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    Tyla Avoids a Bad Romance, and 9 More New Songs

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    Hear tracks by Olivia Rodrigo, Gary Clark Jr. featuring Stevie Wonder, Four Tet and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Tyla, ‘Safer’Following her worldwide 2023 hit “Water,” the South African songwriter Tyla has now released her self-titled debut album, merging African rhythms with English lyrics and R&B delivery. The album’s songs toggle between approach — like “Water” — and avoidance. In “Safer,” Tyla pulls away from temptation. The song harnesses the log-drum beat and sparse, subterranean bass lines of South African amapiano as Tyla worries that “This feels too good to be true” and decides, “As bad as I want you, I know that it’s danger.” Choral call-and-response vocals carry South African tradition into the electronic wilderness of 21st-century romance. JON PARELESOlivia Rodrigo, ‘So American’Olivia Rodrigo knows all too well how susceptible a young woman can be to physical attraction and a good line. With the speedy, pumping new wave rock and breathless vocals of “So American” — from the extended version of her 2023 album, “Guts (Spilled)” — she sums up a guy with “hands that make hell seem cold” who “laughs at all my jokes and says I’m so American.” For three frantic minutes, self-consciousness is no match for pheromones. PARELESRemi Wolf, ‘Cinderella’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Saxophone Master Shabaka Hutchings Is on a New Journey: Flutes

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      The British musician is an artist in residence at Winter Jazzfest in New York this week, playing an instrument group that he first picked up in 2019.As Shabaka Hutchings led a concert tribute to Pharoah Sanders in early December, he returned to a familiar equation: funneling gallons of air through his tenor saxophone, transforming it into a corrosive stream of sound.Hutchings has been an essential figure on a British jazz scene that has experienced an uptick in popularity over the past decade because of its erasure of genre boundaries and its embrace of the art form’s foundational dance music sensibilities. His distinctive tenor has long been the through line of his diverse, widely acclaimed projects, connecting the electronic skronk of the Comet Is Coming to the fire of Sons of Kemet, and lately to the legacy of fellow hard-blowing saxophonists like Sanders.But by the time we met earlier this month, Hutchings, 39, had put down the saxophone, if not for good then certainly for the foreseeable. A handful of gigs across London last month — the Sanders tribute, an extended take on John Coltrane’s “A Love Supreme” and a final flourish as a guest with the pianist Alexander Hawkins’s trio — were the final chances to hear Hutchings performing on an instrument that has dominated his musical life for the first part of his professional career. When he appears at New York’s Winter Jazzfest as an artist in residence this week, for the most part he will be playing flutes, an instrument group that he first picked up in 2019.“The bands that I was doing those gigs with became successful enough for them to dominate all the space of my work,” Hutchings said, speaking quietly and methodically, in a way that suggested recounting recent life events to others may be another extension of his artistic practice. “People say, because you’re doing lots of work on the saxophone, you are a saxophone player. I’m not really a saxophone player.” He felt that the only chance to be proficient elsewhere was to make a bold change.“I think of him as a sort of a multi-instrumentalist,” said the pianist Alexander Hawkins, a longtime collaborator. “Rather than being a switch, I think this is just a move towards other modes of expression.” The decision, which Hutchings said “ultimately boils down to intuition,” still surprised even him, though. “I literally would never have imagined putting down the saxophone back in 2020,” he said.In 2020, Hutchings also likely didn’t anticipate a rising profile for the flute in jazz. But “New Blue Sun,” a surprise release from the onetime Outkast rapper André 3000 last November that featured him playing different types of flute, gave the instrument a boost. (A new album from Hutchings is due this spring.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      The Rolling Stones Roar Back, and 13 More New Songs

