Yeah Yeahs Yeahs’ Apocalyptic March, and 10 More New Songs

The primary new Yeah Yeah Yeahs tune in nine years isn’t a guitar blast. It’s a solemn, cavernous synthesizer march with late-arriving guitars and different, typically elusive sounds flitting above a steadfast bass line. The lyrics hand off a broken world to a subsequent era — “the youngsters” — who “by no means had no probability” however may save issues anyway. JON PARELES

There’s been a enjoyable, late-90s pop-rock vibe to the 2 songs the one-time Pharrell-mind-blower Maggie Rogers has launched from her forthcoming second album, “Give up.” The wholehearted first single, “That’s The place I Am,” gave off some Natalie Imbruglia tones, however the depth and crunchy guitar tones of “Need Need” are slightly extra in the important thing of Alanis Morissette. “I hold working away however once I depart you pull me in once more,” Rogers sings on this story of long-sublimated want that lastly finds an explosive expression in its refrain: “And I need you.” LINDSAY ZOLADZ

A couple of years after he burst onto the jazz scene, and virtually a decade earlier than he would file the soundtrack to a remake of “Invasion of the Body Snatchers,” the celebrated pianist Denny Zeitlin took his trio into the studio in 1969 to work on a surrealist sci-fi idea album of his personal, “The Identify of This Terrain.” Bridging the space-age pop of the previous decade and the jazz-rock period to return, the demos they made showcased Zeitlin’s always-impressive compositions, the cosy versatility of his core trio (that includes the bassist Mel Graves and the drummer George Marsh) and — surprisingly — the band members’ orotund baritones. On the lengthy opening monitor, they sing in portentous harmonies over a slapping funk beat, earlier than issues dissolve into untamed Strangelove dissonance. Zeitlin and his producer, Invoice Younger, have been unable to discover a label prepared to again the challenge, they usually left it for lifeless. However a half-century later, after some copies of the demo discovered their approach into used-record shops, Zeitlin lastly re-listened to it. He rightly determined that the unique tapes have been compelling sufficient to be launched on their very own, and the album is out by way of Now-Once more Data. GIOVANNI RUSSONELLO

MC Taylor writes songs, performs guitar and sings within the Americana band he leads, Hiss Golden Messenger. Revelators Sound System, his studio duo with the bassist Cameron Taylor, is one thing else solely: an open-ended instrumental group. The 10-minute “Grieving” begins as snappy, prismatic funk, with saxophones and keyboards drifting in and piling on over an more and more busy bass, however halfway by way of, the beat falls away, leaving the opposite devices to eager and echo right into a void. It’s the inverse of a typical jam; as an alternative of constructing, it dissolves. PARELES

A six-beat rhythm underlies dissonant guitar riffs, up-and-down keyboard traces, xylophone-like plinks and wordless vocals within the insistent, perpetual-motion “Within the Sand.” Kamikaze Palm Tree is a duo that likes to multitrack, and “Within the Sand” fortunately inhabits the intersection of intelligent, nagging and catchy. PARELES

Alexis Georgopoulos, the digital musician who data as Arp, units up a ping-ponging stereo mixture of synthesizers to start the instrumental “Eniko” earlier than its contours emerge: a syncopated four/four beat, a hopping bass line, a plinky melody that’s answered by sliding synthesizer tones and programmed drum syncopations. For all of the sonic and spatial diversions, the monitor holds its form. PARELES

“I’m doing this for revenge!” John Darnielle declares in his eternally pressing bleat, barnstorming into one other refrain like solely he can. “Coaching Montage” is the opening battle cry from the Mountain Goats’ upcoming 20th (20th!) album, “Bleed Out,” an prolonged tribute to motion films. Within the arms of a much less imaginative and excitable songwriter, this may put on skinny, however Darnielle has already confirmed to be an uncommonly impressed devotee to the narrative idea album, as evinced by such disparately toned Mountain Goats albums as their 2009 biblical meditation “The Lifetime of the World to Come,” and “Beat the Champ,” a record-length celebration of professional wrestling from 2015. However maybe that is probably the most logical thematic idea but: With their driving power, unrelenting depth, and cinematic imagery, up-tempo Mountain Goats songs typically really feel like miniature motion sequences. The playfully self-aware “Coaching Montage” simply makes it specific. ZOLADZ

Heat, sluggish guitar strums carry Kyshona’s voice — her lead vocals and gathering harmonies — as she urges somebody to seek out themselves and communicate out: “I feel you already know simply what you need now/You’ve gotta say it out loud.” Kyshona doesn’t specify any agenda or identification, however it’s most likely no coincidence that the tune arrives at the start of Pleasure Month. PARELES

Beth Orton, who has been quiet for six years, plunges deeper into her previous obsessions on “Climate Alive,” the primary tune from an album due in September that she produced herself. These have included Minimalism, funk, English people melodies, electronics, nature, sorrow, jazz and meditation, and all of them drift by way of “Climate Alive,” with Orton providing modal vocal phrases and marveling, “The climate’s so lovely exterior/virtually makes me wish to cry.” PARELES

The gorgeously eerie title monitor of Poliça’s new album, “Insanity,” basks uneasily in its personal amorphousness. Edgeless tones of electronics, guitar and violin materialize and fade away, by no means fairly claiming a beat, as Channy Leaneagh sings a few relationship that could be revelatory, penitent or poisonous. “I got here right here to destroy,” she whisper-sings, and on the finish, she asks, “Will we even love in any respect?” PARELES

A percussionist whose credit fluctuate from experimental jazz to R&B, JoVia Armstrong leaves the web of her influences billowing open on her new album, “The Antidote Suite,” which was lately commissioned as a part of the artwork exhibition “The Black Index.” Created together with her group, the Eunoia Society, all the album has the humid magnetism of a climate sample, and on “Meditations on Oya” — a paean to the Yoruba water deity, who has the facility to carry rain and to hold souls to the afterlife — Armstrong’s Midwestern background shines by way of: The monitor appears like a Chicago home monitor that wasn’t, with a laconically pulsing bass; lone, spaced-out piano chords; and distant, oohing vocals. Finally, Jeff Parker closes the tune with a distorted guitar solo. Taking part in above and round all of it is Armstrong, utilizing her self-built percussion package, centered on the Afro-Latin cajón. RUSSONELLO

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