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    Miley Cyrus and Brandi Carlile’s Raw Duet, and 9 More New Songs

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    Hear tracks by Bartees Strange, Nicki Nicole, Caroline Rose 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.Miley Cyrus featuring Brandi Carlile, ‘Thousand Miles’From Miley Cyrus’s new album, “Endless Summer Vacation,” comes this rugged, low-to-the-ground duet with the polished roots-rock yowler Brandi Carlile. Both are capable of broad vocal theatrics, but it should be said, Carlile is holding back here, in order to allow Cyrus the space to ruminate in this song about failure: “I’m not always right/but still I ain’t got time for what went wrong.” In her post-Disney career, Cyrus has flirted with various forms of adulthood in terms of performance — sexual defiance, hippie experimentalism and so on. But she’s perhaps at her most appealing when applying restraint. JON CARAMANICANicki Nicole, ‘No Voy a Llorar’Latin R&B enjoys a whiff of hyperpop helium in “No Voy a Llorar” (“I’m Not Going to Cry”), a preemptively defensive breakup song. The 22-year-old Argentine songwriter Nicki Nicole insists she’s fully prepared if things go wrong. “When you leave, I’m not going to suffer,” she predicts. The song’s chord progression could have come from the 1950s, but its production is as contemporary as its brittle attitude. Her pop soprano gets pitched further upward as the track begins; elusive background vocals and synthesizers puff their syncopations around the beat. Even the exposed voice-and-piano coda, the sincere payoff, gets computer-tweaked. JON PARELESBaaba Maal featuring the Very Best, ‘Freak Out’The Senegalese songwriter Baaba Maal, with an extensive catalog behind him, has lately been heard worldwide with vocals on the soundtracks of the Black Panther films. He collaborated with the African-tinged English group the Very Best on “Freak Out,” from his coming album, “Being.” Ignore the song’s psychedelic title. The lyrics draw on an old proverb from Maal’s culture, the Fulani, instructing that someone who has deep knowledge should say neither too little nor too much. Its music merges programmed and hand percussion with a desert drone, an electric-guitar lick and the backup vocals of the Very Best’s Malawian singer, Esau Mwamwaya. It’s both up-to-the-minute and resolutely grounded in traditional wisdom. PARELESEladio Carrión featuring Future, ‘Mbappe’ (Remix)Last year, the Puerto Rican rapper Eladio Carrión had a hit with “Mbappe” a drowsy and delirious Migos-esque boast. Future appears on this remix with a pair of verses that are somehow both utterly rote and also grossly charming, rapping about the place where carnality and expensive jewelry intersect, and the elation of toxic love. CARAMANICANF, ‘Motto’NF has always rapped as if full of anxiety, and on a core level, that hasn’t changed on “Motto,” a clever narrative about unshackling oneself from the stressors of pop music success. But over classicist boom-bap production amplified with a whimsical swing and some of the howling dynamics of rock groups like Imagine Dragons, “Motto” feels somehow lighter. In his early career, NF sounded as if he was internalizing all the pressures of the world, but now he sounds free and calm, dismissing those same pressures with a shrug. CARAMANICABartees Strange, ‘Daily News’“Daily News” was tucked away on the vinyl version of the album Bartees Strange released in 2022, “Farm to Table.” Now it’s streaming, and it sums up and expands the album’s moods and dynamics. Strange sings about alienation, numbness and anxiety — “I can feel the weight/Crashing over me again” — as electric-guitar lines coil and intertwine around him. A bridge finds him even more alone — reduced to nervous, isolated vocals — but someone rescues him. Perhaps it’s a partner; perhaps it’s an audience. “I’ve found you,” he exults, in a full-band onrush of drums, saxophone and tremolo-strummed guitars, and the connection sounds rapturous. PARELESCaroline Rose, ‘Tell Me What You Want’A breakup could hardly be messier or more noisy than the one Caroline Rose depicts in “Tell Me What You Want.” “I am just pretending not to lose my mind,” she explains, in a track that swerves between acoustic-guitar strumming and full grunge blare. She blurts both “I can’t bear to lose you” and “Boy you’re going to hate this song!” She wonders if she should hold on; she wants to smash everything and move along. The video clip, a drunken trek through Austin, Texas, spells out all of her conflicting impulses. PARELESAngel Olsen, ‘Nothing’s Free’The steadfastness of vintage soul carries Angel Olsen through “Nothing’s Free,” as she sings about an unspecific but primal revelation. Slow gospel organ and piano chords, bluesy saxophone and patiently hand-played drumming sustain her amid — and in a long closing instrumental, beyond — something that sounds both life-changing and