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      Hear tracks by Allison Russell, Cardi B featuring Megan Thee Stallion, Ashley McBryde and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. 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, and The Amplifier, a twice-weekly guide to new and old songs.The Rolling Stones, ‘Angry’There’s no mistaking the time-tested Rolling Stones sound on “Angry,” the first single off “Hackney Diamonds,” the band’s first album of its own songs since 2005. The beat is blunt and brawny. The guitars riff and mesh, but also tangle and tease one another. And Mick Jagger unleashes full-throated indignation as he lets a lover — an angry one — know that they’re breaking up. He’s aggrieved, petulant, wounded and flippant, almost all at once. JON PARELESJoni Mitchell, ‘Like Veils Said Lorraine’This stunning, previously unreleased song from the forthcoming third installment of Joni Mitchell’s archive series (which will cover her early Asylum Records years, 1972 to 1975) begins with a quote about life from the titular character: “It’s veils you tear off one by one.” Another voice disagrees: “No, it’s walls we put up.” Accompanied by resonant, searching piano chords, Mitchell wrestles with these dueling perspectives and as ever, doesn’t settle on an easy compromise but finds the truth between extremes. Recorded as a demo sometime between Mitchell’s intimate 1971 masterpiece “Blue” and “For the Roses,” her labyrinthine 1972 meditation on the emptiness of fame, “Like Veils Said Lorraine” sounds like a bridge between those two eras of Mitchell’s rapidly developing artistry and serves as proof that her archives still contain untold riches. LINDSAY ZOLADZAllison Russell, ‘Eve Was Black’On her remarkable 2021 album, “Outside Child,” Allison Russell recalled childhood abuse and celebrated her survival. Her new one, “The Returner,” is just as strong, and it examines larger forces as well — most directly in “Eve Was Black,” which directly confronts racism and considers the African ancestors of all humans. “Do I remind you of what you lost/Do you hate or do you lust?” Russell sings. “Do you despise or do you yearn/To return, to return, to return back to the motherland?” What starts as a bluesy, folky, foot-stomping tune drifts toward jazz, then grows molten with rage as Russell sings about lynching. The track includes an epilogue; Russell, who grew up in Montreal, sings in French, over a banjo and fiddle, about a family uprooted from Africa to America. PARELESAshley McBryde, ‘Women Ain’t Whiskey’“You can’t just quit me/When you get lonely come pick me back up,” Ashley McBryde sings in “Women Ain’t Whiskey.” It’s a country-meets-U2 march that states the obvious; apparently it needs to be restated, loudly. At least it doesn’t have brand placements. PARELESGuppy, ‘Texting and Driving’J Lebow, of the Los Angeles band Guppy, talk-sings her way through the sinewy punk-pop of “Texting and Driving,” delivering lines like “Texting your dad a curated playlist/Texting God in my head — also known as praying” with sardonic glee. Produced by Sarah Tudzin (a.k.a. Illuminati Hotties), the track is laced with little sonic eruptions — bursts of dissonant guitar, out-of-nowhere backup vocals, outright screams — and there’s plenty of cowbell to kick it along. PARELESCardi B featuring Megan Thee Stallion, ‘Bongos’The FCC’s least favorite duo, Cardi B and Megan Thee Stallion, reunite on the unrelenting “Bongos,” their first collaboration since the 2020 succès de scandale “WAP.” Atop a clipped, appropriately percussive beat — bong, bong, bong — the two rappers trade boisterously braggadocious verses and winking, heavily stressed double entendre. “Bongos” feels more like a retread than a reinvention, though Megan — for once, more of a comic than Cardi — gets off a few hilariously memorable lines like “purse so big had to treat it like a person.” ZOLADZPeso Pluma, Jasiel Nuñez and Junior H, ‘Bipolar’Auto-Tune meets acoustic instruments in “Bipolar,” a very 21st-century regional Mexican collaboration by three of its stars: Peso Pluma, Jasiel Nuñez and Junior H. It’s an old-fashioned waltz about a newish situation: giving in to the temptation to check an ex’s social media, but then deciding “I’d rather make money than waste my time with mere stories.” PARELESResidente and Wos, ‘Problema Cabrón’The ever-provocative Puerto Rican rapper Residente harnesses an electric blues shuffle for “Problema Cabrón,” (“Problem Bastard”), a ferocious boast about being a perpetual troublemaker. “The day I die, you’re the ones who will be able to rest in peace,” he taunts in Spanish, over a track that keeps reconfiguring itself, from full band down to piano and finger snaps and back up. Like Residente’s other recent songs, the song arrives with a video; this one has him facing off with an authoritarian police force. The song itself is pure, apolitical insubordination. PARELESYussef Dayes featuring Shabaka Hutchings, ‘Raisins Under the Sun’The London-based drummer Yussef Dayes, the owner of one of the most distinctive backbeats in contemporary music — a taut but shrugging, hi-hat-heavy funk groove, lightly inflected with Afrobeat flavor but rooted in today — has spent years hanging out at the junction of jazz, hip-hop, garage and funk, awaiting his moment. Maybe it has arrived. His debut album, “Black Classical Music,” is both a sprawling declaration of his musical ambitions and a reminder that patience is his biggest virtue. Across 75 minutes, the focus is on catalyzing a vibe. On “Raisins Under the Sun,” he reunites with Shabaka Hutchings — they’ve known each other since childhood, and have collaborated intermittently — on a wafting, two-chord vamp, with Hutchings’s bass clarinet adding a misty layer but never forcing its way to the front. GIOVANNI RUSSONELLOTirzah, ‘No Limit’“What’s your limit? What’s my limit?” repeats throughout “No Limit,” an evocatively low-fi track by the English songwriter and electronic producer Tirzah. That question runs alongside drum and piano loops, never to be fully answered; it’s a gateway to intimacy that recognizes all its dangers. PARELESMarika Hackman, ‘No Caffeine’In the verses, the English songwriter Marika Hackman dispenses random self-help advice: “Take a day off work, call your mum/Have a glass of wine, stay away from fun.” At first, there’s little more than a few piano notes chiming behind her. But as instruments assemble around her — double-time bass and drums, doleful strings — it’s clear her desperation is mounting, and the chorus is a reveal: “You got me good/And I feel so stupid.” PARELESLaufey, ‘California and Me’Is this the Samara Joy effect? If Joy’s best new artist win at the Grammys seemed like it could open the gates to a flood of young jazz singers who sound like they’ve leaped out of a reel-to-reel, then Laufey is at the crest of that wave. She’s a 24-year-old Chinese-Icelandic vocalist and multi-instrumentalist with a sepia croon and label support that’s helped her grab streaming listeners by the millions. Laufey’s tunes roll around in a plush, tear-stained bed, channeling the cool-jazz vocalists of the ’50s (think Chris Connor, but without the dangerous passion that haunts her music) by way of indie singers like Angel Olsen and Mitski at their most nostalgic. On “California and Me,” an original, she accepts heartbreak with an enthusiastic sigh, singing over London’s Philharmonia Orchestra: “Left me and the ocean for your old flame/Holding back my tears, I couldn’t make you stay.” RUSSONELLOJames Brandon Lewis, ‘Sparrow’James Brandon Lewis has a way of holding his tenor saxophone poised at the tipping point between a melody and a holler. That’s how Mahalia Jackson sang, too, when shaken by divine inspiration: moving from robust cascades of song to gravelly shouts. Lewis’s new album devoted to the singer, “For Mahalia, With Love,” turns his all-star Red Lily Quintet loose on nine gospel hymns. On its opening track, he combines the oft-covered “His Eye Is on the Sparrow” with an original, “Even the Sparrow.” Playing in unison with the cornetist Kirk Knuffke, Lewis keeps the focus on melodic clarity; it’s a moment of peace and meditation, before the album takes wing. RUSSONELLOVince Clarke, ‘The Lamentations of Jeremiah’Expect drones, not dance beats, from the new solo album by Vince Clarke, the synth-pop expert from Erasure and, before that, Depeche Mode and Yaz. In “Lamentations of Jeremiah,” an unswerving but subtly changing drone tone — with occasional distant-thunder eruptions — underlies the solo cello of the composer Reed Hays, which moves between moody, declarative melodic phrases and strenuous arpeggios, as if it’s wrestling with looming dread. PARELES More

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      Long Play Rises to the Top of New York Classical Music Festivals

