Unhealthy Bunny surprise-released a brand new album, “Nadie Sabe Lo Que Va a Pasar Mañana” (“No one Is aware of what’s Going to Occur Tomorrow”). Lots of its 22 songs circle again towards the programmed lure beats that helped begin Unhealthy Bunny’s profession, however now they’re simply a part of the sonic area of a world-conquering star. In “Mr. October” he sings and raps about wealth, garments, fame, intercourse and celeb, evaluating himself to Michael Jackson and Reggie Jackson and rightfully claiming, “Yo cambié el juego”: “I modified the sport.” However the observe is way from triumphal; with tolling piano notes, filmy minor chords and skittering digital tones, the music laces each boast with nervousness. JON PARELES

The totally unflappable Bronx rapper Ice Spice cannily connects with Afrobeats — and with the gentle-voiced, hook-making Nigerian songwriter Rema, who affords slick, robotic blandishments in what feels like one repeating cut-and-pasted refrain. Ice Spice responds with encouraging, human-sounding specifics: “Take into consideration my future, bought you all in it.” However the observe ends with Rema’s looped doubts — “Give me promise you ain’t gonna bail on me” — somewhat than her wholehearted welcome. Why give him the final phrase? PARELES

The style-melting South African songwriter Need Marea turns to funk and Afrobeat in “The Solely Approach.” His voice lofts a sustained melody and layered backup vocals over an association that feels hand-played and natural: all staccato cross-rhythms — drums, bass, guitar, electrical piano, horns — with a nervy, continuously shifting beat and one melodic peak topping one other. The one lyrics in English are “It’s the one method” — and with such pressing music, there’s no want for extra. PARELES

If Esperanza Spalding has been in feeds this week for exactly the flawed causes, contemplate this your cue to shut that tab. Spalding’s thoughts has been elsewhere: particularly in Brazil, the place the battle over the destiny of the world’s largest rainforest is reaching a decisive level. On “Não Ao Marco Temporal,” recorded in Rio de Janeiro, Spalding and a small crew of musicians protest the Temporal Framework, a latest try to roll again Indigenous Brazilians’ land sovereignty that will have left the Amazon more and more weak to deforestation. (The Brazilian Supreme Courtroom not too long ago rejected the framework, however business’s makes an attempt to undermine that call have continued.) Over strums on the cavaco and violão, the resounding of drums and the squeals of a cuica, Spalding sings of the “grabbing fingers” that search to violate the rainforest. “There are some males who cease at nothing to have their method with the physique of a lady or a lady,” she and a small refrain of voices declare. “Proper now they’re calling her Brazil.” GIOVANNI RUSSONELLO

Brittany Howard, who led the Alabama Shakes, grapples with a disintegrating relationship in “What Now,” singing “If you’d like somebody to hate, then blame it on me.” Over a fierce, uneven funk groove, Howard restrains her far-ranging voice to make her level about “studying classes I don’t need to.” She just isn’t comfortable in regards to the breakup; she sings like she has no alternative. PARELES

Madi Diaz sings a couple of high-stakes infatuation in “Similar Threat,” spelling out each her bodily ardour and her misgivings. “Do you assume this might damage your life?/’Trigger I might see it ruining mine,” she asks, then wonders, “Are you gonna throw me below the bus?” What begins with modest acoustic guitar strumming rises with an orchestral crescendo to match the urgency of her questions. PARELES

“Hell” would be the opening observe on “Little Rope,” the album Sleater-Kinney will launch in January and which was made within the wake of the sudden deaths of Carrie Brownstein’s mom and stepfather. The music breaks broad open with anguish and inconsolable fury, as tolling, elegiac verses erupt into bitter power-chorded choruses. Corin Tucker unleashes her scream on the phrase “why.” PARELES

Jamila Woods takes the stress off a brand new relationship in “Follow,” the most recent single from her wonderful album “Water Made Us.” “We don’t gotta hurry up, you ain’t gotta be the one,” she sings in an ethereal, unburdened voice, carried alongside by an insistent beat. The Chicago rapper Saba sounds equally breezy and smart on his verse — “discovered from her, moved on, discovered extra” — and Woods’s lyrics lengthen the music’s playful basketball metaphor. In spite of everything, within the immortal phrases of Allen Iverson, we’re speaking about observe. LINDSAY ZOLADZ