inevitable, as she sings, “Nothin’s free like breaking free/out of the past.” PARELESNoia, ‘Verano Adentro’Noia is Gisela Fullà-Silvestre, a songwriter from Barcelona who’s now based in Brooklyn. In “Verano Adentro” (“Summer Inside”), she wafts her voice over an amorphous, ever-shifting electronic backdrop. At first it’s tentative — chords and pauses, the clatter of a rainstick — but other, more ominous sounds crowd in: distorted guitar, insistent drums, rumbly low arpeggios. Nothing ruffles her as she basks in bliss: “All I need is an ocean, all I need is time,” she coos. PARELESSarah Pagé, ‘Premiers Pas Au Marécage’“Premiers Pas Au Marécage” translates as “First Steps in the Swamp,” and it’s a meditation on evolution — formlessness into forms — by Sarah Page, a harpist and composer from Montreal. She mingles electronics and plucked strings in this piece, which opens with yawning, amorphous sounds and recordings of Hungarian frogs, then deploys a quintet of Japanese kotos to join her in a measured, echoey waltz and march, a tentative climb toward order. PARELES More

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      Best Albums of 2022: Beyoncé, Rosalía and More

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      The most effective artists of the year weren’t afraid to root around deep inside and boldly share the messiness, the complexities and the beauty of their discoveries.Jon Pareles | Jon Caramanica | Lindsay ZoladzJon ParelesA Cornucopia of IdeasIf there’s one thing that unites my favorite albums of 2022, it’s a sense of creative abundance: of ideas spilling out so fast that songs can barely contain them, and of artists ready to follow their impulses toward revelatory extremes. No need to hold back: In 2022, more was more.1. Beyoncé, ‘Renaissance’A disco revival gathered momentum during the pandemic years, as musicians and listeners found themselves yearning for the joys of sweaty, uninhibited communal gatherings. Beyoncé’s “Renaissance” also looks back to dance floor styles, but it goes much further. It’s not merely a nostalgic re-creation of a fondly remembered era. With leathery vocals and visceral but multileveled beats, it’s an excursion through layers of club culture, connecting with pride, pleasure and self-definition and taking no guff from anyone.Beyoncé’s “Renaissance” is a tour through decades of dance music.Mason Poole/A.M.P.A.S. via Getty Images2. Rosalía, ‘Motomami’“I transform myself,” Rosalía declares in the first song on “Motomami,” and throughout the album she does just that: playfully, impulsively and very purposefully smashing together musical styles and verbal tactics. Every track morphs as it unfolds, hopping across the Americas and back to Spain, rarely giving away where it’s headed. Along the way, Rosalía presents herself as fragile at one moment and invincible the next.3. Beth Orton, ‘Weather Alive’Over ghostly, circling piano motifs, the songs on “Weather Alive” meditate on longing and memory, connection and solitude, nature and time. Beth Orton’s voice stays unguarded in both its delicacy and its flaws, while her production cradles it in patiently undulating arrangements, floating acoustic instruments in electronic spaces; the songs linger until they become hypnotic.4. Sudan Archives, ‘Natural Brown Prom Queen’Sudan Archives — the songwriter, singer and violinist Brittney Denise Parks — juggles the many conflicting pressures and aspirations of being young, Black, female, artistic, carnal, career-minded and social on “Natural Brown Prom Queen.” The music is kaleidoscopic, deploying funk, electronics, hip-hop beats, jazz, chamber-music arrangements and the African fiddle riffs that inspired Sudan Archives’ name, barely keeping up with her ambitions.5. iLe, ‘Nacarile’Vulnerability and courage are never far apart on “Nacarile,” which is Puerto Rican slang for “No way!” The songwriter Ileana Cabra, who records as iLe, sings about political and feminist self-assertion alongside songs about toxic and tempting romances. Each of the 11 songs conjures its own sound — acoustic bolero, orchestral ballad, Afro-Caribbean drums, gravity-defying electronics — for music that’s richly rooted but never constrained.6. Sylvan Esso, ‘No Rules Sandy’Sylvan Esso’s electronic pop goes gleefully haywire on “No Rules Sandy,” the fourth studio album by the duo of Amelia Meath and Nick Sanborn. In songs that leap between the everyday and the metaphysical, they maintain the transparency that has always defined their music, but skew and tweak the details: moving vocals off the beat, slipping in hints of cross rhythms, always keeping serious ideas lighter than air.Sudan Archives’ “Natural Brown Prom Queen” reflects the vastness of her aspirations and influences.Frank Hoensch/Redferns, via Getty Images7. black midi, ‘Hellfire’The human condition is nasty, brutish and ferociously virtuosic on the third album by the British band black midi. In songs that flaunt