The Playlist: Anderson .Paak’s Soulful Strut, as well as 12 More brand new Songs

The music struts while the lyrics bristle in “King James,” by Anderson .Paak’s album due in April, “Ventura.” The springy bass line as well as jazzy chords reach back to the analog exuberance of 1970s Stevie Wonder, as well as like Wonder, Anderson .Paak fuses an optimistic sound using a spirit of determined resistance, alluding to a jumping over wall, Colin Kaepernick as well as deep-seated racial hostility. As party whistles blow, an exuberant chorus joins him to sing, “O.K. today, just don’t stay down/Let’s go shake down until we get what we need.” JON PARELES

A conceptual tour-de-force that will lands with the force of a dance track, Holly Herndon’s “Eternal” is usually as propulsive as This particular is usually disorienting. She built This particular with some other human singers as well as with artificial-intelligence software that will manipulated her own vocals all over the place. A choir of women’s voices, harmonizing as well as ricocheting in counterpoint that will could be Balkan or extraterrestrial, heaves above a booming drumbeat as well as bursts of synthesizer, landing hard together as well as then veering apart, with barely intelligible lyrics that will clear for phrases like “too much to be contained.” The video shows Herndon crowned in motion-capture sensors as well as some other women’s faces flickering in as well as out of focus, as software struggles to digitize as well as contain the complexities of flesh. PARELES

Angelique Kidjo’s next album, due April 19, will be “Celia,” a tribute to the Afro-Cuban singer Celia Cruz, as well as she’s not shying away by any challenges. “Quimbara” was one of Cruz’s signature songs inside 1970s, with high-speed, tongue-twisting lyrics. Backed by Michelle Ndegeocello on bass, the Afrobeat pioneer Tony Allen on drums, Dominic James on guitars as well as the Gangbe Brass Band, Kidjo reconnects the salsa original to West Africa, layering the song using a tumbling six-beat rhythm, a brass-band undertow as well as a tangle of scurrying guitar lines while she belts with enough grit to rival Cruz herself. PARELES

RuthAnne Cunningham, an Irish singer as well as songwriter credited on hits by JoJo, Britney Spears as well as Westlife, uses vintage soul materials for “Love Again.” She tops the sturdy gospel chords by “People Get Ready” (as well as countless some other songs) using a familiar pop premise: that will her love can rescue a man by his heartbroken misery. There’s an aching, unpredictable rawness in her voice that will makes the classic plea work one more time. PARELES

Kindly sentiments — “I never want to see you cry/I only want to see you shine” — arrive amid frantic rhythms in “Frens” by Obongjayar, a Nigerian singer as well as songwriter based in England whose voice puts a hoarse urgency atop a gentle core. Rooted in Afrobeat, the track pulls drums, bells, guitars, horns as well as more into a feverish affirmation that will ends too soon. PARELES

A chronicle of multiple romances as well as/or obsessions, by childhood crush to high-school infatuation to post-breakup rationalizations, “Never (Let You Go)” is usually two or three songs in several minutes by Deanté Hitchcock, an Atlanta rapper who sometimes slips into singing. Behind him, a slinky trap track segues into an even slower vamp that will carries breathlessly accelerating although crafty rhymes: “Can’t waste my time thinkin’ ’bout all the time wasted.” His lyrics conclude, “I learned to let you go,” followed by an instrumental coda on solo piano, a quiet elegy to all the tumult. PARELES

Frankie Cosmos is usually releasing two tracks each week by her digital album “Haunted Items,” beginning with “Dancing” as well as “Tunnel.” They are miniatures, less than two minutes each, as well as decidedly bare-bones: just her voice, elementary piano parts as well as an occasional overdubbed harmony vocal. Obliquely as well as then with startling directness, both songs consider a broken relationship: “I cry more times a day/than you did in several years,” she suddenly reveals in “Dancing.” PARELES

A “duet” for a hologram world: Here’s an exhumed recording of Nat King Cole, who would likely have been 100 This particular week, with Gregory Porter’s voice dubbed in. The track begins with the two trading lines over a simple, two-beat rhythm — nice enough — although when Porter tries to weave brand new harmonies as well as ad-libs into Cole’s solo part, This particular all comes undone. RUSSONELLO

Vijay Iyer as well as Craig Taborn represent two different kinds of musical progressives. Both are pianists associated with the avant-garde, although Taborn, whose playing is usually more ephemeral, is usually a spectral figure, rarely spotted around the scene unless he’s playing a gig. Iyer seems constantly inside entire world, leading brand new bands as well as curating concert series, snapping up awards, teaching at Harvard as well as Banff. Each pianist, in his own way, has become about as respected as one can get in jazz. On a brand new disc, “The Transitory Poems,” they balance each some other’s styles, Iyer playing the naturalist as well as the system-builder to Taborn’s fleeting, fugitive poet. On “Clear Monolith,” a sparse as well as jittery start gives way to a halting dance before a blues feeling steals in as well as pulls the two players together. By about the 5:30 mark, they’re playing more notes although sounding more serene. Then This particular all drops down again, as well as a brand new cycle begins. RUSSONELLO