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      This weekend of concerts, organized by Bang on a Can, has quickly but assertively ascended to the rank of destination event.Long Play has been around only since last year, but it is already the most important classical music festival in New York City.And, based on the 15 concerts I attended during its second edition, which unfolded and overlapped in spaces around Brooklyn from Friday through Sunday, this festival by the Bang on a Can collective could even stand to get a little bigger.Capacity crowds amassed at Pioneer Works to hear Meredith Monk’s ensemble collaborate with the Bang on a Can All-Stars; at Roulette to hear the Philip Glass Ensemble; at the Mark Morris Dance Center to hear a new repertory group investigate music from the early 1990s by the Pulitzer Prize-winning composer Henry Threadgill. These in-demand sets couldn’t fit everyone who wanted to hear them, but with two or three other events always close by, nobody was truly left out in the cold.Before Long Play, Bang on a Can had spent three decades presenting one-day marathon concerts. But the scope of this organization’s ambition has reached a new level, and it is an untrammeled joy to experience.Meredith Monk, center, performing with members of the Bang on a Can All-Stars as part of her set on Friday.Peter Serling @lotsopikturesFor example, on Saturday afternoon at Public Records, the JACK Quartet performed a version of “Prisma Interius VII” by the young composer Catherine Lamb. Previously conceived for violin and synthesizer alone, the piece was recast here for the dreamy, collaborative ability of the JACK players to hold precise microtonal harmonies. Staggered entries of droning pitches steadily created complexly sour motifs that tended to plunge downward. Where Lamb switches up her patterns with melodic ascents, the players savored the opportunity to make this often static music sing out.From there, you could race over to the big crowd forming at Roulette for Glass’s music, or stay put to enjoy Xenakis’s “Tetras” as well as “rag′sma,” by the JACK violinist Chris Otto. Although I’ve enjoyed those pieces on recordings, I felt a need to check in on the Glass Ensemble. The composer was present in the audience but no longer performs with this band, so this was an opportunity to hear the group’s veteran music director, Michael Riesman, lead younger players like the saxophonist Sam Sadigursky.When interpreting the composer’s landmark “Glassworks” album from 1982, the ensemble brought a bass-heavy thump that reflected real love for the “Walkman” mix — created in its time “for your personal cassette player,” a way for Glass to put his music in a useful dialogue with contemporary pop styles (a lesson that the Bang on a Can crew took to heart in their own careers).Conrad Tao, left, and Tyshawn Sorey playing the music of Morton Feldman at Roulette.Julieta Cervantes for The New York TimesNext, at the BRIC House Ballroom, I heard a performance by the saxophonist Shabaka Hutchings, who is known for his fusion of avant-garde jazz and London club music, but here stuck to flutes, as part of a serene South Asian-influenced quartet led by the vocalist (and sometime bassist) Ganavya. Call it another sign of an aesthetically confident festival: Here, artists are not required to stay in expected lanes.Early Saturday evening, Roulette hosted the symphonic, brawling, experimental, tuneful big-band music of David Sanford; slightly overlapping, in the BRIC lobby, was the Momenta Quartet’s presentation of Alvin Singleton’s string quartets. Sanford, one of my favorite living composers, conducted his own music, in which you can hear his taste for artists as wide-ranging as Helmut Lachenmann and Charles Mingus.

      A Prayer For Lester Bowie by David SanfordI stayed for Sanford’s entire set before watching the Momenta players handle the climactic, interlocking figures from Singleton’s third quartet with an acrobatic ease; after that, they brought Romantic feeling to the fourth. This varied sequence of music by two living Black composers, ecstatic on its own terms, also put the lie to claims that you’ll sometimes hear from bigger institutions that say they are retreating from “classical music” in an effort to appeal to new audiences.The composer Henry Threadgill, second from the right, was in the audience for a program of his music.Julieta Cervantes for The New York TimesWhen programmers at the Brooklyn Academy of Music or Lincoln Center say such things — fewer string quartets, like Momenta, more electric bass, as in Sanford’s band — you can understand the point, and maybe even agree with it in principle. But with the Long Play festival, Bang On a Can replies: “Why not both, and why not back to back?”Also on Saturday night, I caught a performance at Public Records by the trio Thumbscrew, with Mary Halvorson on guitar, Michael Formanek on bass and Tomas Fujiwara on drums. In addition to Thumbscrew’s own vibrant compositions, the trio also let loose a wild take on Mingus’s “Orange Was the Color of Her Dress, Then Blue Silk.”This kind of wide array was on offer all weekend. The next day, I traveled from a set of electronic music by the composer Ash Fure to a quartet performance led by the vibraphonist Patricia Brennan.

      ANIMAL_LONGPLAY from Ash Fure on Vimeo.Though visually arresting, an environment combining art installation and avant-house-music light show, Fure’s new concept — a kind of thumping club from hell — seemed starkly limited as musical matter compared with thrilling past chamber works on the album “Something to Hunt.” Half an hour later, at BAMcafé, Brennan’s quartet interpreted languid-then-convulsive pieces like “Space for Hour,” from her recent album “More Touch”; her electronically outfitted vibraphone playing belongs in a conversation with the Ash Fures of the world.

      More Touch by Patricia BrennanFrom there, I enjoyed the first 75 minutes of a radical yet sensitive take on Morton Feldman’s “Triadic Memories,” with Conrad Tao on piano and Tyshawn Sorey on percussion. This is originally a piano solo, yet Sorey’s skittering cymbal work was closely attuned to the score, his floor toms tuned to highlight the densest chordal moments in Tao’s interpretation of the notated material.I would happily have stayed for the final minutes but needed to rush to hear a band playing the music of Threadgill’s Very Very Circus outfit. The guitarist Brandon Ross, the tuba player Marcus Rojas and the drummer Gene Lake were all veterans of that ensemble; here, they brought works like “Little Pocket Size Demons” to life in the company of younger players, including the guitarist Miles Okazaki.From left, Brandon Ross, Marcus Rojas, Yosvany Terry, Gene Lake, José Dávila, Ron Caswell and Miles Okazaki performing Threadgill’s music at the Mark Morris Dance Center.Julieta Cervantes for The New York TimesThreadgill isn’t likely to play the Very Very Circus music himself again, but he was in the audience on Sunday to appreciate the birth of a new repertory band in his honor; he soaked up applause from his seat, just as Glass had.The weekend was so rich, it hardly mattered that Sunday night’s planned closing set, by the Art Ensemble of Chicago, had to progress without the participation of the group’s sole remaining founder, the saxophonist Roscoe Mitchell, who tested positive for Covid-19 before the gig. Hutchings bravely stepped in on short notice, and the potent, anchoring work of the percussionist Famoudou Don Moye recalled some of his first recorded performances with the group, after he joined in the early 1970s. Hutchings didn’t try to sound like Mitchell, but instead gave listeners a taste of the brawny, insistent tenor sax sound that we hadn’t heard the previous day in his appearance with Ganavya.Such is the strength of Long Play. When a veteran headliner has to drop out, there’s still something else to savor. And when a veteran like Meredith Monk does hit the stage — as she did for Friday night’s opening concert — she is apt to bring a new vigor to vintage works like her “Tokyo Cha Cha,” which she performed, complete with choreography, for nearly 20 grooving, ethereal minutes.Pray that this festival continues, and that it expands. It should become a destination event; and if it does, it’s going to need some bigger rooms — or a bigger schedule — to serve a public that is already showing that it wants to hear all of this music. More

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      53 Years After Miles Davis’s Album, a Fresh Spin as ‘London Brew’