the complexity and dissonance of prog-rock and the bitter angularity of post-punk — while stirring in ideas from jazz, classical music, funk, salsa and flamenco — loathsome characters do odious things. But the music turns grotesquerie into exhilaration.8. Björk, ‘Fossora’Forget pop comforts: Björk has other plans on “Fossora,” leaning toward chamber music at one moment and blunt impact the next. Her new songs contemplate earthy fertility and the continuity of generations, using rugged electronic sounds, families of acoustic instruments and the very human passion of her voice. As Björk looks all the way back to a primordial “Ancestress,” she’s also determined for her music to move ahead.9. Billy Woods, ‘Aethiopes’In hip-hop that’s simultaneously grimy and cerebral, upholding a New York City legacy, the prolific Billy Woods raps about colonialism, poverty, personal memories and ruthless historical forces. The unsettling productions, by Preservation, draw on Ethiopian music (of course) as well as funk, jazz, reggae, soundtracks, Balinese gamelan and many murkier sources, and Woods is joined by equally determined guest rappers. The tracks are dense, and well worth decoding.10. Porridge Radio, ‘Waterslide, Diving Board, Ladder to the Sky’Catharsis is the agenda for Porridge Radio, the British band led by Dana Margolin. In songs that wrestle with connection and autonomy, her vocals declaim, sob and gasp; her lyrics blurt out dilemmas and demand responses that may not arrive. The arrangements sound live and jammy, harnessing post-punk and psychedelia for emotional crescendos.And 15 more, alphabetically:Rauw Alejandro, “Saturno”Bad Bunny, “Un Verano Sin Ti”Congotronics International, “Where’s the One?”Jorge Drexler, “Tinto y Tiempo”Ethel Cain, “Preacher’s Daughter”FKA twigs, “Caprisongs”Horsegirl, “Versions of Modern Performance”Jenny Hval, “Classic Objects”Rokia Koné & Jacknife Lee, “Bamanan”Kendrick Lamar, “Mr. Morale & the Big Steppers”Makaya McCraven, “In These Times”Mitski, “Laurel Hell”Bonnie Raitt, “Just Like That…”Soul Glo, “Diaspora Problems”Soccer Mommy, “Sometimes, Forever”Jon CaramanicaLetting It All GoJudging by these albums, it was a year of release: superstars opting to get physical, neat songs spilling over with unruly emotions, artists relinquishing familiar beliefs, singing and rapping teetering on the edge of control. Disruption is in the air — being contentedly static is no longer enough.1. Zach Bryan, ‘American Heartbreak’An astonishing feat of emotionally acute songwriting and shredded-artery sentiment, Zach Bryan’s mainstream breakthrough is a heavy lift, in all senses: 34 songs, and 10 times as many small details that kick you in the sternum. “Summertime Blues,” the EP he released two months later, is maybe even better — bare bones and almost harried, it’s even more evidence of a faucet that simply won’t stop spilling.2. Rosalía, ‘Motomami’When Rosalía first broke through, she was engaged in a tug of war between tradition and modernity. But the dissonance she’s navigating on “Motomami” is more profound: cultivating a futurist aesthetic that spans multiple genres, eras and philosophies, making for an album as radical and syncretic as any released by a global superstar in the last few years.Zach Bryan’s “American Heartbreak” is a lengthy album that probes raw emotions.Kristin Braga Wright for The New York Times3. Drake, ‘Honestly, Nevermind’The better of the two Drake albums this year was the less expected one: a collection of earthen, sensual, soulful house music. In a career defined by blurring borders, this was less a plot twist than a quick spotlight on an underappreciated character: body music that keeps the heart palpitating.4. Priscilla Block, ‘Welcome to the Block Party’The most promising Nashville debut of the year belonged to Priscilla Block, a pop-friendly singer-songwriter with a robust grasp of country tradition. Her first album includes a few rowdy bridge-burners and a gaggle of torch songs sung in a sweet but unshakable voice.5. Beyoncé, ‘Renaissance’“Renaissance” is a few things that Beyoncé’s music hasn’t always been: chaotic, breathy, unrelentingly sweaty, appealingly frayed. A titanic collection of club music, it has an almost gravitational urgency, emphasizing the primal pull of the dance floor, where putting on airs is not an option.6. Bartees Strange, ‘Farm to Table’Bartees Strange has quite a voice, or perhaps voices. He sings with huskiness and nimbleness, plangency and viscosity — sometimes all of these at once. On his eruptive second album, he writes about growth and self-doubt, Phoebe Bridgers and George Floyd, all unified by singing that’s brimming with heart and pluck and can pivot on a dime.7. Gulch’s final show, Sound & Fury Festival, July 31, 2022Not an album per se, but the video of this 34-minute concert — on the StayThicc YouTube channel — is a hair-raising document of this San Jose, Calif., hardcore band at its punishing peak, the fan fervor it inspired, and the ridiculous, anticlimactic conclusion in which power to the stage was abruptly turned off.8. 