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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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      U.S. Girls’ Luxuriously Absurd Disco, and 9 More New Songs

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      Hear tracks by Gracie Abrams, Ashley McBryde and Skrillex.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.U.S. Girls, ‘Tux (Your Body Fills Me, Boo)’I am willing to bet that this new U.S. Girls song is the first in the history of popular music to be written from the perspective of a tuxedo. (Seriously: “I was born to be worn,” Meg Remy sings in a buttery croon, “custom fit to make you feel legit.”) But the infectious, full-bodied groove helps the track transcend its admittedly ridiculous premise and become a highlight of the latest U.S. Girls album, the upbeat and provocative “Bless This Mess,” which is out on Friday. A thumping beat and elastic bass line give the song a sleek disco sheen, but it’s Remy’s absurdist sense of humor that makes it unique. LINDSAY ZOLADZSkrillex and Bibi Bourelly, ‘Painting Rainbows’Skrillex’s ambitious new pair of albums “Quest for Fire” and “Don’t Get Too Close” overflow with impressive guest appearances (Missy Elliott! Justin Bieber! PinkPantheress!), but perhaps his most simpatico collaborator turns out to be Bibi Bourelly, the German-born musician who is best known as a songwriter for the likes of Rihanna, Demi Lovato and Usher. Bourelly lends her vocals to three tracks, and it feels significant that Skrillex gives her the last word on “Don’t Get Too Close,” shining the spotlight on her expansive personality on its closing track, “Painting Rainbows.” “We still hear when they thought we would die,” Bourelly raps with a growly defiance and unabashed positivity. Her voice is at once cartoonish and deeply sincere, which means it pairs perfectly with Skrillex’s sound. ZOLADZHannah Jadagu, ‘What You Did’The latest single from the 20-year-old indie-pop singer-songwriter Hannah Jadagu is suffused with a dreamy atmosphere, but her lyrics pierce right through the haze: “I know what you did,” she sings, repeatedly, to the object of her disappointment. Taken from her forthcoming debut “Aperture,” which comes out May 19, “What You Did” showcases Jadagu’s easy aptitude with lilting melodies and her love of deliciously crunchy texture. ZOLADZFishbone, ‘All We Have Is Now’The ever-peppy ska-punk-funk-rock band Fishbone has persevered since 1979, and most of its original lineup has regrouped for a coming album produced by an admirer, Fat Mike of the punk band NOFX. “All We Have Is Now” is a philosophical pronouncement — “The universe may only consist of a here and now” — briskly delivered in ska form. One thing to enjoy in the moment is the way organ and horns each play just a few notes, placing them exactly where they’re needed. JON PARELESAshley McBryde, ‘Light on in the Kitchen’Ashley McBryde maintains her position as country’s most down-to-earth songwriter with “Light on in the Kitchen,” a compendium of kindly advice punctuated by a down-home dialogue between mandolin and electric guitar. “Your freckles make you pretty/There’s more to life than being skinny,” she sings, going on to say, “Trust yourself, laugh at yourself/If something tries to hold you back, get up and give it hell.” No one should argue. PARELESGracie Abrams, ‘I Know It Won’t Work’“Part of me wants you back,” Gracie Abrams admits on a song from her pointedly titled debut album, “Good Riddance.” Obviously, she knows better. Her voice is whispery, as it is throughout the album, and her backup puts an acoustic veneer on an electronic foundation; two chords pull her back and forth as she weighs her options. Her best choice is clear, but getting there is more complicated. PARELESBernice, ‘Underneath My Toe’The crystalline “Underneath My Toe,” from the Toronto group Bernice, has the tender, first-name-basis intimacy of a letter to a friend: “So, I really wanna know,” Robin Dann sings, “how did Tim’s birthday go?” The song keeps shifting shape unexpectedly — at one point, a funky, new-age keyboard riff enters without warning and disappears just as quickly — but the gentle melancholy and clarion beauty of Dann’s voice is the glue holding it all together. ZOLADZArooj Aftab, Vijay Iyer, Shahzad Ismaily, ‘To Remain/To Return’The somberly immersive “To Remain/To Return” previews “Love in Exile,” an album of collective improvisations due March 24 from three musicians with South Asian roots and jazz and rock experience: Arooj Aftab on vocals, Vijay Iyer on piano and electronics and Shahzad Ismaily on bass and synthesizer. The music is unanimous in its restraint. Iyer gradually forms rising, modal five-note patterns on