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      A 12-member collective of noted U.K.-based musicians used “Bitches Brew” as a springboard, improvising a new LP after the pandemic thwarted a 50th anniversary celebration for the original.In 1970, Miles Davis released “Bitches Brew,” an album so musically daring that some critics and listeners didn’t know what to make of it.By then, the trumpeter’s ear had drifted from traditional jazz to edgier blends of funk and psychedelic rock; he wanted to craft an amorphous sound only loosely tethered to any genre. “Instances of subtlety and formal improvisational mastery come thick and fast,” the critic Carman Moore wrote of “Bitches Brew” in The Times upon its arrival. “It is all so strange and new and yet so comfortable.”Others weren’t sold. “With ‘Bitches Brew,’ Davis was firmly on the path of the sellout,” Stanley Crouch wrote in 1990. “It sold more than any other Davis album, and fully launched jazz-rock with its multiple keyboards, electronic guitars, static beats and clutter. Davis’s music became progressively trendy and dismal.”“Bitches Brew” did indeed sell well. It delivered Davis’s first gold and platinum albums, and shifted mainstream jazz from elegant arrangements optimized for cramped nightclubs to bigger, grungier structures tailor-made for stadium speakers. Now it’s the focus of an ambitious jazz album called “London Brew,” out Friday.The LP convenes a 12-member collective of noted musicians in Britain — including the saxophonists Nubya Garcia and Shabaka Hutchings, the tuba player Theon Cross, the D.J. Benji B and the guitarist Dave Okumu — and uses “Bitches Brew” as a springboard to a new album informed by the Davis classic without recreating it. The idea was to improvise an album with the same fiery expanse, with samples from Davis’s electric period of the late 1960s and early ’70s as the binding agent.“We wanted to do something that would be our imagination of what it could possibly have been to be in his presence during those sessions,” the guitarist and “London Brew” producer Martin Terefe, 53, said in a video interview. “The kind of freedom that the musicians on that album were given.”Bennie Maupin, 82, the acclaimed reedist and a featured player on “Bitches Brew,” said spontaneity was a key to the original recording. “Everything that happened, happened right in the moment,” he recalled in a telephone interview. “Miles never told anybody what to play, not once. He allowed us to totally be ourselves. He would give us some direction to just kind of start. And when we started something, we might play for 10 minutes, and then he would stop us and go onto something else.”Okumu, on guitar, was part of the group that convened in December 2020 at the Church Studios.Nathan WeberDavis’s double album, with its dark aura, thick acoustic-electric instrumentation and seemingly endless grooves, also made way for like-minded bands to assemble in its wake. Maupin would go on to play with the pianist Herbie Hancock in his Mwandishi and Head Hunters bands; the keyboardist Joe Zawinul and the saxophonist Wayne Shorter formed Weather Report; the pianist Chick Corea and the drummer Lenny White started Return to Forever; and the guitarist John McLaughlin and the drummer Billy Cobham founded the Mahavishnu Orchestra. They all played on “Bitches Brew,” a record that’s still bearing fruit 53 years later.“That was a golden moment,” Maupin said. “Miles is gone. Wayne just left. I just thank my lucky stars that he invited me to come and be myself.”“London Brew” was supposed to be a one-off live event at the Barbican Center in London in 2020 to commemorate the 50th anniversary of “Bitches Brew.” Bruce Lampcov, a 69-year-old veteran producer and engineer who has mixed Lou Reed, Peter Gabriel and Eurythmics and had recently signed a deal to administer Davis’s publishing catalog, happened to be in London in late 2019, and was thinking of ways to introduce the legend’s music to younger listeners. The signing, along with the upcoming anniversary, presented “an obvious sort of launching-off point, a record that in itself built a wider audience at the time for jazz music,” Lampcov said in a video interview. In London, he was introduced to the local jazz scene, and was taken by what he saw there.“I went into a theater, there was a capacity crowd with a reggae sound machine going, and D.J.s playing jazz music,” he said, describing then seeing a live show with “a crowd of like, 18-year-olds and 20-year-olds. It was like being at a rock gig. And I thought, ‘This is amazing. This is perfect. We just need to do something that connects Miles to this audience.’”Cross, Garcia and Hutchings in the studio. “The whole thing was meant to be a mesh,” Garcia said.Nathan WeberIn February 2020, Lampcov started reaching out to musicians to see if they’d want to do the “Bitches Brew” tribute gig. After making some initial contacts, he boarded a plane back to the United States as the world was about to change. “Everyone was wearing a mask and I’m thinking, ‘What’s going on here?’” he recalled. “And that was it. That’s how it fell apart.”Covid-19 lockdowns shuttered venues and canceled the show, leaving any sort of celebration in limbo. But as the pandemic lingered, and it became clear the concert couldn’t be rescheduled, Lampcov put the idea to rest — until Terefe called with another idea: Get everyone in the studio and record an album.“I couldn’t really let go of it, it felt like such an exciting project,” Terefe said. “There was a point when I kind of suggested to Bruce, ‘Listen, when it’s so rough out there, what’s better to do than to find a good studio and self-isolate with all these musicians and make a record together?’”On Dec. 7, 2020, the group convened at the Church Studios in North London, with Covid testing personnel in place and a scaled-down technical crew, to record what would become “London Brew,” an eight-song, almost 90-minute LP of genre-hopping experimentation that blurs the lines between rock, jazz and ambient, sometimes within the scope of one song.At the beginning of the three-day session, Terefe asked the collective to play a single note for as long as it could hold it, “just expressing their frustration with the pandemic.” Where the two-part title track on the new album centers hard-thumping drums, breakneck electric guitar riffs and squealing wind instruments, “Raven Flies Low” is a methodical collage: Raven Bush plays the violin through effects pedals (a nod to Davis running his trumpet through tape delay on “Bitches Brew”), slowly bringing the track to a volcanic peak, with crashing drum cymbals and undulating saxophone.While “London Brew” is foremost a nod to one of Davis’s most famous albums, songs like “Bassics” and the title track’s midpoint evoke the cosmic Afrocentricity and tightly coiled funk of Davis’s “Live-Evil,” released in 1971, and “On the Corner,” from the following year. Toward the end of “London Brew Pt 2,” the producers sample the wafting guitar and subtle organ of the ambient-leaning “In a Silent Way,” from 1969, a direct repurposing of Davis’s music.“His recordings are so special and so unique that to actually try and repeat something that’s very much so improvisational wouldn’t do it justice,” Lampcov said. “We really didn’t feel like it would be a celebration of the record, and it never would be as good.” On purpose, there’s no trumpeter on the new album: “Because how could you do that?”Garcia, 31, the saxophonist, gave herself a directive in the studio: Just be free and in the moment; don’t interrupt anything going on between other musicians. “If there’s something special happening between the flute and drum kit, why would I get in the way of that?” she said over the phone from London. “I don’t need to be talking all the time.”Still, her voice persists, much like everyone else in the collective, much like the large ensemble Davis convened all those years ago. A half-century after Davis brought the likes of Maupin, Hancock and Shorter into one room for one common goal, that same sense of community dots “London Brew,” an album built on the same organic principles, scanning as the same inscrutable jazz. Like “Bitches Brew,” it’s an album that just is.“The whole thing was meant to be a mesh,” Garcia said. “We were in the room together, we played things, then we left. I hope it conveys the necessity and beauty of community. I hope it conveys that we need each other.” More

