Megan Thee Stallion and Dua Lipa’s Sultry Team-Up, and 10 More New Songs

The initially taste of Megan Thee Stallion’s future album is but yet another sultry collaboration with a fellow female star. But this time all-around, Megan seems like additional of a customer on Dua Lipa’s turf, on a track that prominently centers Lipa’s hook and mines the modern, radio-ready sheen of her blockbuster album “Future Nostalgia.” As usually, even though, Megan will get a couple eminently quotable strains in: Comparing herself to Cesar Milan, she states, “I gotta allow a puppy know who truly run things.” The around-the-top rated video clip is a type of exclusive-outcomes-laden, older people-only consider on the Hansel & Gretel story, not advised for people who anxiety spiders, fireplace, or, uh, rooms with partitions that suddenly change into butts. LINDSAY ZOLADZ

The best Florence + the Machine singles — think “Dog Days Are About,” “Shake It Out,” “What Variety of Man” — revel in a type of decadent drama, and the latest, “My Appreciate,” finds the band triumphantly returning to that mode. “Tell me exactly where to place my enjoy,” Florence Welch wails on the refrain, accompanied by an arrangement frivolously dusted with disco glitter. The twist is that it is largely a lament about writer’s block, but Welch imbues it with all the passionate anguish generally reserved for tracks about heartbreak. “Every webpage is vacant, there is nothing at all to explain,” she sings, though the track alone attests that the drought is around. ZOLADZ

Miranda Lambert, ‘Strange’

Miranda Lambert (with collaborating songwriters Natalie Hemby and Luke Dick) provides the pithiness of basic place to disorienting 2020s pandemic-era realities on “Strange,” the solitary that previews “Palomino,” her album due April 29. With dollars problems, an attention financial system and the feeling that “every elevator only ever goes down,” it is no surprise “Times like these make me sense bizarre.” There is some Neil Younger starkness in the verses, and Lambert allows her voice scratch and break at situations, but she also will make certain the hooks land neatly. JON PARELES

Horsegirl, ‘Anti-Glory’

“Dance! Dance! Dance! Dance!” goes the refrain of “Anti-Glory” by the Chicago band Horsegirl, the to start with solitary from an album because of in June, “Versions of Modern day Functionality.” That chorus sounds considerably less like an invitation than an ultimatum each individual “Dance!” comes with jabs of dissonant guitar and a whip crack of drums. Horsegirl reaches again to submit-punk and indie-rock with terse, insistent, recurring-observe riffs, both equally deadpan and utterly intransigent. PARELES

Like painters making use of each shade in the rainbow, the members of the pop group Superorganism are unrepentant maximalists. The infectious “Teenager,” the initially solitary from their forthcoming 2nd album, “World Wide Pop,” is an explosion of bubble-gum hooks, wild output tips and genuinely poignant reflections about escalating up. As with several Superorganism music, the cartoonish extra of the arrangement is balanced out by the singer Orono Noguchi’s shrugging, endearingly deadpan vocals: “By the way, we’re all the same, no need to feel ashamed,” she sings, as nevertheless and inviting as the eye of a storm. ZOLADZ

Ghost, ‘Spillways’

The Swedish band Ghost reliably hits the three Ps difficult: proggy, punky and poppy. Its fifth album, “Impera,” packs the formidable sprawl of ’70s rock epics into (reasonably) chunk-dimensions packages with amusingly confounding story lines. “Spillways,” a person of the album’s most clear-cut tracks, commences with a pounding piano straight out of Billy Joel’s “All for Leyna” and speedily segues into a sweetly manufactured rock tune. Consider Negative Religion with “Jesus Christ Superstar” operating by its veins. CARYN GANZ

Tinashe, ‘Something Like a Heartbreak’

Tinashe’s expanded variation of her heartsick 2021 album, “333,” adds “Something Like a Heartbreak”: an accusation, a lament and a stack of vocal melodies and twitchy electronic rhythms about an insistent bass notice. “You didn’t are worthy of my enjoy,” she decides, deciding on scarred expansion more than agony soon after what she’s discovered, she’s “thankful that you cracked me open up,” she insists, selecting that “I’m an additional lady — holding on to hope, not hopeless.” PARELES

Tess Roby, a singer and electronic musician from Canada, stacks up two-bar loops in “Up 2 Me”: trickle-down scales, bass riffs, flickering percussion appears and her meditative vocals, which present terse considerations of temporality: “calling it like it was/wanting at it like it is.” It is a four-minute monitor that could effortlessly have circled as a result of its elements for a great deal for a longer time. PARELES

Walter Smith III and Matthew Stevens, ‘For Some Time’

The tenor saxophonist Walter Smith III and the guitarist Matthew Stevens have brought together one more quintet of intergenerational jazz all-stars for their third album beneath the “In Common” title. “For Some Time” is an up-tempo Smith first that sits at the middle of the LP, and its important elements are a pattering six-conquer rhythm from Terri Lyne Carrington tautly rhythmic bass participating in by Dave Holland (who, like Carrington, is an NEA Jazz Grasp) and a peppery trade amongst Stevens’s palm-muted guitar and the pointillist piano of Kris Davis. Coasting amongst them, Smith carries the melody with loving focus to tone, allowing his sound bubble and broaden. But right before a legit solo portion sets in, the keep track of fades tantalizingly, leaving the residue of its rhythm in your ear. GIOVANNI RUSSONELLO

Father John Misty, ‘Goodbye Mr. Blue’

Josh Tillman’s sharp lyricism usually aims for the head — proper in the middle of the knowingly arched eyebrow, to be precise — but right here he goes straight for the heart. “Goodbye Mr. Blue,” the charming third one from his forthcoming album as Father John Misty, “Chloe and the Upcoming 20th Century,” is a simulacrum of the ’70s singer-songwriter seem Harry Nilsson is an evident touch stage, but there are also shades of Jim Croce and even John Denver in the song’s fingerpicked guitars and chatty heat. “That Turkish Angora is ’bout the only thing left of me and you,” Tillman croons, filtering a story of a relationship’s gradual, inevitable finish by means of the demise of the titular pet cat. It is sweet, a minimal humorous, and then eventually devastating, as Tillman repeats an increasingly elegiac refrain, “Don’t the very last time come much too shortly?” ZOLADZ

The newest one from British digital producer Sam Shepherd makes use of rather simple things and, more than the system of 7-and-a-50 percent minutes, builds to some thing elegant. Pursuing “Promises,” his acclaimed, ethereal 2021 collaboration with the jazz saxophonist Pharaoh Sanders, “Vocoder” is a difficult pivot back to the other extreme of Shepherd’s significant assortment — a bona fide dance-floor banger sparking with hard-driving, kinetic electrical power. ZOLADZ