Here's a big, shiny bulldozer from a song built for Loudness Wars radio and women's self-reliance: "I decided and put on my high heels." It's a Rolling Stones-y stomp out of Sheryl Crow's new album cooperation, "threads"; She said that it may be her last album statement in an era of lonely songs and playlists. Crow, Maren Morris and Stevie Nicks agree to tell someone that he will not actually be destroyed. Joe Walsh and Vince Gill offer guitars that slide and crunch. It sounds huge and happy. JON PARELES
Avicii with Arizona, "Hold the Line"
"We do not have to die young," urged the band Arizona in a song that the producer of electronic dance music Avicii was working in front of him The track has the rising, sparkling, inherently hopeful keyboard tones that Avicii has brought to so many of his productions, but now the song is an elegy. Pareles
Bon Iver, "Hey, Ma" and "U (Man Like)"
Bon Iver (Justin Vernon) returns with his signature textures before daybreak: hovering electric guitar picking, edgeless synthesizer chords, drums that are faded in and out, vocals that cling to a solid, deliberate melody, but so on Sounds like they're bursting out – and what could be more elemental than a chorus of "Hey, Ma"? But introducing this song with a lyrical video may not be the best strategy. "Great voice, you know you make fun of it." Pareles
Raphael Saadiq with Rob Bacon
Raphael Saadiq captures the desperation of addiction with a lazy, staggering beat and a mix of amorphous guitar chords in the background, the feeling of being stuck forever. He lovingly sings about everything he has to lose, until seconds before the end, the harmony changes and he swears, "I'll never go back." Pareles
Future, "love your enemies"
The tragic final song of the new Future EP, "Save Me", has brought the melancholy and self-destruction specialist in Atlanta its sounds. With the thickening flickering of the Iron & Wine-like guitar, Future enthuses about being shattered by a failed relationship: "How do I explain this to my kids? / I have to find the words without sounding stupid. "A moment later, he coughs. Cough in the truest sense of the word. Whether it's a symbol of unprocessed pain or the side effects of decisions that deal with unprocessed pain, it's a jolt. The more it crumbles, the harder it is to stop listening. JON CARAMANICA
Luke Combs, "Even if I go"
Luke Combs has one of the most emotional voices in contemporary country music. Here he applies it to a classic mid-2000 country song in which the main theme changes from one verse to the next – the father leaves the son as a child, the son leaves the father when he grows up, and then The Father dies. Meanwhile, Combs, even when he is most tender, is firm and steps into the roughness of feeling, not away from him. CARAMANICA
Team Dresch, "Your hands my pockets"
Between the new songs for Team Dresch, the Portland Punk band, which contributed to the establishment of the subgenre Queercore, are 19 years. The band picks up exactly where it left off in 2000, with "Your Hands My Pockets," a proclamation of woman-against-woman craving that focuses on dense, fast, distorted, and ultimately jubilant guitar riffs. A reunion tour starts on Friday. Pareles
Even before a cache of unfinished Jai Paul material leaked out in 2013 and Platinum Internet became Samizdat, the innovative and poignant British producer and singer of electronic music was not in the limelight. His catalog was slim but influential, and beyond that he was a cipher. In the six years since the leak, he has mostly been silent, apart from having founded an institute to promote other musicians. But this week he started where he left off. Specifically, where he was left behind. He officially released the stolen demos (without a few samples) as "Leak 04-13 (Bait Ones)" and released two new songs, finished versions of music from the same period as the Leak. Of the two, the slippery electro-soul production "He" is the revelation. Jai Paul is a student of Prince and related to Dev Hynes and Frank Ocean. He combines warmth and abstraction, thrift with absorption. It's music that still somehow sounds like a vision of tomorrow six years after its first conception. CARAMANICA
Esperanza Spalding, "How to (Hair)"
Esperanza Spalding recently released an expanded edition of her offbeat, intellectual, sensory catharsis of an album, "12 Little Spells", this time with four new "spells". (She does not name the songs on the album songs, each one aims to sharpen your awareness of another part of your own body). The bassist and singer released a video this week for one of the new tracks, "How to (Hair)". Spalding looks at a history of America from the perspective of black hair, not the rhyme or even keeping the rhythm. "In whose picture have we been made? Composed for? Orchestrated by? ", Ask her. Then defiantly she asserts the power of the song to make sense of a twisted world: "Our principles are the concertmaster." GIOVANNI RUSSONELLO
Mateo Kingman, "Tejidos"
Mateo Kingman from Ecuador in Spanish raves about the mystical and carnal fusion in "Tejidos" ("Weaves"): "I want to invade your body, your skin / No goal, no rest, just take me." Most of the rhythm comes from plucked harps – an Andean instrument that has been processed both naturally and as samples – along with the programmed sounds of a trap; the song rides the beat, but also hovers far above it. Pareles
Chrissie Hynde, "Meditation on a pair of wire cutters"
Chrissie Hynde is absolutely selfless – a wordless voice that briefly appears in the ensemble – on this track of her jazz-derived album, which will be released in September "Valve Bone Woe". The arrangement transposes a distorted electric guitar into a dense thicket of brass and percussion, but Mingus' fidgeting, chromatic melody is the star. Pareles
David Sánchez, "Fernando's Theme"
Born in Puerto Rico, tenor saxophonist David Sánchez is known for incorporating Afro-Caribbean tradition into contemporary jazz. However, another side of his brilliance shows in "Fernando's theme", a simple piece with a chord. On electric keyboard, piano, bass and hand percussion, he plays in cool, calm lines – half sad, half glorious – and conveys strength through subtlety. RUSSONELLO