French Montana (Rapper)

Hear tracks by Kelsea Ballerini, Syd, Oliver Sim and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Camila Cabello featuring Willow, ‘Psychofreak’Alienation gets an electronic lilt in “Psychofreak” from Camila Cabello’s “Familia,” which is actually stacked with songs about jealousy. In “Psychofreak” she sings about feeling dissociated, insecure and suspicious: “Tryin’ to get connected, no Wi-Fi/tell me that you love me, are you lying?” Against brittle percussion and impassive chords on the off-beats, Cabello sounds relatively unruffled despite what the lyrics say, but Willow (Smith) focuses and ratchets up the anguish. JON PARELESMiranda Lambert, ‘Actin’ Up’Miranda Lambert’s “Actin’ Up” could have been just another feisty, bluesy country-rock song. “I want a sunset ride, a velvet rodeo/A Colorado high, a California glow,” she declares. Its richness is in its arrangement: its stereo, reverbed guitar picking, its syncopated drumming, the echoes and pauses placed behind her boasts. PARELESKelsea Ballerini, ‘Heartfirst’On her 2020 album “Kelsea,” Kelsea Ballerini honed her keen ability to spotlight the sort of anxiety and self-doubt that many other country singers conveniently crop out of the frame. The single “Heartfirst,” though, is all about pushing those impediments aside and jumping headlong into new romance: “That voice in my head says to slow down, but it can’t feel your hands on my hips right now,” she sings. Recommended for anyone who revisited Taylor Swift’s version of “Red” last year and wished someone were still making glimmering, wholehearted pop-country songs like that in the present tense. LINDSAY ZOLADZBanks, ‘Meteorite’Banks’s songs bring a deep wariness to her relationships. “We’re already in bed, you may as well lie,” she sings as “Meteorite” begins. But in this track, syncopation fights pessimism. Handclaps, stop-and-start drums and backup vocals that hint at Balkan and African call-and-response insist that this iffy romance could still push ahead. PARELESPieri, ‘Vente Pa Aca’It was only a matter of time until the textures of hyperpop collided with reggaeton. Consider the Mexican-born, Brooklyn-based artist Daniela Pieri its champion: Her new single “Vente Pa Aca” interlaces a muted dembow riddim, serrated synths and gauzy speaker feedback lifted straight from a PC Music compilation. In an Auto-Tuned shrill, one that carries just enough of a punk edge, she intones, “No te quiero perder/tú y yo hasta el amanecer” (“I don’t want to lose you/Me and you till dawn”). ISABELIA HERRERASyd, ‘Fast Car’“Broken Hearts Club,” the first album in five years from Syd — a member of the R&B collective the Internet and a one-time Odd Future upstart — is mostly an intimate chronicle of a relationship’s demise, but the sultry “Fast Car” conjures a moment before things went sour. A driving, 4-4 beat and glossy ’80s sheen provide a backdrop for Syd’s vaporous vocals (“No one can see inside,” she croons, “do with me what you like”) before a glorious, Prince-like guitar solo breaks the whole song open like a cracked sunroof. ZOLADZOliver Sim, ‘Fruit’Harnessing the high drama of a power ballad, but holding all the airiness of the xx’s gauzy R&B, Oliver Sim’s “Fruit” is the kind of queer anthem only he could make. Produced by his bandmate Jamie xx, “Fruit” is a love letter to a younger self coming to terms with queer identity. “You can dress it away, talk it away/Dull down the flame/But it’s all pretend,” Sim whispers, oozing melancholia. He may have been the last member of the xx to go solo, but it has been well worth the wait. HERRERAFlorist, ‘Red Bird Pt. 2 (Morning)’This one’s a tear-jerker. Emily Sprague — sometimes a solo artist, sometimes the leader of the Brooklyn indie-folk group Florist — recounts the life of her late mother and her own early childhood in a series of vivid, cleareyed snapshots (“I’ve seen photos of the living room, we didn’t have a lot”), sung atop a gentle, fingerpicked chord progression. Synthesizer whirs mingle with bird chirps in the song’s airy atmosphere; Sprague and the band actually recorded it on a porch. That sonic embrace of the natural world becomes even more poignant toward the end of the song, which will appear on a forthcoming self-titled Florist album, when Sprague sings in a peaceful murmur, “She’s in the bird song, she won’t be gone.” ZOLADZDaniel Rossen, ‘Unpeopled Space’“Unpeopled Space,” a dazzling highlight from the former Grizzly Bear guitar virtuoso Daniel Rossen’s first full-length solo album “You Belong Here,” is a searching meditation about leaving the city for the country, as Rossen himself did a decade ago. But his arrangement is so full of compositional surprises and instrumental chatter — shape-shifting acoustic guitar riffs, croaking strings and dynamic percussion from his former bandmate Christopher Bear — that he makes the natural world sound every bit as alive as a teeming metropolis. “Whatever was, whatever will,” he sings to the vast green space around him, “we belong here now.” ZOLADZPink Floyd featuring Andriy Khlyvnyuk of Boombox, ‘Hey, Hey Rise Up’Andriy Khlyvnyuk from the Ukrainian band Boombox returned to his