Lorde’s Sunburst, and 10 More New Songs

Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and movies. Just need the music? Listen to the Playlist on Spotify right here (or discover our profile: nytimes). Like what you hear? Let us know at [email protected] and join our Louder publication, a once-a-week blast of our pop music protection.

Lorde, ‘Solar Power’

About the very last thing to be anticipated from a songwriter as moody and intense as Lorde was a carefree ditty about enjoyable in the summertime solar. “Solar Power,” the title music from an impending album, is simply that, driving three chords and brisk acoustic rhythm guitar (and glancing again at George Michael’s “Freedom! ’90”) to have fun hitting the seaside, getting sun-tanned cheeks and tossing away her “cellular device”: “Can you reach me? No! You can’t,” she sings, and giggles. She has an offhand however attention-getting boast — “I’m kind of like a prettier Jesus” — and an invite fully freed from ambivalence: “Come on and let the bliss begin.” JON PARELES

Ava Max, ‘EveryTime I Cry’

Just to make sure, I’ve Googled and confirmed that nobody has but referred to Ava Max as Una Lipa. There’s nonetheless time. (This is a praise.) JON CARAMANICA

Saint Jhn and SZA, ‘Just for Me’

A beat ticks alongside behind slow-pulsing synthesizer chords as Saint Jhn seems, claiming lovelorn angst however safely distancing it with Auto-Tune. But when SZA arrives, a minute and a half in, her voice leaps out. Like him, she proclaims a determined, harmful infatuation. Unlike him, she feels like she means it. PARELES

PmBata, ‘Favorite Song’

Endlessly cheerful lite-pop-soul, “Favorite Song” is a bopping strut from PmBata, toggling between singing and rapping, although much less hip-hop-influenced than his earlier singles like “Down for Real.” The come-ons are somewhat frisky, however the angle is rarely lower than candy. CARAMANICA

Jomoro that includes Sharon Van Etten, ‘Nest’

Jomoro is the alliance of two percussionists turned songwriters: Joey Waronker, Beck’s longtime drummer, and Mauro Refosco, a David Byrne mainstay. Of course they want singers, and they’ve assorted company on Jomoro’s album, “Blue Marble Sky.” Sharon Van Etten supplies maintain and suspense on “Nest,” singing about “the darkest corner, the back of the mind” over a steadfast march of synthesizer tones textured with bells, shakers and hand drums: bodily percussion to orchestrate a psychological journey inward. PARELES

Clairo, ‘Blouse’

It was inevitable that present bedroom-pop songwriters would uncover the hushed intricacies of predecessors like Elliott Smith and Nick Drake. Clairo embraces each, recalling Smith’s whispery vocal harmonies instantly and Drake’s elegant string preparations quickly afterward. She’s singing a few kitchen-table lovers’ quarrel and a scenario neither man would assume to painting: “Why do I tell you how I feel/When you’re just looking down my blouse?” PARELES

Esperanza Spalding that includes Corey King, ‘Formwela 4’

Over an eddying sequence of arpeggios plucked by Corey King on acoustic guitar, surrounded by the sounds of springtime, Esperanza Spalding sings in affected person and light tones about long-term trauma, and about reaching out for help. “Wanna be grown and let it go/really didn’t let it go though,” she begins. When Spalding will get to the refrain, it principally consists of 1 repeated line: “Dare to say it.” This monitor, launched Friday, comes as a part of Spalding’s Songwrights Apothecary Lab, an evolving venture that imagines musical collaboration as a pathway towards therapeutic. (It already yielded a collection of three highly effective tracks, created with different distinguished musicians and launched earlier this yr.) She and King wrote “Formwela 4” in response to a easy problem: “Say what is most difficult to say between loved ones.” GIOVANNI RUSSONELLO

Hypnotic Brass Ensemble that includes Perfume Genius: ‘A Fullness of Light in Your Soul’

The Minimalism-loving Hypnotic Brass Ensemble has rediscovered “Sapphie,” an EP that was launched in 1998 by the prolific English musician Richard Youngs and rereleased in 2006 by the Jagjaguar label, which is celebrating its 25th anniversary with left-field, interdisciplinary collaborations. Youngs’s unique model was a stark acoustic meditation, simply quiet fingerpicking behind Youngs’s excessive, breaking voice, with musings like “Sometimes it’s better never than late/and there’s a spareness of days” and “Happiness leaves everything as it is/and the future isn’t anything.” Hypnotic Brass Ensemble provides internal harmonies and orchestrates them with Philip Glass-like motifs for brass and woodwinds and surreal reverberations as Perfume Genius sings in a rapt falsetto, buying and selling Youngs’s solitude for immersive depths. The video — maybe taking a touch from the music’s first line, “working around museums,” reveals the visible artist Lonnie Holley creating photographs with spray paint, twigs and wire. PARELES

Julian Lage, ‘Squint’

The gangly, big-boned drum type on this monitor may be recognizable — notably to followers of the Bad Plus — because the sound of Dave King when he’s having enjoyable. The drummer is heard right here in a newish trio, led by the virtuoso guitarist Julian Lage, and that includes Jorge Roeder on bass. “Squint,” the title monitor from Lage’s Blue Note debut, begins with the guitarist alone, causally demonstrating why he’s probably the most dazzling improvisers round; then King is available in and issues cohere into that lumbering swing really feel, held collectively by Roeder’s regular gait on the bass. RUSSONELLO

Poo Bear, ‘The Day You Left’

Poo Bear (Jason Boyd), a songwriter and producer with Justin Bieber, Usher, Jill Scott and many others, reveals his personal achingly mournful voice in “The Day You Left.” He’s a desperately long-suffering lover who is aware of he’s been betrayed for years, however nonetheless desires his associate again. The manufacturing, by a crew that features Skrillex, retains opening new digital areas round him, with celestial keyboards in some, shadowy whispers in others. PARELES

NoCap, ‘Time Speed’

More superb yelps from the Alabama sing-rapper NoCap, who, over gentle blues-country guitar, is enduring some push and pull with a associate. “I might be gone for a while, just write,” he urges, however confesses he’s not within the driver’s seat. If she feels compelled to stray, he says, “just don’t hold him tight.” CARAMANICA