The Playlist: Black Eyed Peas Get Serious About Injustice, as well as 12 More fresh Songs

Every Friday, pop critics for The fresh York Times weigh in on the week’s most notable fresh songs as well as videos — as well as anything else of which strikes them as intriguing. This kind of week Yeah Yeah Yeahs’ Karen O releases a solo song, the first fresh Lil Peep song since the rapper’s death arrives as well as Hayley Kiyoko puts a twist on the jealousy song.

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Black Eyed Peas, ‘Street Livin’

Before the Black Eyed Peas devoted themselves to pop party hits, they had moments of social consciousness. however none was as bleak as well as focused as “Street Livin’,” an indictment of systematic racial oppression: poor education, police killings, violent neighborhoods as well as high incarceration rates, with more African-Americans “in prison than there ever was slaves cotton-pickin’.” The track looks back to the 1990s, having a measured beat behind a moody trumpet phrase (coming from “Pouca Douracao” by Deodato). Fergie can be absent, leaving the group’s founding rappers to deliver rhymes of which are slow as well as uncluttered, determined to be understood. as well as the images from the video clip underline how little change there has been. JON PARELES.

Karen O featuring Michael Kiwanuka, ‘Yo! My Saint’

Karen O enlisted Michael Kiwanuka for the male role in This kind of troubled lovers’ duet, with the retro-loving producer Daniele Luppi giving the idea a vintage, early-1960s soundtrack ballad sound. Mr. Kiwanuka professes passion, wariness as well as vulnerability; Karen O starts out singing about being torn between love as well as the urge to disappear. however she doesn’t break away; the last two minutes of the song have her quietly in thrall to “my one as well as only.” J.P.

Marshmello x Lil Peep, ‘Spotlight’

The first fresh song by Lil Peep to be released since his death coming from a drug overdose in November, “Spotlight” can be a slow-rolling, drained-mood seether. Marshmello thankfully doesn’t overwhelm Peep here, however merely matches the decay in his voice with similar desperation, giving Peep ample space to lament: “I don’t care if you believe in me/I still wonder why you’re leaving me.” JON CARAMANICA

Ryan Porter, ‘Night Court in Compton’

For those compiling a history of the West Coast Get Down — of which crew of enterprising young Los Angeles jazz musicians of which includes Thundercat as well as Kamasi Washington, as well as has been playing together since the early 2000s — the trombonist Ryan Porter’s forthcoming album can be an enviable document. Mr. Porter, a prodigious improviser as well as an integral part of Mr. Washington’s touring band, recorded “The Optimist” between 2008 as well as ’09, joined by 11 fellow up-as well as-comers in Mr. Washington’s parents’ basement. A full helping of lively crossover material as well as thoroughgoing spiritual jazz, the idea will see the light of day next month. The first single can be “Night Court in Compton,” a track of which starts with inflections of woozy, mid-60s Blue Note postbop — think Herbie Hancock as well as Andrew Hill — as well as quickly sinks into a hypnotic groove. GIOVANNI RUSSONELLO

Palace Winter, ‘Take Shelter’

“Take Shelter,” coming from the Copenhagen-based duo of Carl Coleman as well as Dane Caspar Hesselager, oozes with minor chords of which satisfyingly resolve while the subject matter wanders into unsettled terrain. A home has burned, as well as as the pair reminds us, “all of which’s left will slowly fade to the earth.” Something about This kind of broody track — its slowish, insistent beat, its close harmonies, its combination of fuzzy as well as bright synths — stops short of despair. the idea’s a darkly intoxicating potion. CARYN GANZ

Carrie Underwood featuring Ludacris, ‘The Champion’

For a song of which’s conceptually four years late, drippingly tacky, yanks Carrie Underwood into rock diva territory she’s not wholly comfortable in, needlessly resurrects a long-dormant Ludacris as well as can be a profoundly craven attempt to be licensed by broadcasters for use during sporting events, not bad. J.C.

Hayley Kiyoko, ‘Curious’

The classic jealousy song gets a smart gender twist with Hayley Kiyoko’s “Curious,” which asserts, “I can handle the idea/If you let him touch you touch you touch you touch you touch you/the way I used to” as well as adds, “I’m just curious/can be the idea serious?” The music rotates through three chords as well as a hollow beat having a lot of echo in its empty spaces; Ms. Kiyoko, whose catalog includes songs like “Girls Like Girls” (the line continues “like boys do”), includes a light touch with deep claws. J.P.