42 Dugg & EST Gee, ‘Last Ones Left’These two, stars in their own right, have all the makings of a great rap duo — EST Gee, from Louisville, Ky., is steely and narratively vivid, his verses square-cornered and bleak. 42 Dugg, from Detroit, delivers nasal, curvy passages flecked with scars of having seen too much.9. Asake, ‘Mr. Money With the Vibe’The debut album from the rising Nigerian star Asake is both appealingly grounded and aiming for an astral plane. Taking in Afrobeats, fuji and amapiano, but also flickers of jazz fusion and even gospel, Asake’s music is enveloping and inspirational, mellow but assured.10. Bad Boy Chiller Crew, ‘Disrespectful’There’s an inherent silliness to bouncy club music, songs designed to trigger full-scale abandon. Bad Boy Chiller Crew — effectively a comedy troupe wearing the costume of a music collective — amplifies and underscores that tendency on its second album. The songs — faithful bassline and garage tunes that sound like shout-rapping over a D.J. mix — are absurd and uncanny, an invitation to dance and a metacommentary on letting loose.11. Bad Bunny, ‘Un Verano Sin Ti’The defining pop star of 2022, Bad Bunny is fully untethered from expectations. His fourth solo album is a sunshine beam, taking reggaeton and Latin trap as starting points and embracing styles from across the Caribbean, from mambo to dembow.Bad Bunny’s “Un Verano Sin Ti” has dominated the charts in 2022.Gladys Vega/Getty Images12. Bandmanrill, ‘Club Godfather’Bandmanrill emerged last year from the Jersey drill scene, which takes the drill template of immediate, punchy rapping and matches it with up-tempo Jersey club music. In short order, he became one of drill’s premier songwriters, but his debut, “Club Godfather,” already shows him stretching beyond the genre’s boundaries.13. Special Interest, ‘Endure’The ecstatically erratic third album from the New Orleans band Special Interest is full of politically minded punk-funk. It is a howling good time, but also nervous and tense, with songs that are agitated, but more crucially, agitating.And 16 more, alphabetically:The 1975, “Being Funny in a Foreign Language”Cash Cobain & Chow Lee, “2 Slizzy 2 Sexy (Deluxe)”Tyler Childers, “Can I Take My Hounds to Heaven?”Fred again.., “Actual Life 3 (January 1 — September 9, 2022)”Giveon, “Give or Take”Lil Durk, “7220”Mavi, “Laughing So Hard, It Hurts”Tate McRae, “I Used to Think I Could Fly”Rachika Nayar, “Heaven Come Crashing”Harry Styles, “Harry’s House”Earl Sweatshirt, “Sick!”Rod Wave, “Beautiful Mind”The Weeknd, “Dawn FM”Willow, “”YoungBoy Never Broke Again, “Colors”Honorary late 2021 release: Kay Flock, “The D.O.A. Tape”Lindsay ZoladzInner Lives, Shared WideThis year I found myself drawn to records that created their own immersive worlds that reflected the bold, distinct perspective of their creators — a trick that quite a few big-budget pop albums pulled off, sure, but plenty of smaller indie records did, too, with just as much personality and flair.1. Grace Ives, ‘Janky Star’Small, quirky pop albums are a dime a dozen these days, but they rarely come with the wit, vision and lyrical personality of this one by Grace Ives. For the last half year, the Brooklyn musician’s sharp, frequently hilarious observations have stuck in my mind as often as her infectious, synth-driven melodies: the overdraft fee from a $100 A.T.M. withdrawal on “Loose”; the flirty way she co-opts business jargon like “circle back” on “Angel of Business.” Or how about this deadpan punchline on the jangly, crush-struck “Shelley”: “I wonder what she wants for dinner/She’s really got me looking inward.” Ives’s voice across these 10 tracks is weighty but nimble, her ear for melody idiosyncratic but always immediate and true. By the end of “Janky Star,” it’s hard not to be charmed by the warm interiority of her sound and her peculiar, canted vision of the world.Grace Ives’s “Janky Star” is laced with small details and personal touches.Tim Mosenfelder/Getty Images2. Beyoncé, ‘Renaissance’Along this dazzling and immaculately sequenced joyride through the history of dance music, Beyoncé celebrates her own uniqueness while also decentering herself, refracting the disco ball’s spotlight so it illuminates a long line of forebears: Grace Jones, Giorgio Moroder and Donna Summer, Robin S., Moi Renee, Nile Rodgers, Big Freedia and of course her very own Uncle Jonny. Bless whoever dosed the lemonade at this party: “Renaissance” is Queen Bey at her loosest, funniest, sweatiest and — as she testifies on the sublime “Church Girl” — her most transcendently free.3. Rosalía, ‘Motomami’On the singular “Motomami,” one of the coolest pop stars on the planet mashes up innumerable genres and cultural influences to create her own sonic world. Rosalía combines the braggadocio of your favorite rapper (“Rosa! Sin