homeland to fight the Russian invasion. From Kyiv, he made an Instagram post of his defiant, full-throated rendition of a resistance anthem, “The Red Viburnum in the Meadow,” singing with a rifle slung across his chest. It moved Nick Mason and David Gilmour of Pink Floyd to build a full-length track around it — their first new Pink Floyd song since 1994, which will benefit Ukrainian relief. Pink Floyd accompanies Khlyvnyuk with somber gravity, buttressing him with organ chords and choir harmonies; a wailing, clawing Gilmour guitar solo sustains the mood of grim determination. PARELESJoyce Manor, ‘Gotta Let It Go’Emo bands tend to be verbose, but Torrance, Calif.’s Joyce Manor are unusually efficient — as if Taking Back Sunday had attended the Guided by Voices school of songwriting. “Gotta Let It Go,” a two-minute ripper from the band’s forthcoming album “40 oz. to Fresno” (out June 10 and named after an autocorrected text about Sublime) showcases the lead singer and guitarist Barry Johnson’s rabid but melodic holler, alongside the sort of crushing waves of distorted guitar that wouldn’t have sounded out of place on late-90s alt-rock radio. “You say it’s cute but you think it’s ugly,” Johnson shouts on the pummeling bridge — yep, a bridge in a two-minute song! Told you these guys are efficient. ZOLADZEl Alfa, Braulio Fogón, French Montana and Kaly Ocho, ‘Máquina de Dinero’El Alfa’s ascent as the king of Dominican dembow has come with its fair share of missteps: diluted EDM bangers, or pop-dembow tracks with a little too much gloss. So “Máquina de Dinero,” from his fourth studio album, “Sabiduría,” is an unexpected bombshell. El Alfa deploys his double entendres and witty raps over a gritty, shrapnel-like beat from his go-to producer Chael Produciendo, its deliciously raw, unfinished texture aligning more closely with the coarseness of his own early hits. His guests are surprising, too — Braulio Fogón and Kaly Ocho, titans of el bajo mundo (the underground dembow scene), along with French Montana. Just try not to laugh out loud when Montana says, “’Rican or Dominican, she bustin’ out the skirt,” and mimics the addictive hook from El Alfa’s summer heater “La Mamá de la Mamá.” HERRERAAlicia Keys, ‘City of Gods (Part II)’Alicia Keys let herself be treated as a mere hook singer alongside Fivio Foreign and Kanye West on “City of Gods,” shunted aside as they touted their careers. But with “City of Gods (Part II)” she reclaims the song as the plea of a spurned lover, begging, “Don’t leave me, go easy,” amid towering piano chords and cavernous bass tones, a voice trying to find its way through the cityscape. PARELESSun’s Signature, ‘Golden Air’Sun’s Signature is the partnership of Elisabeth Fraser from Cocteau Twins and Damon Reece from Massive Attack. In the 1990s, both groups conjured encompassing atmospheres, but in different registers. Cocteau Twins were mistily ethereal; Massive Attack was bassy and seismic. “Golden Air,” the first song from an EP due in June, is more protean. It works through multiple transformations — tinkly Baroque-pop, Minimalist a cappella vocal layers, shimmering psychedelic march — as Fraser sings cosmic musings: “My heart shall say to me/Do with me something.” PARELESS. Carey, ‘Sunshower’S. Carey, a longtime collaborator with Bon Iver, goes for billowing bliss in “Sunshower.” His multitracked falsetto harmonizes with cascading guitars and saxophones as he surrenders to the unexplainable beauty of a deep connection: “I don’t know myself before I knew you,” he realizes. PARELESSam Gendel and Antonia Cytrynowicz, ‘Something Real’One afternoon in Los Angeles, the saxophonist, keyboardist and composer Sam Gendel improvised some songs with Antonia Cytrynowicz, the younger sister of his partner, the filmmaker Marcella Cytrynowicz; at the time Antonia was 11 years old. They haven’t played them before or since. Luckily they recorded them, and realized they were good enough to release as an album; “Live a Little” is due May 13. In “Something Real,” Gendel circled through an undulating, slightly gloomy four-chord keyboard pattern as Antonia mused about what she was hearing: “Never knowing, never feeling/Like a sound, that is nice,” she sang. “You’re nice and gentle.” But dissonant feedback wells up at the end, suggesting that safety is fragile. PARELESMyra Melford’s Fire and Water Quintet, ‘For the Love of Fire and Water: II.’On “For the Love of Fire and Water,” the esteemed pianist and bandleader Myra Melford helms a new band featuring some of the most distinctive players in improvised music today: Ingrid Laubrock on saxophone, Tomeka Reid on cello, Mary Halvorson on guitar and Susie Ibarra on drums. On Track 2 of the 10-part suite, the quintet pulls itself forward with a mix of lethargy and restlessness, Halvorson and Laubrock — longtime musical intimates — carrying the nervy melody over Melford’s halting left-hand pattern, then improvising together in dyspeptic bursts. The tune itself is hard to keep track of, and the meter tough to count, but the stubbornness of the pulse and the resonance of the harmony may linger in your ear long after the track fades away. GIOVANNI RUSSONELLO More