Billie Eilish and Rosalía Join Eccentric Forces, and 12 More New Songs


What a relief that two of the most intriguing, progressive, and popular pop stars of the past five years have collaborated for the first time on a song that may confound all expectations. Billie Eilish and Rosalía’s “Lo Vas A Olvidar” is something other than a pop smash, which doesn’t mean it won’t be popular. Rather, it takes what is expected of stars of this size – joining the marketing forces and maximizing accessibility – and questioning, expanding, unraveling and reshaping it. This is a meditation, spacious and unconstrained. It rolls like a somewhat unpredictable weather system: low fog, rumbling thunder, gusts of indifferent wind. The singing is delivered with haunted reverberation. Eilish sings most of her verse in Spanish. None of the singers is in a hurry. It is a mood in the truest sense of the word. JON CARAMANICA

Weezer’s newest sound figure is a retro figure. “All My Favorite Songs” is taken from the band’s upcoming album “OK Human” which is believed to be analogous to the group backed by a 38-piece orchestra and dating back to the orchestral pop of the late 1960s and early 1970s. Instead of power chords there is a muscular cello section; Violins and trumpet take over for lead guitar lines. But Weezer is still easy to spot in this song, from his chunky mid-tempo beat to a pure Weezer attitude: “All of my favorite songs are slow and sad / All of my favorite people make me angry,” sings Rivers Cuomo. JON PARELES

Let yourself be resigned to the fait accompli that is the arrival of pop music from TikTok alpha character Chase Hudson (aka Lil Huddy and now Lilhuddy). His debut single “21st Century Vampire” and his video are a perfect crowdsourcing interface (and an absolutely aesthetically empty) intersection of trends: pop-punk, quasi-Gothic, eboy, post-Eilish melancholy. It’s a pop rebel cosplay by the numbers and weakly effective. If that’s too long, try the following: Listen to Marilyn Manson. CARAMANICA

In “Kash App” the rapper BRS Kash from Atlanta deals with the wobbling of a certain woman with a rapid passion that is reminiscent of New Orleans classics such as 504 Boyz’s “Wobble Wobble” and Lil Wayne’s “Drop It Like It’s Hot” (and not the relaxed Atlanta hit “Wobble” by VIC). Mulatto, who asserts authority in the second half of the song and makes it clear that the first half was only fantasy, has equated him with indelicate for indelicate. “Kash App” is another filthy entry for BRS Kash who broke through last year with “Throat Baby (Go Baby)”. It’s a surprisingly heartfelt ode to deeply dogged intimacy and has a new remix with libertine peers DaBaby and City Girls that’s an early contender for the most beeping song of 2021. CARAMANICA

J. Hoard, a gifted young singer and songwriter who treats affirmation as an art form, has been making breadcrumbs across the New York scene lately, working with artists in the fields of jazz, rock, soul, and electronic music. He airs two separate singles released by different acts this week. In “Real Lovin ‘”, written on the day Donald J. Trump was elected President in 2016, Hoard insists on a connection (“Feel something / Heal someone / For real love”) and melismatically brushes against an equivalent King Klavé -Beat parts of Stevie Wonder and J. Dilla. “Find Light” was written with Simon Dufour and Aaron Day last year when they were all playing a Dilla tribute show. A recurring jazzy chord progression feels lifted from an R&B cassette from the 90s, but the message is only Hoard: “We are more than heroes, even angels / Because life is not easy, we carry on.” GIOVANNI RUSSONELLO

Designer brand names have been vocal hooks in hip-hop for decades, but the elven-voiced Colombian singer Camilo gives the gimmick a clever twist in “Ropa Caro” (“Expensive Clothes”). The way he tells it – when the beat changes from reggaeton to a Cuban son – he has a girlfriend with lots of social media followers, and she wants him in fancier clothes. He can’t afford them, but that doesn’t mean he can’t list them in a chorus. PARELES

Deadpan vocals, a tangle of guitars and synthesizers, a lively beat and an apparently lively refrain, crowned by the nonsensical syllables “Badi badi ba ba”, disguise the lyrics about the cost of ignoring the environment: “Push it into one place We won’t see / turn our mess in ruins, ”sing the members of Goat Girl. But before the route ends, there are consequences. PARELES

The Philly Punks Sheer Mag combine DIY ethos with a huge, arena-ready sound. The approach has helped them build a cult following that includes Bernie Sanders – or at least the well-known Sanders campaign worker who played Sheer Mags “Expect the Bayonet” at one of his 2019 presidential meetings. The vampy one-off single “Crushed Velvet”, from the soundtrack to the recently released original Hulu movie “The Ultimate Playlist of Noise”, is the first we’ve heard from them since their 2019 album “A Distant Call”. In the classic Sheer Mag fashion, however, it sounds more like something from the soundtrack “Dazed and Confused”: lightning riffs, cavernous percussion and Tina Halladay’s rock star howls. Maybe that’s what Bernie wishes he would listen to the initiation. LINDSAY ZOLADZ

Carm – aka CJ Camerieri – plays the trumpet and french horn in yMusic, the contemporary chamber ensemble he co-founded. He also supported Paul Simon and Bon Iver. His solo album “Carm” contains collaborations with Sufjan Stevens, Justin Vernon, Mouse on Mars, Shara Nova (from My Brightest Diamond) and members of Yo La Tengo on this song. Over nervously pulsating keyboards he transforms into a three-dimensional brass ensemble with thick chords and counterpoint, while Georgia Hubley and Ira Kaplan sing in haunted whispers that they are “still nowhere / still not there / already gone”. PARELES

The bare opening of Deb Nie’s “Someone Else” – a click-programmed beat, a barely tuned guitar and her reserved voice – is misleading. She is preventively jealous; “I don’t want you to fall in love with anyone else,” she sings over Beatles chords. As their worries increase, so does their support. She was joined by more voices, much sturdier guitars, and a busy double-time breakbeat before falling back into her low-fi reverie like everything was just a pop mirage. PARELES

The image on the cover of “Maquishti” – the debut solo album by Mexican-born vibraphonist and marimba player Patricia Brennan – prepares you for the confused calm of her music. It’s a photo of barren branches against a gray sky that has been cut and broken, creating an image that collapses into different foci. Brennan recorded the album alone, improvising with focus and forbearance, leaving plenty of cloudless space around her notes, and sometimes using effects to create echoes or layers of electronic sound. Often times throughout the recording, your ear will be drawn into a soothing melody pocket or something like a pattern, with Brennan’s mood set against a strong background of silence. Then the pattern evaporates and you are in a new web that you hear from a different angle. RUSSONELLO

Jon Mueller, a Wisconsin musician who worked with Justin Vernon in the Volcano Choir group, creates eerie, cavernous and sometimes hair-raising moments in the expanded drone pieces of “Family Secret”. He used gongs, cymbals, bells, singing bowls, and other far less identifiable sources of music that suggest gaping, unfathomable voids and distant threats. PARELES