Justin Timberlake’s Envious Comeback, and 12 Extra New Songs


“Egocentric,” Justin Timberlake’s first new solo tune in six years, covers a thematic terrain much like Nick Jonas’s hit “Jealous” (2014), however swaps that tune’s bravado for muted melancholy. “So if I get jealous, I can’t assist it,” Timberlake croons, in a flatter approximation of Justin Bieber’s extra profitable forays into mid-tempo R&B. “I need each little bit of you, I assume I’m egocentric.” A enjoyable, calmly carbonated beat retains issues shifting ahead — maybe the one component of the tune conscious that it’s not fairly as deep as Timberlake thinks. LINDSAY ZOLADZ

The lilting, understated guitars and pattering bongo drums of Dominican bachata often carry songs of restrained remorse. However the salsa singer Marc Anthony isn’t one for restraint. In “Punta Cana,” named after the Dominican resort city, he’s a rejected boyfriend bitterly monitoring the pleased photographs posted by his ex — a state of affairs just like the one in Maluma’s hit “Hawái.” From the primary verse, he works as much as throat-tearing rasps, attempting to persuade himself that one kiss would get her again, finally deploying a horn part as his desperation grows. No marvel she’s conserving her distance. JON PARELES

The kaleidoscopically imaginative Philadelphia musician Tierra Whack returns with a little bit of minimalistic funk on “Bathe Tune,” a playful ode to getting clear, ruminating on wild concepts and belting like nobody else can hear. “I sound nice once I’m singing within the bathe,” Whack declares on this single from her forthcoming album “World Large Whack.” “Cleaning soap and water give me energy.” As standard, it’s accompanied by a riotously colourful, “Pee-wee’s Playhouse”-esque music video showcasing the singularity of Whack’s world. ZOLADZ

The Australian band Hiatus Kaiyote revels in musicianly video games like shifting meters, angular harmonies and leaping, zigzag melodies, adeptly drawing on jazz, funk, rock and psychedelia. “The whole lot’s Lovely” is true to kind: structurally difficult however finally only a romp, nonetheless blithely funky above its underlying math. PARELES

Ice Spice has a means with a hilarious, monosyllabic insult hurled like a blunt instrument. First there was “Munch.” Now, much more to the purpose: “Fart.” An insistent, skronky beat from producers RIOTUSA (who goes by Riot), Artificial and Venny encourage the nonplused Ice to go in tougher than standard: “I received my foot on they necks, I can’t let up,” she raps, venomously. “She all on the ground, informed her ‘rise up.’” ZOLADZ

Jade Fowl sings about attempting to depart behind each human and digital reminiscences in “Burn the Laborious Drive,” singing, “There’s nothing left to do however erase moments one after the other.” A nimble, triplet-driven, nervous-energy monitor concocted by the producer Mura Masa has devices popping out and in like these cussed, undesirable ideas. PARELES

The Pillow Queens are a four-woman rock band from Eire that may be chiming and consonant — however not on this tune. Fuzz-toned guitars create a tolling, churning backwash as Pamela Connolly sings a few decisive breakup with somebody who lied and took her without any consideration: “I used to be in your high 5 issues to do,” she remembers as she strikes on. Now, she gloats, “I’m another person’s downside.” PARELES

River Shook matter-of-factly describes psychological well being turmoil in “Revelations,” a minor-key roots-rocker laced with twangy guitar and steel-guitar strains. “Good days I levitate off the bottom/Some days I can’t get away from bed,” they sing, later including “child, I barely get by every day.” There’s no pleased ending, simply perseverance and a steadfast beat. PARELES

At 71, the longtime musician, songwriter and producer John Leventhal — who has labored with Shawn Colvin, Marc Cohn, Sarah Jarosz and together with his spouse, Rosanne Money — has launched his first solo album, “Rumble Strip.” In “That’s All I Know About Arkansas,” Leventhal constructed a mandolin-topped string band within the studio to assist a modal, Appalachian-tinged melody. Money joins him on vocals, sharing a laconic narrative a few lady who simply “took her costume and the sneakers she wore” and left Arkansas behind, maybe to grow to be a singer; the end result is unknown, however the music is stoic and sure-footed. PARELES

The rising nation upstart Megan Moroney receives a disruptive, middle-of-the-night telephone name from a difficult ex on the wrenching, well-written “No Caller ID,” which finds her wrestling along with her personal response. “Why do I wish to? I shouldn’t wish to,” Moroney sings with heat, grit and a self-deprecating sigh. ZOLADZ

The country-rooted indie-rock singer-songwriter Matthew Houck — a.ok.a. Phosphorescent — went quiet after the 2018 album “C’est La Vie.” His return, the title tune of a coming album referred to as “Revelator,” stays true to kind: leisurely, layered, desolate however resigned. “Hey, I informed you earlier than, I wanted you extra,” he sings, “however you couldn’t even flip round.” The monitor places a string part behind a rustic band topped with pedal metal guitar, whereas Phosphorescent stays serenely inconsolable. PARELES

El Perro del Mar — the recording title of the digital songwriter, singer and producer Sarah Assbring — questions a self-destructive obsession in “Between You and Me Nothing.” She units up weightless digital tones and faraway vocal harmonies as she wonders, “Why do I preserve returning to one thing that’s lengthy gone?” The sound is meditative; the temper is each analytical and bereft. PARELES

Tuareg electric-guitar music, from the nomadic North African individuals who dwell throughout the Sahara, has lengthy been generally known as “desert blues.” The Texas bluesman Gary Clark Jr. reinforces the connection in “Maktub,” Arabic for “it’s written”; it’s from his exploratory, style-hopping new EP, “Jpeg Uncooked.” The modal, six-beat, distorted guitar riff echoes Tuareg musicians like Tinariwen and Mdou Moctar, and Clark sings and raps strains about being persecuted and cellular: “We gotta transfer in the identical path,” the refrain declares. PARELES



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