Hear tracks from Meshell Ndegeocello, the Japanese House, Hannah Jadagu and others.

Every Friday, pop critics for most notable new tracks. Just want the music? Listen to the Playlist on Spotify here 

Rosalía and Rauw Alejandro, ‘Beso’

“Beso” (“Kiss”) quivers with fear of separation, as Rosalía and Rauw Alejandro tell each other that “Being away from you is hell.” The song is part of a three-track collaborative project called “RR” the couple released on Friday; the “Beso” video hints at an engagement. They keep their voices high, small and tremulous over a brusque beat topped with quasi-Baroque keyboards and strings, a genteel backdrop for deep neediness.

Meshell Ndegeocello, ‘Virgo’

“They’re calling me back to the stars,” Meshell Ndegeocello declares in “Virgo” from her coming album, “The Omnichord Real Book.” It’s a funky march that revels in cosmic imagery, cross-rhythms and multifarious vocals: singing, chanting, making percussive sounds, high harmonies, husky low confidences and an occasional “la-la.” Morphing through nearly nine minutes, the track struts on Ndegeocello’s synthesizer bass lines; twinkles and hovers with Brandee Younger’s harp; and sprints toward the end with double time drumming, headed somewhere new.

Moor Mother featuring Kyle Kidd, Keir Neuringer and Aquiles Navarro, ‘We Got the Jazz’

Moor Mother seethes about Black achievements met with disrespect in “We Got the Jazz”: “We ain’t ’bout to stand for no national anthem,” she declaims. “When we was swinging they couldn’t even stand in attention.” Her testy voice is surrounded in a rich, polytonal murk: multiple tracks of Aquiles Navarro’s trumpet, Keir Neuringer’s saxophone and Kyle Kidd’s vocals over a slowly heaving bass line, burdened but determined.

The Japanese House, ‘Boyhood’

The British musician Amber Bain, who records as the Japanese House, reckons with her past and present on the flickering synth-pop track “Boyhood,” which pairs smooth sonic surfaces and effervescent electronic flourishes with her yearning, achingly human vocals. “For a moment there, I swear I saw me,” Bain sings, her 20-something growing pains palpable as she yearns — in vain — for a stable, unchanging sense of self.

Rina Sawayama, ‘Eye for an Eye’

The British-Japanese pop musician Rina Sawayama makes her film debut on Friday in “John Wick: Chapter 4,” and has released a new song from the soundtrack, the slinky “Eye for an Eye.” The track splits the difference between Sawayama’s gloriously bombastic debut album, “Sawayama,” and the softer, more recent “Hold the Girl.” Propelled by a mid-tempo, industrial chug, Sawayama vamps with the confident menace of an action star. “A life for a life,” she sings. “I’ll see you in hell on the other side.”

Bully, ‘Days Move Slow’

“Days Move Slow,” from Alicia Bognanno’s grungy indie-rock project Bully, is a song about being caught in the muck of grief — she wrote it after the death of her beloved dog, Mezzi — but it also has a propulsive, bouncy energy that promises eventual forward motion. “There’s flowers on your grave that grow,” Bognanno sings in her signature holler, battling her buzzing guitar. “Something’s gotta change, I know.”

Shygirl, ‘Woe (I See It From Your Side) (Björk Remix)’

Björk’s remix of Shygirl’s “Woe” is equal parts endorsement and disruption. Shygirl, born Blaine Muise in England to parents from Zimbabwe, has worked with pop experimenters like Sophie, Arca, Tinashe and Sega Bodega, and she was a founder of the label Nuxxe. “Woe,” from her 2022 debut album, “Nymph,” was a smoldering counterattack to a toxic partner: “Smiling faces fade just to leave a shell,” she charged. Björk, playing fourth-dimensional chess, offers both sympathy — agreeing with Shygirl that “I see it from your side” — and outside perspective. The new track lurches from the dark groove of “Woe” to something else: Björk’s vocal harmonies, warped keyboard vamps and mystical life lessons. “Forever we shoot for the sublime,” she advises.

Hannah Jadagu, ‘Warning Sign’

“Warning Sign” is a hushed, hazy song that maps interpersonal tensions onto musical contrasts: quiet and loud, sustained and rhythmic, dulcet and distorted. Jadagu is an N.Y.U. student who grew up in a Texas suburb and recorded her first EP, in 2021, entirely on an iPhone. She has more resources since signing to Sub Pop. “Warning Sign” could have been an easygoing R&B vamp, but Jadagu has other imperatives; the song coos with keyboard chords and airborne harmonies, then crashes or glitches. What she hears goes with what she feels: “I can’t stand to hear your voice when it’s oh so loud/Could you quiet down?”

Lucinda Chua featuring Yeule, ‘Something Other Than Years’

The songs on “Yian” (Chinese for “sparrow”), the new album by the London-based songwriter Lucinda Chua, are meditations seeking serenity — often just two alternating chords, set out slowly on keyboard and sustained by orchestral strings. In “Something Other Than Years,” she sings, “When all I fear is all I know/Show me how to live this life,” and she’s answered by the higher voice of Yeule, who promises, “There’s more in this life/Angel being of light.” PARELES

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