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      Shawn Mendes and Tainy’s Summer Breeze, and 12 More New Songs

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      Hear tracks by Circuit des Yeux, Cimafunk and George Clinton, Alice Longyu Gao 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.Shawn Mendes and Tainy, ‘Summer of Love’It’s amazing that more English-speaking pop songwriters haven’t latched on to Tainy, the Puerto Rican producer behind globe-spanning hits by Bad Bunny, Selena Gomez, J Balvin and many others. Tainy puts a reggaeton beat, bachata-tinged guitar syncopations and deep sustained bass lines behind Shawn Mendes as he croons short, breathy, calculated phrases about a remembered season of sensual delights. The title has completely freed itself from the 1960s. JON PARELESThe Rolling Stones, ‘Living in the Heart of Love’Sure, it’s a leftover, and it’s obvious why it was shelved. “Living in the Heart of Love” is a vault track to be released on an expanded 40th-anniversary reissue of “Tattoo You,” something to promote when the Stones tour this fall (with Steve Jordan substituting for Charlie Watts on drums). The song is an obvious “Brown Sugar” knockoff, with Mick Jagger striking an uncommonly conciliatory pose as he woos someone: “I’ll play dirty, I’ll play clean/But I’ll be damned if I’ll be mean,” he contends. (Really?) It’s second- or third-tier Stones, and it nearly falls apart halfway through, but the way the band keeps charging ahead is more than enough fun. PARELESParquet Courts, ‘Walking at a Downtown Pace’Parquet Courts are back with a vibrant ode to New York City — and a chronicle of a busy mind traversing its streets. “Treasure the crowds that once made me act so annoyed,” Andrew Savage sings on the first single from the band’s forthcoming album, “Sympathy for Life,” “Sometimes I wonder how long till I’m a face in one.” As ever, his observations are peppered with the robotic banalities of modern existence (“pick out a movie, a sandwich from a screen”), but the song’s snaking groove, persistent beat and shout-along chorus are all teeming with life. LINDSAY ZOLADZLily Konigsberg, ‘That’s The Way I Like It’Lily Konigsberg is a member of the freewheeling art-rock trio Palberta, but over the past few years she’s also been releasing a steady stream of eclectic-yet-infectious solo material on Bandcamp and SoundCloud. (A compilation of that work, titled “The Best of Lily Konigsberg Right Now,” arrived earlier this year.) “That’s the Way I Like It,” from her forthcoming solo debut “Lily We Need to Talk Now,” is smoother around the edges than Palberta’s spiky grooves, but it’s still got ample personality to spare. “That’s the way I like it, you can’t do anything about it,” Konigsberg intones with a sugary defiance, addressing someone who’s been disrespecting her boundaries. As far as assertions of selfhood go, this one’s particularly catchy. ZOLADZCircuit des Yeux, ‘Dogma’Haley Fohr’s voice has an entrancing power. As Circuit des Yeux, she composes haunting atmospheres that augment its force. “Dogma,” the first offering from her sixth album, “-io” pulls the listener along with a steady, hypnotic beat, overtop of which her shape-shifting vocals move from a low drone to a keening croon with remarkable ease. “Tell me how to see the light,” she sings, as if yearning for salvation, but at other moments in the song she sounds like an eerily commanding cult leader. ZOLADZCimafunk and George Clinton, ‘Funk Aspirin’Cimafunk puts a heavy dash of classic Afro-Cuban rhythm into his throbbing dance music, but he’s also been a longtime fan of American funk, and he recently sought out George Clinton, an idol of his since childhood, for a hang and a recording session. The result is “Funk Aspirin,” a bilingual paean to the healing powers of rhythm, taken at a coolly grooving medium tempo and recorded at Clinton’s Tallahassee, Fla., home studio, where the music video was also shot. GIOVANNI RUSSONELLONaujawanan Baidar, ‘Shola-e Jawed’Thinking about Afghanistan this week? Here’s a traditional Afghan melody in modern guise: distorted, multitracked and surrounded in effects, yet still speaking from its home. PARELESPieri, ‘Quien Paga’Born in Mexico and now based in New York City, Pieri chant-rap-sings over a cranked-up, swooping synthesizer bass line with ratcheting drum machines at its peaks in “Quien Paga” (“Who Pays”). It’s a brash, assaultive kiss-off with electronic muscle as she multitracks her voice to announce, rightly, “They tell me that I’m pretty, and I also have a flow that kills.” PARELESAlice Longyu Gao, ‘Kanpai’For the uninitiated: Welcome to the weird and wonderful world of Alice Longyu Gao, a glitchy hyperpop paradise full of killer hooks and knowing, oddball humor. A D.J. and producer who was born in China and later moved to New York, then Los Angeles, Gao has recently worked with such similarly brash kindred spirits as Alice Glass and 100 gecs’ Dylan Brady (who produced her deliriously fun 2020 single “Rich Bitch Juice”). “Kanpai” — “cheers” in Chinese, Japanese and Korean — is a total sugar rush, blending the pop excess of Rina Sawayama with the electro-freneticism of Sophie. “My name on