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      Red Hot Chili Peppers Honor Eddie Van Halen, and 10 More New Songs

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      Hear tracks by Margo Price, Jamie xx, the Comet Is Coming 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.Red Hot Chili Peppers, ‘Eddie’Red Hot Chili Peppers memorialize Eddie Van Halen and 1980s Los Angeles with what sounds like an old-fashioned, real-time studio jam in “Eddie.” Anthony Kiedis sings biographical snippets — “My brother’s a keeper/I married a TV wife” — while Flea’s bass and John Frusciante’s guitar chase each other all the way through the song, in an ever-changing counterpoint of hopping bass lines and teasing, wailing, shredding, overdriven guitar — the sound of a band in a room, still pushing one another. PARELESKelsea Ballerini, ‘Muscle Memory’In “Muscle Memory,” Kelsea Ballerini orchestrates an instinctive reunion with an old flame — “my body won’t forget our history” — with classic tools: two chords, a backbeat, a lead guitar with wordless caresses. “How long will you be back in town?” she asks, concealing her eagerness. PARELESMargo Price, ‘Change of Heart’Margo Price reaches toward the 1960s and the confrontational side of psychedelia with “Change of Heart.” A wiry blues guitar riff and jabs of organ hint at the Doors as Price delivers a breaking-away song that toys with paradoxes: “You run from danger/straight into trouble,” she sings, adding, “Way down deep you’re as shallow as me.” Just to keep things off- balance, every now and then the band adds an extra beat, while a long, gradual fade-out suggests she’s still a little reluctant to move on. PARELESJamie xx, ‘Kill Dem’It’s now been seven long years since the D.J., producer, and longtime xx member Jamie xx released his beloved solo album “In Colour,” but this year he’s put out two rousing new singles: first the ecstatic “Let’s Do It Again” and now the elastic “Kill Dem.” Built around a sample of the dancehall great Cutty Ranks’ “Limb by Limb,” Jamie minces his source material into barely discernible syllables and launches it into hyperspace, leaving its component parts to ping off one another with a bouncy, exuberant energy. ZOLADZThe Comet Is Coming, ‘Pyramids’The British jazz saxophonist Shabaka Hutchings, who lived in Barbados from ages 6 to 16, is at the core of multiple groups with different lineups. In the Comet Is Coming, he works with the synthesizer player Dan Leavers, or Danalogue, and the drummer Maxwell Hallett, a.k.a. Betamax, in a zone where electronic dance music and jazz collide. “Pyramids” is from the trio’s new album, “Hyper-Dimensional Expansion Beam”; the title of this track might allude to “Pyramid Song” by Radiohead, which shares some of the same ascending yet foreboding chords. Danalogue uses 1980s synthesizers for plump bass tones and upward swoops; Betamax mixes drums and drum machines, constantly accenting different offbeats. And with his meaty tone on tenor saxophone, Hutchings plays a jumpy, dissonant line that’s equally mocking and party-hearty, a bent Carnival shout. PARELESWitch, ‘Waile’In the 1970s, the Zambian rock band Witch — an acronym for We Intend to Cause Havoc — fused garage-rock, psychedelia and funk with African rhythms, spurring a movement called Zamrock. The wider world discovered them with the release of a 2011 collection, and surviving members of the band — the singer Emmanuel (Jagari) Chanda and the keyboardist Patrick Mwondela — returned to the studio in 2021 backed by international musicians, including the Dutch neo-psychedelic songwriter Jacco Gardner. “Waile,” written in 1978 but not previously recorded, addresses “sorrow and suffering” and the separation of a family. It moves through a percolating xylophone-and-guitar riff, blasts of fuzztone, some brisk African funk and, midway through, a slower lament carried by women’s voices before the beat picks up again and hard-nosed guitar riffs push ahead — undaunted. PARELESFlo, ‘Not My Job’On “Not My Job,” the British girl group Flo update the glittering sound of Y2K pop-R&B with a little modern-day therapy-speak: “It’s not my job to make you feel comfortable,” the trio asserts on the chorus. “If you ain’t being vulnerable, that says it all.” The blingy sheen, skittering beat and synthesized strings all conjure an aesthetic you may have not even realized you were nostalgic for — it’s giving “Case of the X”; it’s giving “The Writing’s on the Wall” — albeit enlivened with a fresh, contemporary twist. ZOLADZLil Nas X, ‘Star Walkin’If Lil Nas X continues to play jester, expertly, on social media — this week, he posted impishly hilarious videos of himself sending pizzas to protesters outside of one of his concerts, and of his newly minted wax figure FaceTiming his confused friends — his new single “Star Walkin’” suggests that he is still interested in using his music as an outlet for feelings that complicate that persona, like anxiety, light melancholy and self-doubt. “They said I wouldn’t make it out alive,” he sings defiantly on this gleaming, synth-driven track, which serves as the theme song for this year’s League of Legends World Championship. The one-off certainly doesn’t rank among his most memorable singles, but it’s further proof that he’s figured out a reliable sonic formula to turn personal apprehension into steely braggadocio; by the end of the song, he asks, “Why worship legends when you know that you can join them?” ZOLADZEmiliana Torrini & the Colorist Orchestra, ‘Right Here’Emiliana Torrini attests to the reassurance of a lasting relationship in “Right Here”: “Here’s to all the roads that we’ve been down,” she sings with a smile. “I’m right here by your side.” She’s backed by the Colorist Orchestra, a happily quirky Belgian chamber-pop ensemble that mixes standard instruments with homemade ones — including, for this song, the sound of stone scraping stone. Torrini and the Colorist Orchestra rearranged some of her older songs on an album they shared in 2018, while “Right Here” previews an LP of new collaborations due early next year. There’s pointillistic syncopation from marimba, glockenspiel and pizzicato strings, with a backdrop of sustained chords: the ticktock of everyday minutiae held together by the promise of constancy. PARELESShannen Moser, ‘Oh My God’Shannen Moser recreates a community sing and a hometown band concert in “Oh My God,” from an album arriving next week. In “The Sun Still Seems to Move,” Moser offers theological and existential musings — “I know that life’s not one linear seamless destination” — over fingerpicking and woodwinds, muscles and hands and breath. The music is thoughtful but determinedly physical. PARELESAnna B Savage, ‘The Ghost’The London-based artist Anna B Savage’s devastating new single, “The Ghost,” derives its power from a gradual accumulation of small, intimate details. “We used to notice the same things: His toenails, that little bug,” she sings to an old flame in a trembling low register. “But that changed, you couldn’t see the grave we dug.” Long after the breakup, though, the memory of her ex still lingers. “Stop haunting me, please,” she begs on the chorus, as the austere, piano-driven arrangement suddenly fills up with an eerie atmosphere. It sounds like an exorcism — or at least a yearning, last-ditch attempt at one, in desperate hope that it works. ZOLADZ More

