Stream Cortisa Star’s E.M.O and more projects for New Music Friday

Cortisa Star's debut EP cements her unique, blown-out style into an official Sound, serving up 12 tracks that ride between rage and rave and showcase her inimitable charm. “You hoes is my gooslings, I’m goose,” she endearingly flexes on “ALOT;” “I’m a bomb up in this bitch,” she asserts on the “Bomb.” Her star has indeed taken off in the last few months, walking Miu Miu’s runways and courting press all around (including at The FADER). It boils down to the whiplash-inducing emotions of her lyrics: stinging and extreme but also with moments of sweet earnestness, perhaps a symptom of her youth: “I don’t think my shit is trash, think it’s different,” she defends on “Evil ASF.” She’s right. That’s just the burden of being an originator. — Steffanee Wang. Read The FADER's GEN F profile here.

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The music of fantasy of a broken heart is the antidote to anodyne streaming-era independent pop music. It buzzes with a polarity that, at its strongest, you can imagine easily repelling the metadata tagging tools streaming services use to service songs to listeners; even the increasingly useless "genreless" tag feels more flaccid than usual with the music of the Brooklyn duo. Still, Chaos Practitioner might be a better entry point for newcomers than 2024's Feats of Engineering thanks to a resolute focus on teasing catchy moments from their prog-minded compositions and more polished mix that underlines their idiosyncrasies and heart. King Crimson may be their lodestar, but fantasy have succeed at crafting their own vibe: something like a fairy tale animated in the '70s by some long-dissolved eastern European country, its colors and movements obeying their own laws of physics. — Jordan Darville

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Venture into enough warehouse raves or festival sites in Britain and eventually you will stumble across a Sherelle DJ set. Since going viral with her 2019 Boiler Room set, the London-based DJ and producer has become one of the U.K. 's primary sources of uptempo ecstatic dance music. This week she surprise-released her debut album, With A Vengeance. The arrival may have been a shock but the contents of the album are assuredly heavy and euphoric. Across 10 tracks, Sherelle compresses large parts of dance music history into one heat seeking missile aimed squarely at the dancefloor. "Don't Want U" mixes footwork's frenetic rhythms with a jungle swing, nodding to both Chicago and her London hometown. It's these two divergent paths that Sherelle takes most often, with flashes of techno, old school rave, and even dubstep guiding her route through an album that never lets up in its desire to make you move. The lone vocal track on the album, George Riley collaboration "Freaky (Just My Type)," may well be an early contender for song of the summer, too. — David Renshaw

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On her third EP, Bb trickz provides emphatic proof that she’s more than just a singles artist. True, each of 80’z’s eight tracks feels capable of becoming a summer classic. Together, though, these pop miniatures gel into a pleasantly dizzying 12-minute mix, evoking Tierra Whack’s Whack World, though not as diverse in style or as strict in parameters (every song on that project was exactly one minute long). Here, the bouncy “Tips & Trickz,” in which Bb promises to “never ever switch,” bleeds into the dreamy “Superchú,” where she says “fuck you too” to anyone who standing in her way. The appropriately retro “Back in the 80’s,” equipped with a low end worthy of a dirty-south cosign, somehow slides effortlessly into the high-BPM banger “Pepa.” And the pounding percussion that undergirds the breezy, Clairo-sampling “Not a Pretty Girl” strikes a pleasant balance with the similar dynamic of its sister track, “I’m Just a Girl,” when it arrives four tracks later. By the time “Malvada” rumbles to a close, the only logical course of action is to flip 80’z over and start it again. — Raphael Helfand

Hear it: Spotify | Apple Music