your lips like liquor lipstick, everybody’s talking about me,” Gao intones, a semi-absurd but self-evident declaration from someone who’s clearly already a global superstar in her own mind. ZOLADZTopdown Dialectic, ‘B1’The taciturn electronic musician who records as Topdown Dialectic previews “Vol. 3,” an album due in October, with “B1,” a rhythm-forward track that surrounds a roboticized samba beat with sporadic cross-rhythms and chords that bubble up from below, then vanish before leading anywhere. It’s simultaneously propulsive and evasive. PARELESMaggie Rose, ‘For Your Consideration’On her third album, “Have a Seat,” the Nashville-based songwriter Maggie Rose seeks reconciliation and balance: between friends, between lovers, between ideologies. She recorded, like Aretha Franklin and Otis Redding, at Fame Studios in Muscle Shoals, Ala., with session musicians rooted in soul. The slow-rolling “For Your Consideration” chides a judgmental companion — “Doesn’t mean it’s all my fault ’cause you say it’s so,” she observes — but also, in a swelling chorus, announces, “I wish that I could borrow your eyes/Maybe that would open my mind.” She’s only calling for fairness, not domination. PARELESOrla Gartland, ‘Things That I’ve Learned’The meter, mostly, is a syncopated and eccentric 5/4, though it shifts at whim; the attitude is terse and businesslike, but sisterly. The Irish-born, England-based songwriter Orla Gartland, 26, an online presence for more than a decade, dispenses advice in “Things That I’ve Learned” on her long-burgeoning debut album, “Woman on the Internet.” She warns against consumerism, comparisons and artificial peer pressure; she gradually stacks up electric guitar riffs and then breaks them down to a little percussion and a lone, undaunted voice. PARELESLee Morgan, ‘Absolutions (July 10, 1970; Set 2)’Starting on the night of his 32nd birthday, not long before his flare-like career would come to an abrupt end, the trumpeter Lee Morgan played a three-day engagement at the Lighthouse Cafe in Hermosa Beach, Calif. A live album drawn from these performances became the last LP released during Morgan’s life; its four lengthy tracks are part of the jazz canon. But there was plenty more where those came from, and on Friday Blue Note Records released a mammoth box containing the full recordings: a dozen separate live sets, performed over the course of three nights. It’s dizzying to hear how little the quintet flags, knowing it was playing four sets a night; the unrepentant tension and synced-up control that made “Live at the Lighthouse” a classic is maintained basically throughout the boxed set. A nearly 20-minute version of “Absolutions,” a perilously seesawing, skittering tune written by the group’s bassist, Jymie Merritt, opened the original album. This newly released take, from Set 2 of Night 1, lasts even longer. As Morgan, the tenor saxophonist Bennie Maupin and the pianist Harold Mabern each take lengthy solos, Mickey Roker’s cross-stitched drumming keeps the friction high. RUSSONELLO More

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      Byron Berline, Master of the Bluegrass Fiddle, Dies at 77

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      His updated version of an old-timey approach enhanced recordings by everyone from Bill Monroe to the Rolling Stones.Byron Berline, the acclaimed bluegrass fiddle player who expanded the vocabulary of his instrument while also establishing it as an integral voice in country-rock on recordings by Bob Dylan, the Rolling Stones and others, died on Saturday in Oklahoma City. He was 77.His death, in a rehabilitation hospital after a series of strokes, was confirmed by his nephew Barry Patton.Mr. Berline first distinguished himself as a recording artist when he was 21 on “Pickin’ and Fiddlin’,” an album of old-time fiddle tunes set to contemporary bluegrass arrangements by the innovative acoustic quartet the Dillards. The album features Mr. Berline’s heavily syncopated playing, along with long bow strokes that incorporate more than one note at the same time.Later in the decade, Mr. Berline’s lyrical phrasing was heard on pioneering recordings by country-rock luminaries like the Flying Burrito Brothers and the duo Dillard & Clark, featuring the Dillards banjoist Doug Dillard and the singer-songwriter Gene Clark, late of the Byrds. He also recorded with Elton John, Rod Stewart and Lucinda Williams, among many others.Weaving elements of pop, jazz, blues and rock into an old-timey approach to his instrument, Mr. Berline contributed instrumental selections to Bob Dylan’s soundtrack to Sam Peckinpah’s 1973 anti-western, “Pat Garrett and Billy the Kid.” He also overdubbed Nova Scotia-style fiddle on the Band’s 1976 single “Acadian Driftwood” and played on the albums “GP” (1973) and “Grievous Angel” (1974) by Gram Parsons, the country-rock progenitor and founding member of the Burrito Brothers.Mr. Parsons recommended Mr. Berline for what would become undoubtedly his most famous session appearance: the freewheeling fiddle part he added to “Country Honk,” the Rolling Stones’ down-home take on their 1969 pop smash “Honky Tonk Women.” Recorded in Los Angeles, the song was included on “Let It Bleed,” the group’s landmark album released that December.