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      Rina Sawayama Flips Damnation Into a Dance Party, and 15 More New Songs

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      Hear tracks by Burna Boy, Metric, Sudan Archives 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.Rina Sawayama, ‘This Hell’Ever the pop maximalist, Rina Sawayama’s first single from her upcoming album, “Hold the Girl,” has it all: a fiery chorus, cheeky humor, devil puns for days and even a gloriously cheesy hair-metal guitar solo. “This hell is better with you, we’re burning up together/Baby that makes two,” she sings on the towering hook, making eternal damnation sound like an exclusive VIP party. Both the glammy intensity and be-yourself messaging feel like a throwback to “Born This Way”-era Lady Gaga, but it’s all remixed through Rina’s signature, neo-Y2K-pop sensibility. LINDSAY ZOLADZmxmtoon, ‘Frown’If the California singer-songwriter mxmtoon has a mission statement, it’s something like catchy, smiley self-help. “Frown” is from her new album, “Rising,” and it presents itself as an antidote to being “stuck in a loop overthinking all our pain.” She musters four-chord pop optimism, multitracked vocals and a pop-reggae backbeat to insist, “It’s OK to frown/smile upside-down.” JON PARELESDiana Ross and Tame Impala, ‘Turn Up the Sunshine’Nothing screams “Minions” like a collaboration between … Tame Impala and Diana Ross? Yet their styles blend surprisingly well on “Turn Up the Sunshine,” the first single from the Jack Antonoff-produced soundtrack for the animated summer movie “Minions: The Rise of Gru.” (Yes, the man is so ubiquitous, he’s even producing for the Minions now.) A sleek, seamless and lovingly conjured disco throwback, “Turn Up the Sunshine” allows Kevin Parker an opportunity to go fully retro in his arrangement and saves Ross ample space for ecstatic vocals and some groovy spoken-word vamping. ZOLADZCarrie Underwood, ‘She Don’t Know’Infidelity gets a fierce retaliation in “She Don’t Know,” a canny country revenge song from Carrie Underwood and her collaborators, David Garcia and Hillary Lindsay. A foot-tapping beat and country instruments like mandolin and fiddle back her as she sings, with the vindictive glee of someone escaping a very bad situation, “What she don’t know is she can have him.” PARELESKatzù Oso, ‘Conchitas’A good dream-pop song sparkles, like sunlight refracting through water. On the lustrous “Conchitas,” from Katzù Oso’s debut album, “Tmí,” the Los Angeles-based artist Paul Hernandez bathes in ’90s nostalgia, soaking in shimmering synths, buzzing guitar riffs and a breathy falsetto. The result harnesses Cocteau Twins’ most tender, romantic qualities, but Hernandez glazes the track in his own special gloss, too: Much of “Tmí” was written in Boyle Heights, and as sweet as the pan dulce treats of its namesake, “Conchitas” embraces the spirit of that neighborhood, casting it into the soundtrack for a saccharine, lovesick daydream. ISABELIA HERRERASudan Archives, ‘Selfish Soul’It might not seem like the impish charm of a playground rhyme and a jagged violin hook would seamlessly coalesce, but Sudan Archives has always taken risks. On her new single “Selfish Soul,” the artist born Brittney Parks reprises her irreverent boho whimsy, crashing together reverbed vocals, a rapped verse and wild visuals with a razor-sharp message: a promise to love and embrace every kind of Black hair texture. “If I wear it straight will they like me more?/Like those girls on front covers,” Parks sings. The video oozes euphoria, too; Parks climbs a chrome stripper pole, plays the violin upside down and twerks in a mud pit with her girlfriends. What did you ever do? HERRERAMetric, ‘Doomscroller’Over 10 minutes long, Metric’s “Doomscroller” is a minisuite that proceeds from electronic dystopia to a plea for empathy to an offer of reassurance that’s cradled by physical instruments. The dystopia is convincing: a tireless mechanical thump and throbbing, blipping tones — racing like a gathering troll mob — behind Emily Haines’s calmly caustic observations about internet rabbit holes and entrenched inequality. “Salt of the earth underpaid to serve you,” she notes, and, “Scum of the earth overpaid to rob you.” The reassurance, though it builds up to a full-bodied rock-band march, is shakier; as the song ends, electronic blips reappear. PARELESSylvan Esso, ‘Sunburn’Sylvan Esso celebrates self-indulgence and rues its aftermath in “Sunburn”: “Sunburn blistering, the heat under your skin,” Amelia Meath sings. “Oh, but it felt so good.” The electronic backup is bouncy and pointillistic — nearly all staccato single notes, rarely a chord — and punctuated with the cheeriest of samples: a bicycle bell. PARELESBurna Boy, ‘Last Last’Burna Boy juggles heartache, accusations, self-medication and reminders of his success in “Last Last,” a post-breakup song about a roller coaster of feelings: “I put my life into my job and I know I’m in trouble/She manipulate my love,” he sulks. “Why you say I did nothing for you/When I for do anything you want me to do.” The video shows him surrounded by