Star” is a song I played at so many school talent shows. That song, “I’d Like To,” I love that song so much. That song to me is like summer. It paints such a vivid picture of growing up in a Black neighborhood. Obviously, for her, it’d been growing up in the UK, but there are a lot of overlaps. When I was little, the neighborhood I grew up in before I moved to the Valley, growing up [with] that sense of community and just being around a large group of Black people, just being fully joyous.
Moses Sumney
A more recent discovery is Moses Sumney. I started listening to him when I was a freshman in college. I don’t remember who originally played me “Plastic,” but I was frozen where I stood when I heard it. Everything I listened to from him is so inspiring. I wrote an essay about his double album græ that I’m going to put on my blog one day. He completely defies all description and, with regard to being someone who’s trying to break out of stereotypical genre boxes myself, to watch the way that he does that is amazing. Everything he does is about bouncing back-and-forth between binaries with regard to not only musical genres, but also gender. He’s so comfortable in himself and makes incredible art that isn’t bound to any social expectation, it’s just really beautiful. His lyrics are so incredible, his voice is its own crazy instrument. He’s so in control of his artistic vision, which is something I aspire to one day. I’m instrumental in all of the decision-making in my art, but I don’t necessarily feel like I am as confident as I one day could and Moses is definitely the model I want to emulate.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