tarjeta!”) with the emotional intensity of the flamenco legend Carmen Amaya (“G3 N15”), effortlessly pivoting between stylistic extremes that would give a less innovative talent whiplash.4. Alex G, ‘God Save the Animals’The Philly indie-rock everydude Alex Giannascoli reimagines the New Testament as a fanzine, sort of (“God is my designer, Jesus is my lawyer”), and the miracle is how well it actually works. The sudden jolts of sonic abrasion — a hyperpop breakdown in the middle of an acoustic ballad about the innocence of children, say — and the unbroken through line of weirdness do not diminish the radical empathy and poignant sincerity that is this record’s beating heart.5. Florence + the Machine, ‘Dance Fever’On her fifth, and best, studio album with her trusty Machine, Florence Welch’s imperial goddess persona comes crashing down to earth, or maybe somewhere even less dignified: “The bathroom tiles were cool against my head, I pressed my forehead to the floor and prayed for a trap door,” she sings on the gut-wrenching closer “Morning Elvis,” a painstakingly detailed depiction of a breakdown. Welch has never been sadder (“Back in Town”), more provocative (“King,” “Girls Against God”), or funnier (“And it’s good to be alive, crying into cereal at midnight”) than she is on the kaleidoscopic “Dance Fever,” an album that constantly, seamlessly moves between the macro and the micro, from an inquisitive exploration of gender and power to a blown-open window in the heart.6. Nilüfer Yanya, ‘Painless’London’s Nilüfer Yanya harnesses the antsy buzz of modern anxiety and transforms it into something not just manageable but actually beautiful, thanks to her elegant melodies and the lavender calm of her voice. The magnificent “Painless” is so well paced that one of the peak musical moments of the year comes at its direct center: that beat when the hitherto coiled “Midnight Sun” suddenly blooms into a reverie of guitar distortion.Florence Welch has never been sadder or funnier than she is on her latest album, “Dance Fever.”Chris Pizzello/Invision, via Associated Press7. Alvvays, ‘Blue Rev’This Toronto five-piece makes — and on its third album, “Blue Rev,” perfects — a kind of inverted shoegaze: big-hearted, smeary dream-pop oriented toward the sky. Molly Rankin’s achingly sweet voice cuts through the woolly squall of distortion as she sings of the thwarted expectations and indistinguishable hope of early adulthood: “I find myself paralyzed/Knowing all too well, terrified/But I’ll find my way.”8. Sudan Archives, ‘Natural Brown Prom Queen’Get comfy when Sudan Archives welcomes you into her domicile on the mood-setting opener “Home Maker” — you’re going to want to stay awhile. The prismatic songwriter born Brittney Denise Parks showcases the many facets of her musical personality — singing, rapping, playing violin — on the immersive, genre-hopping “Natural Brown Prom Queen,” an 18-track song-of-self filled to the brim with smart, sensual and continuously adventurous ideas.9. Angel Olsen, ‘Big Time’To address some radical changes in her life — coming out as queer just before both her parents died — the indie star Angel Olsen turns, incongruously, to the traditionally minded sounds of vintage country and torch-song pop. Turns out they suit the wailing grandeur of her voice perfectly, though, and she can’t help but make them her own thanks to the fiery force of her musical personality.10. Miranda Lambert, ‘Palomino’Miranda Lambert’s wandering spirit is given plenty of room to roam on the majestic “Palomino,” a travelogue across not just the interstate highway system but the many musical stylings Lambert can command: honky-tonk country (“Geraldene”), Petty-esque Southern rock (“Strange”) and even some heartstring-tugging folk balladry (“Carousel”). Mamas, this is what it sounds like when you let your daughters grow up to be cowboys.11. Amanda Shires, ‘Take It Like a Man’Here’s the spirit of outlaw country in 2022: a fearless woman gathering all her strength and belting out her truths with a poet’s diction and a bird of prey’s voice. “Come on, I dare you, make me feel something again,” the singer/songwriter/fiddle player Amanda Shires trills at the beginning of “Take It Like a Man,” and then she spends the next 40 minutes rising to her own challenge.12. The Weeknd, ‘Dawn FM’If you’ve ever wondered what the finale of “All That Jazz” would sound like had it been scored by Oneohtrix Point Never, have I got the record for you. The Weeknd follows the huge success of “After Hours” with some high-concept and deeply stirring experimentation on the probing “Dawn FM,” reimagining the pop album as a kind of death dream without sacrificing the hooks.13. Aldous Harding, ‘Warm Chris’The New Zealand eccentric Aldous Harding is a folk-rock harlequin, clowning and mugging her way through beguilingly catchy tunes. In the weird world of her fourth album, “Warm Chris,” there’s not a lot of because, just a lot of deadpan, and glorious, is.And 12 more very good records worth mentioning:The 1975, “Being Funny in a Foreign Language”Bad Bunny, “Un Verano Sin Ti”Yaya Bey, “Remember Your North Star”Kendrick Lamar, “Mr. Morale & the Big Steppers”Julianna Riolino, “All Blue”Sasami, “Squeeze”Syd, “Broken Hearts Club”Sharon Van Etten, “We’ve Been Going About This All Wrong”The Weather Station, “How Is It That I Should Look at the Stars”Weyes Blood, “And in the Darkness, Hearts Aglow”Wet Leg, “Wet Leg”Wilco, “Cruel Country” More