friends, possessions and awards, smoking and drinking. The title of the sample that provides the track’s nervous strummed rhythm and vocal hook suggests a very different scenario: It’s from Toni Braxton’s 2009 single “He Wasn’t Man Enough.” PARELESMeridian Brothers & El Grupo Renacimiento, ‘Metamorfosis’Meridian Brothers, a high-concept Colombian band formed in 1998 by Eblis Álvarez, delights in twisting and time-warping the roots of salsa and other Latin American styles. “Metamorfosis” — from an album due Aug. 5 — borrows Kafka’s title for a song about a man waking up transformed into a robot, facing a futuristic world of drones and screens; he summons Yoruba deities to battle transhumanism. Blending brisk guaracha and montuno rhythms with eruptions of psychedelic reverb and jazzy piano, it’s a percussive romp. PARELESCalypso Rose featuring Carlos Santana and the Garifuna Collective, ‘Watina’The Garifuna people, an Afro-Caribbean culture that has maintained its own language and traditions primarily in Belize and Honduras, are descendants of Indigenous Arawaks and of West Africans who survived a 17th-century shipwreck to escape slavery. The Garifuna Collective, founded by Andy Palacio, revived and updated old Garifuna songs and “Watina” (“I Called Out”) was the title song of its 2007 album. This remake adds a horn section — pushing the arrangement a bit closer to ska — and has lead vocals from the Trinidadian icon Calypso Rose, 82, who has been an honorary citizen of Belize since 1982, along with stinging guitar from Carlos Santana and some lyrics translated into English: “Lord please help me, even if I’m alone.” PARELESOneida, ‘I Wanna Hold Your Electric Hand’The long-running Brooklyn band Oneida loves repetition, layering and noise, and its catalog includes plenty of arty, elaborate structures. But “I Wanna Hold Your Electric Hand,” previewing an album due in August, recalls foundational punk-rock songs like “Roadrunner” by the Modern Lovers. It uses just two chords nearly all the way through (with one more for a bridge), a hurtling beat and terse lyrics: “So sure of ourselves/Who needs a plan?” But those two chords support a welter of guitar parts and drum salvos that just keeps getting more euphoric. PARELESFKJ featuring Toro y Moi, ‘A Moment of Mystery’Vincent Fenton, the French producer who bills himself as FKJ (for French Kiwi Juice), collaborated with Chaz Bundick, who records as Toro y Moi, and Toro’s keyboardist, Anthony Ferraro, on a track from FKJ’s album due in June, “Vincent.” It’s three minutes of lush, wistful uncertainty: serenely blurred vocals, hovering keyboard tones, ambiguous chords that stay unresolved. “I love the drama because I never know what the ending’s like,” Bundick sings, matching the music. PARELESEsperanza Spalding, ‘Formwela 12’“Our bodies are Music/You cannot play/Music/Without the body/Dancing.” The 91-year-old dancer and choreographer Carmen de Lavallade, a former Alvin Ailey star, opens Esperanza Spalding’s latest with those lines of poetry; in the ensuing 13 minutes, she brings them to life. She glides and tilts across the floor of an open studio, surrounded by four dancers and four musicians — including Spalding, who uses her upright bass and a quiet, cooing voice to coax and support de Lavallade. Early in the performance, de Lavallade sits down beside her, laying an ear and a hand on the bass while Spalding plays. As the piece carries on, the band’s lush flourishes and pointillism are clearly coming in response to the dancers, as much as their steps are responding to the music. Mostly, everyone is focused on the guidance and the unhurried elegance of de Lavallade. The audio of this piece is a bonus track on the newly released vinyl version of Spalding’s “Songwrights Apothecary Lab.” GIOVANNI RUSSONELLOShabaka, ‘Explore Inner Space’Shabaka Hutchings begins this track improvising on a lone wood flute, against a backdrop of silence. Soon analog synthesizers and loops are pooling around him, and an electric guitar adds dewy, flickering plucks. The music never fully crescendos, but its mysterious serenity might invite to take up the charge of the track’s title. The tune comes from “Afrikan Culture,” the first solo EP released by this famed U.K.-based saxophonist, who has begun performing simply under the name Shabaka. RUSSONELLOMary Lattimore and Paul Sukeena, ‘Hundred Dollar Hoagie’The harpist Mary Lattimore and the guitarist Paul Sukeena, two experimental musicians and Philly-area expats who occasionally collaborate, have teamed up to release the stirring ambient album “West Kensington,” out Friday on the indie label Three Lobed recordings. The opener “Hundred Dollar Hoagie” announces itself humbly, with its playful title nodding to the all-time greatest regional slang word for a submarine sandwich, which does not quite prepare you for the seven-and-a-half minutes of otherworldly sublimity that it contains. Lattimore’s synthesizer chords and Sukeena’s warping, weeping guitar lines layer to create an almost lunar soundscape, pleasantly reminiscent of Brian Eno’s awe-struck 1983 masterwork “Apollo: Atmospheres and Soundtracks.” ZOLADZ More