“I misplaced my senses like I’ve misplaced so many occasions/Why do the solutions appear unimaginable to seek out?” sings Sen Morimoto, who performs a lot of the devices on his tracks himself, in “Deeper.” A lurching beat, meandering chromatic harmonies and keyboard and guitar incursions that appear to have wafted in from different songs simply add to the sense of disorientation. Morimoto’s saxophone solo sounds extra positive of itself than he does, however he’s clearly not too perturbed. PARELES

The trumpeter Roy Hargrove was simply 23, however already close to the highest of New York’s jazz scene, when his pal and mentor Wynton Marsalis commissioned him to write down “Love Suite in Mahogany.” The suite, which he carried out with a septet at Marsalis’s Jazz at Lincoln Heart, in fall 1993, begins in a downward slide of moonlit concord, gesturing towards Gil Evans and Billy Strayhorn (this was the Younger Lions period; a direct tackle to the masters was inspired). It finds its method progressively right into a slowly creeping groove earlier than a false ending offers option to a coda of driving post-bop. The observe cuts off as he cues the band into the suite’s subsequent motion. You’ll be able to hear the remainder of the suite’s debut efficiency, which has simply been launched as an LP on J.A.L.C.’s Blue Engine Information. RUSSONELLO

Mendoza Hoff Revels, ‘New Ghosts’

There’s gristle and bone in each final satisfying chew of “Echolocation,” the debut album from Mendoza Hoff Revels, a four-piece band co-led by the guitarist Ava Mendoza and the bassist Devin Hoff. There may be additionally a delightfully wide selection of musical shapes at play. One second, they’re descending straight from the gradual drag of doom steel and stoner-rock; later, Mendoza’s wily, spiral-bound melodies have extra to do with the ways of John Zorn (each she and Hoff have performed on Zorn initiatives). Her acid-soaked electrical guitar not often leaves heart stage right here. On “New Ghosts,” Mendoza, Hoff and the saxophonist James Brandon Lewis hover round a heavy minor chord, sometimes repainting it in an uncanny main. Then Hoff and the drummer Ches Smith be a part of, and the improvisation ascends right into a grey cloud of swirling saxophone and bludgeoning guitar. RUSSONELLO

boygenius, ‘Afraid of Heights’

Lucy Dacus regrets confessing her worry of heights on this wry spotlight from boygenius’s new four-song EP, “The Relaxation”: “It made you need to take a look at my braveness, you made me climb a cliff at night time.” Although, like all boygenius songs, it’s a collaboration together with her singer-songwriter friends Phoebe Bridgers and Julien Baker, right here Dacus takes the lead, bringing complexity to a easy chord development by means of the specificity of her lyricism. “I by no means rode a motorbike, I by no means smoked a cigarette,” she sings, balancing poignancy with dry humor. “I wanna dwell a vibrant life, however I wanna die a boring loss of life.” ZOLADZ

The folky, deceptively understated songwriter Allegra Krieger launched her album “I Hold My Toes on the Fragile Aircraft” in July; now she extends it with “Fragile Aircraft — B-Sides.” In “Deadlock,” she calmly confronts somebody who’s been “constructing fairly an enormous model,” touting “household values, patriot music” in a tradition the place “Everybody right here is making an attempt to win/Energy or paper or recognition.” Over an unhurried modal guitar line, she warns the way it might out of the blue come crashing down, and she or he sings like she gained’t thoughts if it does. PARELES

Gianna Greco and François R. Cambuzat, who’ve labored with post-punk artists together with Lydia Lunch, have spent latest years touring the world, documenting and collaborating with musicians who play conventional trance rituals. For his or her newest challenge, Ndox Électrique, they collaborated with Senegalese drummers and singers who carry out spirit-possession therapeutic rituals referred to as n’doep, layering drones and assaultive noise-rock guitars atop the fiercely propulsive beat, translating and transmuting the music’s incantatory energy. PARELES