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      Bartees Strange Ponders Success in Dire Times

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      On his second album, “Farm to Table,” the indie-rock singer and songwriter finds no easy comforts in his own ascent.By chance, choice and artistic inclination, Bartees Strange has been a lifelong outlier — a position his songs grapple with, exult in and constantly question on his second studio album, “Farm to Table.”His father served in the Air Force, often overseas, and Bartees Leon Cox Jr. was born in England and lived in Greenland and Germany, among other places, before his family settled in Mustang, Okla. He sang in church choirs with his mother, who also performed opera, and he started producing music in a homemade studio in his teens. He began releasing songs on SoundCloud a decade ago, and he played in hardcore bands in Washington, D.C. and in the self-described “post-hardcore” Brooklyn band Stay Inside.Instead of following a Black musician’s stereotyped path into hip-hop or R&B — though he draws on both — Strange, now 33, found his own voice in indie-rock, adopting the churning guitars and destabilizing synthesizers of bands like TV on the Radio, Bloc Party, Radiohead and the Cure. Most of the tracks on his debut EP as Bartees Strange, “Say Goodbye to Pretty Boy,” which was released in March 2020 just as pandemic restrictions began, were moody, volatile, radically reworked versions of songs by the long-running indie-rock band the National.Forging an indie-rock career is an uncharted, self-conscious path at the best of times, navigating revelation and obfuscation, rawness and craftsmanship, instincts and commercial objectives. “I could give the pain for the bankroll,” Strange sang in “In a Cab,” on his debut album, “Live Forever,” released in October 2020. Anything but tentative, “Live Forever” introduced Strange in all his multiplicity. He constructed hurtling rockers (“Boomer”) and pulsating electronic beats (“Flagey God”); he examined yearning and rage, confessions and inventions. “I lie for a living now/that’s why I can’t really tell you stuff,” he sang in “Mustang,” named after his longtime hometown.The pandemic delayed an indie-rocker’s usual next step: touring. But by the time concerts resumed, “Live Forever” had been embraced by listeners and fellow musicians. Strange played opening slots for Phoebe Bridgers, Lucy Dacus, Courtney Barnett and the National; he recorded a fervid band performance that was released in 2021 as “Live at Studio 4”; he did remixes and guest appearances with Bridgers, Illuminati Hotties and others.“Farm to Table” reflects all the conflicting feelings of personal success during dire times. “There’s reasons for heavy hearts/This past year I thought I was broken,” Strange sings in “Heavy Heart,” as the album begins. But the music evolves from lament to gallop, with guitars pealing and piling on as Strange glances through a whirlwind year: travel, loneliness, someone’s death, a romance, growing up: “Some nights I feel just like my dad/Rushing around,” he sings, troubled yet surging ahead.His past also looms in “Tours,” as Strange picks an acoustic guitar and juxtaposes fragmented childhood memories of military postings and family separations — “Where is Kuwait? Is that in the States?” — with his own life on the road. Not that he’s complaining too much; in “Cosigns,” he flaunts and marvels at his ascending career, name-checking his tour mates, but he also worries over his own rising expectations. The track opens with bleary synthesizers and mock-casual rapping, then gathers echoing guitars and a heftier beat until Strange is belting, “Hungry as ever/there’s never enough!”The album’s most richly moving song is “Hold the Line,” an elegy for George Floyd that he recorded in October 2020. “What happened to the man with that big ol’ smile/He’s calling to his mother now,” Strange sings with tender desolation, answered by a keening slide guitar; later, he imagines himself in Floyd’s place.Nothing goes unmixed in Strange’s songs. His productions metamorphose as they unfold, restlessly shifting among idioms; his lyrics refuse easy comforts. In “Mulholland Dr.,” he sets up a skein of guitar patterns like a latter-day Laurel Canyon production, gleaming prettily even as he sings about misgivings and mortality: “I’ve seen how we die/I know how we lose.” And in “Wretched,” he’s desperately missing someone, feeling lost and abandoned, blurting out that “My life feels wrong without you.” But the music carries him, a spiraling crescendo with guitars and synthesizer swells, kicking into a four-on-the-floor beat, pumping toward a final realization: “Sometimes it’s hard, but you know I’m thankful.”Bartees Strange“Farm to Table”(4AD) More