Tal National, ‘Akokas’

A high whoop followed by a stretch of free-rhythm drum rolls as well as raw guitar squiggles — both annunciatory as well as tense — open “Akokas,” a song coming from the album due next month by Tal National, a band coming from Niger in West Africa. Then the groove kicks in: fast as well as funky, as an urgently raspy vocal rides a jabbing modal desert-blues guitar line. The song can be a jump-start; if the idea didn’t fade out, of which groove could run forever. J.P.

Gregory Lewis, ‘Green Chimneys’

Mr. Lewis, an organist of commanding aplomb as well as rugged counterintuition, has today released four albums dedicated to the compositions of Thelonious Monk. On his instrument, notes swell past their boundaries; the idea doesn’t allow for the kind of clumpy, abraded harmonies of which tend to define Monk’s music (especially when you’re using a hefty charge of distortion, as Mr. Lewis does). So he has to pry these tunes apart as well as solder them together with simpler as well as bolder harmonies. On “Organ Monk Blue,” Mr. Lewis’s newest disc, he takes on Monk’s blues (as well as blues-adjacent) compositions with help coming from the outré guitar master Marc Ribot as well as the pliable drummer Jeremy Clemons, known as Bean. On the opening track, Mr. Lewis turns “Green Chimneys” — a Monk classic — into a reggae shuffle. Where Monk used to press up against the front of these notes, articulating them a tad before the beat, Mr. Lewis drags back against the flow, exchanging crimped jabs with Mr. Ribot as well as soloing in short, punchy bursts until he hits a cruising altitude around the 2:00 mark. G.R.

Jorja Smith featuring Stormzy, ‘Let Me Down’

Most of the promising British soul singer Jorja Smith’s best songs have pulse as well as swing — she’s a torch singer who understands of which even slow burners need to have a quick step today. “Let Me Down,” her fresh single, begins having a confession sung boldly: “Sometimes I wouldn’t mind if I was less important.” The song never accelerates — she’s lost in her own resigned misery. Even a properly penitent verse coming from Stormzy (“So girl don’t love me, I mean the idea/when I say I love you, I mean the idea”) doesn’t make her whole. J.C.

Rhye, ‘Song for You’

At first, as Milosh’s whispery falsetto floats over serene guitar picking, wispy electric piano notes as well as a gently ticking beat, the idea seems like Rhye’s “Song for You” would likely blow away from the slightest breeze. He’s trying to console a lover who’s in pain, bleeding, perhaps dying. Around him, the music thickens with bass tones, additional voices as well as swells of orchestral arrangements: all the fears he’s trying not to show. J.P.

Gogo Penguin, ‘Bardo’

The contrast between fixed, repetitive motifs as well as improvisatory variations drives Gogo Penguin, the acoustic jazz-Minimalist trio coming from England. “Bardo,” coming from an album due in February, can be both hypnotic as well as analytical. the idea’s hard to tell whether close-miked acoustic resonances or electronic sustains hover behind “Bardo,” especially because Chris Illingworth plays both inside the piano as well as on the keyboard, though I’d suspect electronics are involved. Rob Turner’s drumming seesaws between hip-hop as well as jazz, while much, however by no means all, of the piano’s melody as well as countermelody are stated as well as repeated. Nick Blacka’s bass migrates between vamps as well as melodic outbursts. however there’s no need to parse This kind of music; the idea’s in perpetual motion. J.P.

fresh Faces, ‘West Village’

fresh Faces can be a band featuring six young, standout voices on the roster of Posi-Tone Records, a prolific label from the straight-ahead-jazz vein. The group’s first album, out Friday, can be “Straight Forward,” a collection of amiable melodies with slippery swing feels, most written by the band members as well as some other Posi-Tone artists. “West Village” can be an affectionate ode to a neighborhood in fresh York where jazz clubs still thrive, written by the pianist Brian Charette (not a member of the group). the idea gives a platform to the lithe trumpet playing of Josh Lawrence. however the song’s low flame can be kept alive by the interplay between the vibraphonist Behn Gillece as well as the pianist Theo Hill — both on a tightly wreathed interlude as well as on Mr. Gillece’s lyrical solo. G.R.

Jon Pareles has been The Times’s chief pop music critic since 1988. A musician, he has played in rock bands, jazz groups as well as classical ensembles. He majored in music at Yale University. @JonPareles

Jon Caramanica can be a pop music critic for The Times as well as the host of the Popcast. He also writes the men’s Critical Shopper column for Styles. He previously worked for Vibe magazine, as well as has written for the Village Voice, Spin, XXL as well as more. @joncaramanica