“I went in and listened to the track and started playing to it,” Mr. Berline said of his experience with the Stones in a 1991 interview with The Los Angeles Times.When he was summoned to the control booth, he recalled, he feared the band was unhappy with his work. Instead, they invited him to recreate his performance on the sidewalk along Sunset Boulevard, where the Elektra studio, where they were recording the track, was located. Hence the car horns and other ambient street sounds captured on the session.“There was a bulldozer out there moving dirt,” Mr. Berline said. “Mick Jagger went out himself and stopped the guy.”But Mr. Berline was not merely renowned for his work accompanying other artists; he was considered a musical visionary in his own right, providing leadership to, among others, the progressive bluegrass band Country Gazette.Mr. Berline was just 21 when he drew notice for his work on an album of old-time fiddle tunes by the innovative acoustic quartet the Dillards.In 1965, after hearing his playing on “Pickin’ and Fiddlin’,” the folklorist Ralph Rinzler invited Mr. Berline and his father, a fiddler himself, to appear as a duo at the Newport Folk Festival.While at Newport, Byron also had a chance to jam with the singer and mandolinist Bill Monroe, widely regarded as the father of bluegrass, who invited him to become a member of his band, the Blue Grass Boys. Then a student at the University of Oklahoma, Mr. Berline demurred; after completing his degree, he joined the Blue Grass Boys two years later.Mr. Berline spent only a few months with Monroe before being drafted into the Army, but bluegrass aficionados regard two of the three songs he recorded with him, “The Gold Rush,” written with Monroe, and “Sally Goodin,” as matchless performances.Mr. Berline was the winner of three national fiddle competitions and a member of the National Fiddler Hall of Fame.Byron Douglas Berline, the youngest of five children of Lue and Elizabeth (Jackson) Berline, was born on July 6, 1944, in Caldwell, Kan., near the Oklahoma border. His father worked a farm and played banjo and fiddle at barn dances and other events. His mother, a homemaker, played piano.Young Byron started playing a three-quarter-sized fiddle when he was 5; he won his first public competition at 10, outplaying his father. Among his early influences was Eck Robertson, the first old-time fiddler to appear on record.A gifted athlete, Mr. Berline earned a football scholarship to the University of Oklahoma, where he enrolled in 1963, only to fracture his hand that fall. The injury caused him to focus on music, although he maintained his athletic scholarship by joining the track team as a javelin thrower.Mr. Berline attracted the attention of the Dillards while playing in a campus folk group at Oklahoma. They invited him to play on “Pickin’ and Fiddlin’.” After graduating from college in 1967 and completing his military service in 1969, Mr. Berline moved to Los Angeles with his wife, Bette (Ringrose) Berline, at the urging of Doug Dillard, who recruited him to record with Dillard & Clark.After three years of session work in California, along with time in the Flying Burrito Brothers, Mr. Berline formed his own group, Country Gazette, and signed with United Artists Records. The band’s bluegrass blend proved influential, and it recorded for almost two decades, but Country Gazette never achieved mainstream success.Another project, Byron Berline & Sundance, likewise secured a deal with MCA Records. But the group’s three founding members, guitarist Dan Crary, banjo player John Hickman and Mr. Berline — later billing themselves as Berline, Crary & Hickman — fared best in a traditional bluegrass market, releasing records on independent labels like Rounder and Sugar Hill into the 1990s.Over the years Mr. Berline also provided music for television shows like “Northern Exposure” and movies like “Basic Instinct.” He also had a minor role as a musician in the Bette Midler movie “The Rose” (1979) and appeared, as part of a string quartet, in an episode of “Star Trek: The Next Generation.”Mr. Berline in 2004 at the Double Stop Fiddle Shop in Guthrie, Okla., which he and his wife, Bette, owned. The shop burned down in 2019; several months later, he opened another shop on the same street.Paul Hellstern for The New York TimesIn the mid-’90s, Mr. Berline and his wife moved to Guthrie, Okla., and opened the Double Stop Fiddle Shop, its name taken from the fiddle technique of playing two strings at the same time. The shop burned down in 2019, consuming its inventory of antique instruments. Several months later, Mr. Berline opened another shop on the same street.Mr. Berline is survived by his wife; a daughter, Becca O’Connor; a sister, Janice Byford; and four grandchildren.Although uncredited, Mr. Berline remarked in interviews that he did more than play the fiddle on Mr. Dylan’s soundtrack to “Pat Garrett and Billy the Kid.”“He said, ‘Can you sing?,’” Mr. Berline recalled, referring to Mr. Dylan in his 1991 interview.“I said, ‘Sure.’ So I got up and helped sing background vocals on ‘Knockin’ on Heaven’s Door.’” More