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      The Buzzy Band Wet Leg Trips Out at a Party, and 13 More New Songs

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      Hear tracks by Bartees Strange, La Marimba, Sharon Van Etten 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.Wet Leg, ‘Angelica’The latest single from the buzzy post-punk revivalists Wet Leg tells a more linear story than their drolly absurdist breakout “Chaise Longue”: “Angelica” captures that all-too-relatable experience of feeling awkward at a bad party, observing with a pang of envy the people who actually seem to be having fun. “I don’t know what I’m even doing here,” Rhian Teasdale deadpans, “I was told that there would be free beer.” But she and bandmate Hester Chambers finally get to let loose on the chorus, as the song’s surf-rock-meets-French-disco groove explodes, however briefly, into a psychedelic freakout. LINDSAY ZOLADZBartees Strange, ‘Heavy Heart’With its jangly guitar riffs and a cutting post-hardcore edge, Bartees Strange’s “Heavy Heart” at first seems like a simple slice of mid-00s nostalgia. But there is more longing for another time here. Strange, who grew up playing in hardcore bands in Washington, D.C., shatters genre tropes with ease: there is a rap-sung verse, a blossoming horn section, an aura of tender hope. “Heavy Heart,” which Strange wrote during a period of personal crisis in 2020, is about the guilt he experienced around the passing of his grandfather and the sacrifices his father made for his family. But it’s not a submission to that feeling; Strange sings, “Then I remember I rely too much upon/My heavy heart.” This is a relinquishing — a promise to embrace the possibility that lies beyond debilitating regret. ISABELIA HERRERAKevin Morby, ‘This Is a Photograph’“This Is a Photograph,” by the songwriter Kevin Morby (from the Woods and the Babies), starts out sparse and low-fi and keeps gathering instruments and implications. He juxtaposes momentary images with mortality: “This is what I’ll miss about being alive,” he repeats, between descriptions of mundane scenes. His vocals are largely spoken, more chanted than rapped, over a repeating modal guitar line that the arrangement keeps building on: with keyboards, drums, guitars, saxes and voices, a gathering of humanity to hold off the solitude of death. JON PARELESLabrinth and Zendaya, ‘I’m Tired’“Hey Lord, you know I’m tired of tears,” Labrinth sings in “I’m Tired,” a gospel-rooted song from the “Euphoria” soundtrack that retains the barest remnants of gospel’s underlying hope. It contemplates oblivion as much as redemption: “I’m sure this world is done with me,” Labrinth adds. Organ chords and choir harmonies swell, yet even when Zendaya comes in at the end, vowing to get through somehow, she wonders, “It’s all I got, is this enough?” PARELESRobyn, Neneh Cherry and Maipei, ‘Buffalo Stance’Neneh Cherry’s album “Raw Like Sushi,” released in 1989, was both of and ahead of its time: reveling in the ways pop, electronics, hip-hop and rock were merging and defining what an autonomous woman could do with them all. This week she released a remade version of the international hit “Buffalo Stance” featuring the dance-crying Swedish songwriter Robyn and the Swedish American rapper-singer Mapei. Cherry’s original, with vintage vinyl scratching for rhythm, was about fashion, poverty, exploitation and defiance: “No moneyman can win my love,” she taunted. The remake is slower and warier, with snaking minor-key guitar lines and even more skepticism about what men want. PARELESSharon Van Etten, ‘Used to It’Following her recent, upbeat single “Porta,” “Used to It” is a return to the more meditative side of Sharon Van Etten. Vividly imagistic lyrics and the smoky hush of Van Etten’s voice unfurl across the track with an unhurried confidence: “Where are you going, you rainstorm?” Van Etten sings. “Are you used to it, pouring out your life?” ZOLADZHaim, ‘Lost Track’“Lost Track” — a playfully punny title for a previously unreleased one-off single that is also about someone in an emotional free-fall — is as understated as a Haim song gets. Handclaps take the place of the group’s usually forceful percussion, Danielle Haim’s signature guitar is absent from the verses, a plinking toy piano gives the whole thing a dreamlike vibe. But the dynamism the Haim sisters are able to create from such simple means, and the way the song suddenly and satisfyingly builds to a crescendo during the chorus, is a testament to their deft and resourceful song craft. The music video, by the group’s longtime collaborator