The first, called “Voodoo Love,” takes its percussion from the Max Martin school of candy-crush pop, and then Grande goes into late ’90s caged bird songstress mode on it: She’s lovesick, optimistic, so sunny that you kind of worry about her intentions: “If you try to leave me, I’ll lock you in the trunk.”
The second track, “OG Honeymoon Ave,” follows the Postmodern Jukebox strategy of YouTube-harbored, horn-stab revivalism. It’s immaculately presented, tight soul—courtesy of Sharon Jones’s backing back the Dap-Kings—that soars behind Grande’s vocals. It’s nuanced and flawless.
Grande’s third album Dangerous Woman landed just before Memorial Day. That she took to the cool kids table of indie trendsetters on SoundCloud and not a more official streaming route like Spotify speaks to the singer’s streak of individualistic creativity. Just check her account’s URL: “arianagrandeforrealidkwhyicantgetmyownlinkbutok”.