piano. Ismaily leans into a drone that evolves from slow tolling to a throbbing pulse. And Aftab sings pensive, hovering phrases in Urdu. In the full nine-minute version, the music wafts up out of near-silence and sustained electronics; a three-minute excerpt gets to Aftab’s melodies, and a beat, much sooner. PARELESZoon, ‘Manitou’In “Manitou,” orchestral and electronic blurs envelop the voice of Daniel Monkman, who leads the Canadian band Zoon. “Manitou” is about memories and mortality: “One foot in the dirt, and one foot in the grave,” he reflects. The music arrives in dusty, amorphous gusts of sound — sometimes revealing a strummed acoustic guitar, sometimes swelling with tremolo strings, sometimes surrounding Monkman with high, delayed vocals — that make every perception sound fragile and precious. PARELESIzangoMa, ‘Ngo Ma’IzangoMa, from South Africa, pours everything it has learned from two hemispheres into “Ngo Ma.” This 10-minute track, with most of its lyrics in English, sprints forward with a mixture of electronics and a band. The lyrics detail hard lives, commemorated in long verses; the music rushes ahead, scrambling electronics and hand-played instruments, insisting that a beat can heal everything — but only eventually. PARELES More

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      A Rare Look at Bob Dylan in the Studio, and 13 More New Songs

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      Hear tracks by Tems, Adia Victoria, Cuco 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.Bob Dylan, ‘Don’t Fall Apart on Me Tonight (Version 2)’“Don’t Fall Apart on Me Tonight (Version 2)” is from the latest deep dive into the Bob Dylan archives, the five-CD “Springtime in New York: The Bootleg Series Vol. 16 1980-1985.” The track is similar in feel — though full of Dylan’s improvisatory variations — to the take that appeared on “Infidels” in 1983, with a new mix that dials back the unfortunate 1980s drum sound. Dylan had a superb studio band, with the Jamaican team of Sly (Dunbar) and Robbie (Skakespeare) on drums and bass, and a conversational interplay between Mick Taylor (formerly of the Rolling Stones) on slide guitar and Mark Knopfler (of Dire Straits) on electric guitar. It’s not the most radical discovery in the set — which also includes rarities like “Enough Is Enough” and “Yes Sir, No Sir” — but it arrives with live footage of the sessions, a rare glimpse of Dylan in motion in the studio. JON PARELESThe War on Drugs featuring Lucius, ‘I Don’t Live Here Anymore’The War on Drugs trades psychedelic haze for 1980s heft in “I Don’t Live Here Anymore.” Adam Granduciel sings about coming to terms with the past, breaking up, letting go and moving on, deciding — with the voices of Lucius as a choir — “We’re all just walking through this darkness on our own.” Deploying neat, reverberating guitar and synthesizer hooks like Don Henley’s “Boys of Summer,” the song is a booming march toward a willed recovery. PARELESTems featuring Brent Faiyaz, ‘Found’This stellar duet between the young Nigerian singer Tems and the R&B crooner Brent Faiyaz is saturated with an easy melancholy. On the song from Tems’s new EP, “If Orange Was a Place,” she sounds anxious and unraveled: “I feel I might just be coming undone/Tell me why you can’t be found.” When Faiyaz arrives, he’s alternately soothing and cloying. “Found” has echoes of SZA’s insular angst, and also the robust, earthen texture of mid-1990s R&B. It’s utterly swell. JON CARAMANICACarly Pearce and Ashley McBryde, ‘Never Wanted to Be That Girl’A stoic and affecting back and forth between Carly Pearce and Ashley McBryde, both coming to the realization that they have a man in common. It’s a timeless trope, and an effective one — neither one attempts to out-sing the other, a gesture of their shared frustration (unlike in, say, Reba McEntire’s blistering 1990s duets with Linda Davis, which delved into throat warfare). CARAMANICAAdia Victoria, ‘Mean-Hearted Woman’After dabbling in electronic textures with her 2019 album, “Silences,” Adia Victoria circles back, at least partway, toward bluesy roots-rock on her new album, “A Southern Gothic.” Its songs deal with power, mortality and, in “Mean-Hearted Woman,” heartbreak and revenge. Lingering on one chord, with a plucked guitar and a persistent tambourine, she sings about being dumped and replaced, and while her voice stays quiet and breathy, she moves bewilderment and heartache to fury, with a death threat that’s no less menacing for staying quiet. PARELESCuco, ‘Under the Sun’“Under the Sun” is a shape-shifting statement about the journey to self. Cuco immerses us in interdimensional psych rock, only to quickly shift to a cumbia interlude, and then to a wave of lightning