and Alana Haim’s “Licorice Pizza” director Paul Thomas Anderson, casts Danielle as a fidgety malcontent at a country club, her frustration bubbling over as she shouts the song’s most triumphant line, “You can sit down if you don’t mind me standing up!” ZOLADZOmah Lay and Justin Bieber, ‘Attention’Justin Bieber isn’t done with Nigerian Afrobeats; his restrained croon dovetails nicely with the equanimity of Afrobeats singers. Meanwhile, Western producers are learning Afrobeats techniques. Last year Bieber joined a remix of “Essence,” a worldwide hit by Wizkid. Now he’s collaborating with another Nigerian star, Omah Lay, on “Attention,” which melds Afrobeats and house music in a production by Avedon (Vincent van den Ende), from the Netherlands, and Harv (Bernard Harvey), from Kansas City. Separately and then together, Bieber and Lay state a longing that might be either for romance or clicks: “Show me a little attention.” PARELESNew Kids on the Block featuring Salt-N-Pepa, Rick Astley and En Vogue, ‘Bring Back the Time’At a moment when current hitmakers like the Weeknd and Dua Lipa revive glossy, pumped-up 1980s sounds — ballooning drums, arpeggiating synthesizers — the not-so-New Kids on the Block cannily position themselves as a nostalgia act for both music and video. Abetted by early-MTV contemporaries, they fondly parody 1980s videos from Devo, Talking Heads, A Flock of Seagulls, Robert Palmer, Twisted Sister, Michael Jackson and more. “We’re still the same kids we were back in ’89,” they proclaim, all evidence to the contrary. PARELESLa Marimba, ‘Suéltame’The Dominican singer-songwriter La Marimba may have a smoky voice, but don’t confuse it for hushed modesty. Her single “Suéltame,” or “Let Me Go,” is nothing less than a battle cry: this is punk perico ripiao, an electric take on the oldest style of merengue, with a liberatory spirit. (On Instagram, La Marimba said the song is a response to the everyday struggles of women and girls in the Caribbean.) Over razor-sharp synths and the raucous metal scrapes of the güira, La Marimba demands freedom through gritted teeth: “Let me go already/I am how I want to be.” HERRERAMelissa Aldana, ‘Emelia’The Chilean-born tenor saxophonist Melissa Aldana was in the middle of a dream about motherhood one night when the melody to “Emelia” came to her. Pillowy and suspended, caught between longing and rest, this tune is the moment on “12 Stars” — Aldana’s latest release for Blue Note Records — when she and her hyper-literate quintet of rising jazz all-stars slow down and fully embrace the blur. The pianist Sullivan Fortner is the biggest smudge artist here, adding clouds of harmony on Rhodes, cluttering the airspace around Lage Lund’s guitar, and complementing the distant, even-toned longing of Aldana’s saxophone. At the end of the song, taking the melody home, she tongues the instrument’s reed, letting her notes crack; then the music cuts off and the voices of young children come in, bringing the track to a close. GIOVANNI RUSSONELLOThe Weather Station, ‘To Talk About It’“I’m tired of working all night long, trying to fit this world into a song,” Tamara Lindeman sighs, although the striking achievement of her latest album as the Weather Station is how often she is able to do just that. “How Is It That I Should Look at the Stars,” out Friday, is at once spacious and granular: Lindeman’s precise lyricism zooms in on particular human experiences and scenes, but her airy, piano-driven compositions allow for all sorts of environmental ambience and collective anxieties to seep in. “To Talk About,” the album’s latest single, features vocals from the Toronto-based musician Ryan Driver, and seeks refuge from an emotionally fatiguing world in quiet, shared intimacy: “I am tired,” Lindeman repeats, this time adding, “I only want to lie beside my lover tonight.” ZOLADZCarmen Villain, ‘Subtle Bodies’The composer Carmen Villain blends nature recordings, instruments, samples and programming to create tracks that feel both enveloping and open. “Subtle Bodies,” from her new album “Only Love from Now On,” stacks up layers of quiet polyrhythm, swathes them in pink noise that could be wind or waves, nudges them forward with a muffled two-note bass loop and wafts in sustained tones and distant wordless voices; it’s ambient but clearly in motion. PARELESLila Tirando a Violeta & Nicola Cruz, ‘Cuerpo que Flota’“Cuerpo que Flota,” the first single from Uruguayan producer Lila Tirando a Violeta’s forthcoming album “Desire Path,” refuses to hew to tradition. Alongside the Ecuadorean producer Nicola Cruz, Lila stitches together murmurs; a muted, stuttering half-dembow riddim; and layers of static disturbance. The album samples pre-Hispanic flutes and ocarinas right alongside Lila’s electronic experimentation (you can even buy a 3-D printed ocarina along with the release), allowing her to forge her own dystopic, serrated universe where past meets present. HERRERA More