Each Friday, music reviewers from The New York Times share insights on the week’s standout new tracks.
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Japanese Breakfast, ‘Here Is Someone’
In “Here Is Someone,” a track from Japanese Breakfast’s new album “For Melancholy Brunettes (& Sad Women),” shimmering plucked strings envelop Michelle Zauner’s voice. While the lyrics suggest underlying tensions and worries, the song emanates a sense of hope: “Life is sad, but here is someone,” Zauner expresses.
Jon Pareles
Marianne Faithfull, ‘Burning Moonlight’
Marianne Faithfull, who passed away in January at the age of 78, continued creating music almost until her last days. In “Burning Moonlight,” a song she co-wrote, she delivers some of her final sentiments: “Burning moonlight to survive / Walking in fire is my life.” With acoustic guitars and tambourines, the song harks back to her 1960s beginnings, embodying her rich history.
Jon Pareles
The Waterboys featuring Fiona Apple, ‘Letter From an Unknown Girlfriend’
“Letter From an Unknown Girlfriend,” a track from the upcoming Waterboys album “Life, Death and Dennis Hopper,” features Fiona Apple on vocals and piano, recounting memories of an abusive relationship: “I used to say no man would ever strike me,” she begins, only to realize otherwise with the arrival of a new partner. Her delivery evolves from acknowledging the partner’s charm to a visceral recall of trauma, resulting in a powerful and raw performance.
Jon Pareles
Tamino featuring Mitski, ‘Sanctuary’
In “Sanctuary,” a waltzing duet from his new album “Every Dawn’s a Mountain,” Belgian artist Tamino and Mitski transition from vulnerability to determination. In their individual verses, they reflect on uncertainty and loss, with Mitski singing, “I reside in the ruins of the sanctuary,” but when they harmonize and ask, “Is it late where you are?” a hopeful orchestral backing swells.
Jon Pareles
Morgan Wallen, ‘I’m a Little Crazy’
Morgan Wallen’s new single presents a troubled narrator asserting, “I’m a little crazy, but the world’s insane.” This character, a drug dealer, maintains a sense of calm with “antidepressants and lukewarm beers,” expressing anger at the news around him, all under a backdrop of steady acoustic guitar and subtle drums.
Jon Pareles
Takaat, ‘Amidinin’
Takaat, formed from the rhythm section of the African rock band Mdou Moctar, is preparing to release an EP. Its debut single “Amidinin” (“Friend”) incorporates the band’s signature modal riffs and energetic six-beat rhythm, maximizing guitar distortion and echo for an even more intense sound.
Jon Pareles
Debby Friday, ‘1/17’
After winning the Polaris Music Prize for her impressive debut album “Good Luck,” Toronto-based artist Debby Friday has returned with “1/17,” an exuberant electro-pop track that highlights yet another facet of her versatility. With airy vocals amidst vibrant synths, the song builds to an exhilarating climax, perfect for the dance floor.
Lindsay Zoladz
No I.D. and Saba featuring Raphael Saadiq and Kelly Rowland, ‘Crash’
Influenced by the legacy of 1970s Stevie Wonder, “Crash” features smooth chord progressions and a relaxed synthesizer bass line created by keyboardist Greg Phillinganes. Saba raps a casual invitation: “Together we can make time go fast / And if it’s late, I hope you might just crash.” Meanwhile, Kelly Rowland effortlessly joins in on the choruses.
Jon Pareles
Jack Harlow featuring Doja Cat, ‘Just Us’
In “Just Us,” Jack Harlow and Doja Cat trade flirtatious verses in a lively track that prioritizes clever rap flows over catchy choruses. Harlow makes a playful reference to a nostalgic Disney show: “I know it sounds like Zack and Cody, this life’s sweet.” Doja complements him with her teasing lines, and the star-studded music video features cameos from celebrities like Matt Damon and John Mayer.
Lindsay Zoladz
Deerhoof, ‘Immigrant Songs’
In “Immigrant Songs,” Deerhoof offers a direct response to the rising xenophobia in America. Satomi Matsuzaki gives voice to the often-overlooked immigrant workforce, from drivers to entertainers, accompanied by intertwined guitars and drums. However, in the latter part of this seven-minute track, the intensity escalates as the music becomes a raw scream, leaving no room for debate.
Jon Pareles
