Radiohead’s ‘Kid A’ Era Outtake, and 13 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 e-newsletter, a once-a-week blast of our pop music protection.

Radiohead, ‘If You Say the Word’

In 2000, Radiohead ripped aside outdated, pompous Britpop assumptions. With the periods that yielded the albums “Kid A” and “Amnesiac,” the band adopted its most arty, experimental inclinations and appeared inward on the similar time. “If You Say the Word” is a music that the group accomplished however shelved, which can seem on its expanded reissue “Kid A Mnesia.” Its sound continues to be comparatively stay — a band with a gradual drummer going minimalist — with lyrics that ponder entombment and liberation. JON PARELES

Ed Sheeran, ‘Shivers’

The producer Max Martin could have coined the phrase “melodic math,” however Ed Sheeran completely embodies it in his lyrics, music and manufacturing. “Shivers” is simply filled with pop set off phrases — love, coronary heart, fireplace, kissed, social gathering, automotive, dance, daylight, soul, “tear me apart,” “lipstick on my guitar,” “all day and all night,” “do it like that” — backed by a observe that pulls in pizzicato strings and flamenco handclaps over a stable four-chord construction. If computer systems will dance or fall in love, that is their music. PARELES

Sam Hunt, ‘23’

A balmy observe concerning the one who bought away, “23” is about how the facility of reminiscence is usually greater than sufficient. Sung with wistfulness however no malice, Sam Hunt remembers a love who moved on in a special course, and he sounds virtually as soothing remembering their good instances collectively as imagining how her future may need turned out: “I really hope you’re happy now/I’m really glad I knew you when.” JON CARAMANICA

Lisa, ‘Lalisa’

The solo debut single from Lisa of Blackpink is politely exuberant and tautly bubbly. Perhaps her group’s most nimble rapper, she sashays her method by this thumping, popping music. It’s an extension of a well-recognized model, with a sprinkle of innovation when the observe and video nod to Lisa’s Thai heritage. CARAMANICA

Yebba, ‘Boomerang’

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Yebba (the singer and songwriter Abigail Elizabeth Smith) harks again to vintage-sounding 1960s pop and soul on her debut album, “Dawn.” In “Boomerang,” she sings about an inevitable payback for the person who, she realized too late, would “drag me through hell.” She gathers her rage in a spaghetti-Western observe, with distant drums, castanets and orchestral accents; her “whoo-oo-oo-oo” hook whirls like a boomerang. PARELES

Jazzmeia Horn and Her Noble Force, ‘Where Is Freedom!?’

The vocalist and composer Jazzmeia Horn closes her new album, the rousing big-band effort “Dear Love,” with “Where Is Freedom!?,” carrying a message of self-liberation over a groove that would have come off a 1970s soul report. “What does it mean to ascend after your journey begins?/You just might lose all your friends to be free,” she sings defiantly, because the observe nears its summit and the horns’ harmonies pool collectively behind her. GIOVANNI RUSSONELLO

Sleigh Bells, ‘True Seekers’

How does a band constructed for brash, high-gloss, defiant pop handle pandemic instances? Brashly and knowingly, summoning its common muscle and melody — Derek Miller’s walloping drum-machine beats and loud guitars behind Alexis Krauss’s chipper voice — however now, on its new album “Texis,” with lyrics that stare down dread and mortality: “Strip away armor, strip away fear/I think I lost it but here it comes again,” Krauss sings. “I’ll find my way out of the grave.” PARELES

Ìfé, ‘Fake Blood’

The genre-crushing group Ìfé is a revelation. Its new music, “Fake Blood,” is a reminder of the boundless promise of music, collaging Auto-Tuned Yoruba prayer, the regular shakes of a maraca and thumping bass right into a meditation on colonialism, police violence and mass shootings. Over clattering hand percussion, deep bass and razor-sharp synth stabs, the group asks, “¿Qué es lo que pasa aquí?” (“What’s going on here?”) Drawing on sounds and types from throughout the African diaspora, it’s an train in divination — a requirement to think about a greater future, proper right here, proper now. ISABELIA HERRERA

Fivio Foreign, ‘Story Time’

The early waves of Brooklyn drill have been gentle on storytelling, so Fivio Foreign’s breakout efficiency on Kanye West’s “Donda” album got here as a shock. “Story Time” underscores that his narrative items are right here to remain. It’s a vivid story a few younger man in jail dealing with unthinkable selections: “He was a little fish when he jumped into the water/and then he grew into a shark.” CARAMANICA

Tirzah that includes Coby Sey, ‘Hive Mind’

Like the neon glow of a below-ground cocktail lounge, Tirzah’s “Hive Mind” glints into cool tranquillity. A kick drum thumps underneath indirect, dog-bark synths. Tirzah and the vocalist Coy Sey provide a serene, call-and-response dialog: “But who we were/Do we see things through?” By the music’s finish, the query is seemingly left unanswered. The impact is a bit haunting and a bit unfastened, and all of the extra hypnotic. HERRERA

St. Etienne, ‘Pond House’

Saint Etienne, which arrived within the 1990s as a suave, optimistic, crate-digging corollary of trip-hop, is downright somber on its album “I’ve Been Trying to Tell You,” billed as music for the movie of the identical title. “Pond House” meditates in a wide-open soundscape, with a vocal pattern from Natalie Imbruglia’s “Beauty on the Fire” — “Here it comes again/Cannot outrun my desire” — hovering above a thudding reggae beat and bass line, as percussion and sea gull sounds open out the horizon. PARELES

Aakash Mittal, ‘Nocturne III’

Visiting Kolkata, India, years in the past, the saxophonist Aakash Mittal turned impressed by the throbbing power and full of life soundscape of night time in that crowded metropolis, and endeavored to write down music that captured the sensation. He ended up dwelling there for the higher a part of two years, and got here away with a guide of compositions that he known as his “nocturnes.” On “Nocturne III,” he was particularly pondering of the way in which drivers use their automotive horns — freely, as a type of chattery communication — whereas drawing from the Carnatic raga of Bageshri. Mittal and his trio (the guitarist Miles Okazaki and the mrudangam drummer Rajna Swaminathan) play in unison, repeating an more and more pressing rhythm at one pitch earlier than leaping to a different, like completely different automobiles caught in a jam. RUSSONELLO

Circuit des Yeux, ‘Sculpting the Exodus’

Haley Fohr, the composer and singer who data as Circuit des Yeux, brings operatic drama to a way of loss in “Sculpting the Exodus” from her album due Oct. 22, “-io.” It’s an elegy that begins with a modest, tolling harpsichord motif and swells to an amazing orchestral peak in a swirl of ghostly voices, as Fohr clings to a form of memorial, singing, “The signal goes on repeating.” PARELES

Sarah Davachi, ‘Abeyant’

“Abeyant,” a brand new work from the experimental luminary Sarah Davachi, is deeply reverent of time. The music is easy however potent: For seven minutes, the fuzz of tape hovers underneath subdued piano keys and synths, repeating, suspending and lulling melody right into a form of prolonged, decomposed aria. This is the form of music that calls for repeat listens, urging us to hear intently, deeply and intimately to what would possibly seem like simply texture, however incorporates the promise of deep contemplation underneath the floor. HERRERA