Addison Rae’s Pulsing Pop Debut, and 10 Extra New Songs

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Addison Rae’s Pulsing Pop Debut, and 10 More New Songs

Perfectly pulsating, pithy and pleasant peloton core from Addison Rae, star of TikTok and, if the machines have their way, all other media too. This is their debut single, and the theme is mutual infatuation, an optimal topic for the mutual social media era. JON CARAMANICA

When hyperpop gets a little less hyper, it merges into charming, muddy electro-pop, with the melodies moving closer to the foreground. “I want to hit my head against the wall”, the new single from the star of the scene, moves between breathability and panting, with squirrel production and lyrics that are sung sweetly: “I’m on the verge of madness in my own home / me want to hit my head against the wall / ‘Until I can’t feel at all.’ CARAMANICA

“We keep going through the movements when we should go our separate ways,” sings Rachael Price in “Anymore,” a patient but ruthlessly analytical song about the lengthy final stages of a relationship. Lake Street Dive, an era hopping band that can date back to small-group swing, played Anymore with electric keyboards, drum computers and tickling guitars from Steely Dan and Marvin Gaye in the 1970s and 1980s. The shine doesn’t hide the heartache or anger. JON PARELES

The lyrics to “Nightflyer” are mostly a list, a poetic and far-reaching one: “I am the dark side of the moon, I am the solar flare / the child of the earth, the child of the air / I am the mother of the evening star / I am the Love that conquers all. “Allison Russell sings them about a stately mix of country and church as she calls a gathering of her own vocal harmonies and gathers strength as she promises reassurance. PARELES

Short but beautifully structured, “Ain’t Gon Stop Me” is the best single so far by the young Reggie, who raps with a deliciously earthy singsong flow. In this song, produced by Monte Booker and Kenny Beats, he recalls difficult times – “The drugs almost got me / my best friend was Oxy” – with an almost evangelical fever that was delivered and breathed easily. CARAMANICA

Through his friends in the Onyx collective, the young soul singer Nick Hakim came into contact with Roy Nathanson, an alto saxophonist and poet with decades of history in the city center. An afternoon of working together in Nathanson’s basement resulted in the recording of a full album entitled “Small Things,” with the help of a few friends from the Onyx universe, due for release next month. Hakim has a voice of smoke that can rattle like thunder, and on Moonman, a simple jazzy chord progression is all he needs as he wanders through Nathanson’s wistful poetry of the stream of consciousness. (“The passionate / kiss in the fog / wet hand romance / view of Bogart airport.”) The melody, half improvised and enchanting, is surrounded by lush analogue sound that is clouded by echo and blurring. GIOVANNI RUSSONELLO

“Olooh” is named after an old Congolese village custom: a reconciliation with a ceremonial war dance. Musicians and singers from five ensembles work together in the multi-ethnic, 15-member Kasai Allstars based in Kinshasa. In “Olooh”, a six-bar groove offers a musical variety show: singers, grouped or solo, with a range of different melodies; Guitars that intertwine or jump to the fore, bursts of electronic sounds. The track unfolds idea after idea for almost six minutes and still sounds like it’s just beginning. PARELES

“Headshot” is a menacing and robust twist for sugary rap pop singer Lil Tjay. Polo G has the first guest verse, but it’s rising Brooklyn drill star Fivio Foreign who steals the show with an extremely brave barb: “All of your sneakers are beaten up.” CARAMANICA

In “Separate” the English band Sorry Deadpan merges indie rock understatement – think of the xx that is deprived of romance – with clunky, glitchy electronics. It is a distillate of late pandemic, loneliness, disorientation, frustration and monotony. Asha Lorenz sings: “I like to think that I go somewhere, even when I go in circles.” PARELES

The beat is programmed in “Simple Stuff” by the London electronics producer Loraine James, but it is never exactly repeated. “I like the simple things, you like the simple things, what’s in it for me,” goes a sung loop that is distorted and broken as the track progresses. A thick bass note pulsates, stutters, disappears and sticks back in; Snare hits and log drum samples splash and echo across the stereo room, and maracas provide additional polyrhythm. The track is tense and narrow, which extrapolates its frustrations inward. PARELES

Few of the figures among South African jazz musicians today are taller than Bheki Mseleku, a pianist and multi-instrumentalist who brought his deep commitment to local traditions and his own spiritual perspective (earned through years of self-isolation) to a conversation with American jazz influences. Eighteen years ago and five years before his death at the age of 53, Mseleku entered a London studio to record a solo piano album that was never released. Now it has finally been released as “Beyond the Stars” on the Tapestry Works label. On his longest track, “Isango (The Gateway)”, Mseleku follows his own lyrical, cyclical melody into a rolling three-chord pattern that eventually brings home the nearly 17-minute performance. RUSSONELLO