guitar licks. In the video, he leaves a lit candle at an altar featuring the artwork for his 2019 album “Para Mi.” Consider this a new era, one where all bets are off. ISABELIA HERRERASnail Mail, ‘Valentine’“Why’d you want to erase me?” Lindsey Jordan — the songwriter behind Snail Mail — yowls in “Valentine.” It’s a song about affection, obsession, estrangement, jealousy and bewilderment, with tempestuous quiet-LOUD-quiet indie-rock dynamics that mirror a passionate, messy, still unresolved relationship. PARELESMoor Mother, ‘Rogue Waves’For years, it has felt painfully imprecise to slap the “hip-hop” label onto the music of Camae Ayewa, a poet, electronic musician and Afrofuturist who performs as Moor Mother. (Not that that’s stopped streaming services and other grid jockeys from trying.) But two confluent things have been happening recently: Ayewa is embracing lower-slung, more head-nodding beats, and hip-hop itself is becoming a spacier, gooier, more abstract zone. The new Moor Mother album, “Black Encyclopedia of the Air,” features guest spots from rising rappers and vocalists, like Pink Siifu and Orion Sun, on most tracks. But on “Rogue Waves,” over a hydraulic swinging beat, Ayewa goes it alone — confronting subject matter that’s sometimes abstract and evocative, elsewhere tender and intimate. GIOVANNI RUSSONELLOCraig Taborn, ’60xsixty’In the same week that he announced his first solo album in 10 years (coming Oct. 8), the pianist Craig Taborn released another collection of music that’s similar in nature, but not quite the same. “60xsixty” contains 60 restive and fleeting pieces, all about a minute each, that play back-to-back at 60xsixty.com in a randomized order that’s different each time you visit the site. You’re unable to pause or skip: The listener’s usual sense of control is stripped away, as is the very notion of a finished product — Taborn has said he may swap out some tracks for new ones in the future, keeping the total number at 60. The current range of tracks varies from 12-tone-scale improvisations on acoustic piano to the kind of squelchy, three-dimensional electronic music that Taborn makes with his project Junk Magic. On other tracks, he’s most concerned with stirring up ambient sound. RUSSONELLOOneohtrix Point Never and Elizabeth Fraser, ‘Tales From the Trash Stratum’Leave it to Oneohtrix Point Never and the Cocteau Twins vocalist Elizabeth Fraser to craft the ultimate experiment in glossolalia. “Tales From the Trash Stratum” runs like a New Age seminar on mushrooms: OPN collages glitchy arpeggios, synth crashes and delicate piano keys; Fraser’s echoed sighs and angel-dust melodies flicker in and out of the production. It’s a blast of neurological delirium and decay, rendered as soothingly as possible. HERRERAAmaarae featuring Kali Uchis, ‘Sad Girlz Luv Money (Official Remix)’Last year, the Ghanaian American artist Amaarae quietly released “The Angel You Don’t Know,” an imaginative, buoyant album that masterfully harnessed all kinds of Afro-diasporic sounds, including R&B, Southern rap and Nigerian highlife. “Sad Girlz Luv Money” was an immediate standout: a breezy Afropop anthem for midnight trysts. On the official remix, the Colombian American singer Kali Uchis whispers hushed, silky come-ons in Spanish, and Amaarae’s sky-high melodies and smoky raps curl over the beat. HERRERALindsey Buckingham, ‘Swan Song’A frenetic drum loop, like a pummeled punching bag, drives “Swan Song” from Lindsey Buckingham’s new, self-titled album, recorded solo in the studio and released after his severance from Fleetwood Mac and emergency triple-bypass surgery. The mix feels inside-out, with his voice enclosed by percussion while his flamenco-tinged acoustic guitar and wailing electric guitar both poke outward. He taunts mortality — “She says it’s late, but the future’s looking bright”— with fast fingers. PARELESIann Dior featuring Lil Uzi Vert, ‘V12’What a dreamily beautiful song from Iann Dior, a sweet-sounding sing-rapper with just the faintest of barbed edges, and Lil Uzi Vert. Together, they’re boastful and playful, and yet the production has an elegiac edge, as if sadness were an inevitable byproduct of success. CARAMANICAOuri, ‘Chains’Ouri — the Montreal composer and electronic producer Ourielle Auvé — sketches a track being assembled and tweaked on the spot with “Chains,” from her album “Frame of a Fauna,” due Oct. 22. She dials in swooping sounds, echoey vocal syllables, a glitchy beat, tentative chords; the dance beat solidifies, falls away and reappears, briefly locking into syncopation with wordless vocal syncopations before evaporating. The video shows Ouri concocting a CGI dancer who leaps out as flesh and blood: virtual efforts turning physical. PARELES More