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      Nicki Minaj Reunites With Lil Wayne and Drake, and 13 More New Songs

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      Hear tracks by Olivia Rodrigo, Tony Allen, L’Rain 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.Nicki Minaj with Drake and Lil Wayne, ‘Seeing Green’In honor of Nicki Minaj’s still-incendiary 2009 debut mixtape “Beam Me Up Scotty” finally arriving on streaming services, she’s organized a little YMCMB family reunion. “Seeing Green” is more of a status update than a club banger à la the trio’s classic “Truffle Butter,” but everyone is still in fine form. Wayne, as usual, plays the gonzo court jester, and he seizes the opportunity to unload all of those pandemic-related rhymes he’s been holding onto for the last year (“I put you six feet deep, I’m being socially distant”). Nicki locks back into her standard eviscerate-the-haters flow, and Drake continues to rap with a precision and bite that suggests, as did the recent “Scary Hours 2,” that whenever his promised “Certified Lover Boy” arrives, it might actually be worth the wait. “I played 48 minutes on a torn meniscus,” he boasts, “who’s subbing?” (But maybe see a doctor about that, Drake — it’s serious!) LINDSAY ZOLADZOlivia Rodrigo, ‘Good 4 U’The third single from Olivia Rodrigo’s forthcoming debut album, “Sour,” tells a story that will be familiar to anyone who’s heard her first single, “Driver’s License”: A former flame moves on too quickly after a breakup, leaving Rodrigo alone with all her feelings. But this time the 18-year-old Disney actress refracts it through a different lens and a whole new sonic palette. Though it starts off quiet, by the chorus “Good 4 U” explodes into a kind of “You Oughta Know” for the TikTok era, all righteous anger and pop-punky, primal-scream rage: “Good for you, you’re doing great out there without me — like a damn sociopath!” ZOLADZTorres, ‘Don’t Go Puttin Wishes in My Head’The new song from Mackenzie Scott — who makes brooding, searching indie-rock under the name Torres — might be the most accessible thing she’s ever released. And she knows it: She’s wryly described “Don’t Go Putting Wishes in My Head,” the first single from her forthcoming album “Thirstier,” as “my relentless arena country star moment.” More than anything, though, with its buzzing synths and soaring chorus, “Wishes” recalls the Killers at their most fist-clenchingly anthemic. “Just when I thought that it was over, it was only just beginning,” Scott sings, her voice trembling with intensity. She seems to understand that accepting joy can sometimes be an even more vulnerable act than confessing pain, but by the end of the song she sounds fearless, and ready to move toward the light. ZOLADZTony Allen, ‘Mau Mau’The drummer Tony Allen supplied the rhythmic foundation for Fela Kuti’s Nigerian Afrobeat in the 1960s and 1970s. Drawing on West African traditions, jazz and funk, he built an architecture of unpredictable offbeats, unhurried but kinetic. Before his death in 2020, he had started a hip-hop project, creating beats and synthesizer bass lines and lining up vocalists. Allen’s new album, “There Is No End,” was completed posthumously by the producers Vincent Taeger and Vincent Taurelle. “Mau Mau” features Nah Eeto, a rapper from Kenya, with multitracked vocals that calmly bounce around the syllables of her lyrics — some in English, some not — to highlight all the ways Allen could dodge the downbeat while constantly flicking the music onward. JON PARELESMaría Grand, ‘Now, Take, Your, Day’The rising tenor saxophonist María Grand wrote the tunes that appear on “Reciprocity,” her new LP, in the middle of a pregnancy, while reading spiritual texts and paying close attention to the bond she was building with her not-yet-born child. (The album’s liner notes include her written reflections on becoming a mother, and how this found its way into the music.) The album, featuring Kanoa Mendenhall on bass and Savannah Harris on drums, is also a testament to the constant regeneration that becomes possible within a close musical partnership; on track after track, Grand dances nimbly over Harris’s subtly shifting patterns, and Mendenhall stubbornly insists on never repeating herself. “Now, Take, Your, Day” begins with all three members singing the song’s title in harmony, before the rhythm section lays down a loosely funky beat and Grand introduces the song’s downward-slanting melody on saxophone. GIOVANNI RUSSONELLOBella Poarch, ‘Build a Bitch’Like many TikTok stars, Bella Poarch is making a move into her own music. “Build a Bitch” comes across cute and furious. Tinkly toy-piano sounds and perky la-las accompany her as she points out that women aren’t consumer products. “You don’t get to pick and choose/Different ass and bigger boobs,” she coos. “If you need perfect, I’m not built for you.” A post-“Westworld” video set in an android factory ends, inevitably, in mayhem. PARELESSleater-Kinney, ‘Worry With You’The forthcoming, self-produced Sleater-Kinney album “Path of Wellness” will be the first the Portland band releases as a duo, since its longtime power-drummer Janet Weiss departed in 2019, and her absence certainly makes the song feel a bit muted and minor. But there’s still a familiar pleasure in hearing Carrie Brownstein’s snaking guitar riffs and staccato vocals intertwine with Corin Tucker’s, as they sing of a long-term togetherness that’s provided comfort in good times and bad: “If I’m gonna mess up,” they avow, “I’m gonna mess up with you.” ZOLADZMartin Garrix featuring Bono & The Edge, ‘We Are the People’The official 2020 UEFA European Football Championship song is exactly what you’d expect from a soccer anthem by a big-room EDM D.J. collaborating with half of U2: a grand, thumping march with pinging guitars, vast synthesizer swells and determinedly inspirational lyrics. “You’ve faith and no fear for the fight,” Bono sings, “You pull hope from defeat in the night.” The song uses familiar tools for stadium-scale uplift, but they can still work. PARELESHolly Macve, ‘You Can Do Better’Regrets and reverb both loom large on Holly Macve’s second album, “Not the Girl,” a set of country-rooted ballads that place her reedy voice — determinedly sustained through countless breaks and quavers — in wide-screen, retro arrangements. “You Can Do Better” is a stately, swaying waltz, a breakup-and-makeup scenario that builds up to dramatic questions, swirling across voices and strings: “Is it so wrong to love you?/Is it so wrong to care?” PARELESL’Rain, ‘Blame Me’L’Rain — the songwriter, musician and producer Taja Cheek — opens an ever-widening, ever more disorienting sonic vortex in “Blame Me,” from her second album, “Fatigue,” due June 25. Sparse guitars pick fragments of chords that fall, then rise, as L’Rain muses cryptically on mortality and remorse. Soon, they’re enveloped by a ghostly orchestra and distant voices intoning, “Waste away now, make my way down”; as the track ends, she’s still in a lush harmonic and emotional limbo. PARELESElaine, ‘Right Now’Elaine is from South Africa, where she already has a large audience. But her sound bespeaks international R&B ambitions, with programmed trap drum sounds and an American accent. In “Right Now,” she tries to juggle a damaged relationship against a burgeoning career. “I cannot continue carrying all your insecurities/I got more priorities,” she sings, quietly but adamantly. Her alto is low, intimate and flexible; with her priorities, she’s not about to indulge a cheating ex, even if she’s tempted. PARELESAlan Jackson, ‘Where Have You Gone’“Where Have You Gone,” the title song of Alan Jackson’s new, 21-song album, starts off like a lonely lament for someone who’s left him: “It’s been way too long since you slipped away.” But it turns out he’s lamenting the way “sweet country music” used to sound: steel guitar, fiddle, “words from the heart.” It’s the style Jackson has upheld through his career, looking back to Merle Haggard and George Jones, only to see it supplanted lately by arena-country and infiltrations of hip-hop. “The airwaves are waiting,” he insists; current country radio says otherwise. PARELESSons of Kemet featuring Moor Mother and Angel Bat Dawid, ‘Pick Up Your Burning Cross’Over the rough rhythmic onrush of this United Kingdom-based quartet — featuring Theon Cross’s pulsing tuba, Shabaka Hutchings’s roof-raising saxophone and the interlocked drumming of Edward Wakili-Hick and Tom Skinner — a voice hovers, singing and speaking and laughing. It belongs to Angel Bat Dawid, and it’s soon joined by that of Moor Mother, another revolutionary poet and musician from this side of the Atlantic. “I don’t think you remember me/I was in last place,” Moor Mother begins, serving notice as the band presses ahead. The piece is on “Black to the Future,” Sons of Kemet’s fourth album. RUSSONELLOErika Dohi, ‘Particle Of …’Erika Dohi, a Japanese keyboardist and composer now based in New York City, is one of the musicians affiliated with Justin Vernon of Bon Iver’s label 37d03d (“people” upside-down). “Particle Of …” comes from her new album “I, Castorpollux,” and while it was composed by Andy Akiho (who also directed her music video), it fits the album’s aesthetic of Minimalistic repetitions and startling fractures. It uses percussive, single-note patterns on piano and prepared piano, played live and then computer manipulated, equally virtuosic and digitally skewed. Chords arrive at the end, like a surprise visit from 20th-century modernism. PARELES More