New Music Friday: Noteworthy Tracks of the Week
Every Friday, pop critics for The New York Times highlight the most remarkable new tracks released during the week. Listen to the Playlist on Spotify here (or find our profile: nytimes) and on Apple Music here, and subscribe to The Amplifier, a twice-weekly guide to both new and classic songs.
Maren Morris, ‘Carry Me Through’
In her latest single, “Carry Me Through,” Maren Morris blends elements of self-help with a touch of Elton John’s flair and a hint of secular gospel. The track is underpinned by powerful piano chords and a soulful choir, supporting Morris as she navigates her journey toward self-healing. With a resolute tone, she acknowledges her own agency: “Yeah, I got friends around / Plenty of hands held out,” she sings. “But I’m still the one who has to choose to carry me through.” By the song’s conclusion, her determination shines through as she declares, “I’ll get there.”
Mumford & Sons, ‘Truth’
Mumford & Sons infuse their sound with a hearty dose of Southern rock in “Truth,” a standout track from their new album, “Rushmere.” Featuring a bluesy, sinuous riff, Marcus Mumford passionately asserts, “I was born to believe the truth is all there is” and adamantly declares, “I refuse to offer myself up to men who lie.” As the song progresses, the intensity builds with vibrant percussion, guitars, handclaps, and harmonious choruses, mirroring the escalating urgency in his voice: “Don’t leave the liars in the honest places,” he implores as the song reaches its climactic end.
Timbaland, ‘Azonto Bounce’
In a surprising turn, Timbaland, the visionary producer who revolutionized 1990s hip-hop, has released an album titled “Timbo Progression,” which delves into uncharted territory: West African music. The track “Azonto Bounce” celebrates a dance and music style from Ghana, showcasing Timbaland’s unique interpretation with a mid-tempo beat and modal horn lines that evoke echoes of Fela Kuti’s 1970s Afrobeat. Although details regarding the album are sparse and Timbaland is credited merely as “programmer,” the infectious groove speaks for itself.
Pablo Alboran, ‘Clickbait’
Known for his romantic ballads, Spanish pop singer Pablo Alboran takes a bold turn with “Clickbait,” addressing a different kind of relationship—the parasocial connections formed online. “Many say they know me, but they have no idea who I am,” he laments in Spanish, laced with an Auto-Tuned edge. Transitioning into Spanglish, he critiques the digital landscape with, “Flash flash, mucho clickbait, mucho fake.” The song features a dynamic structure that shifts between a melancholic ballad and driving percussion, ultimately merging the two. Alboran expresses his frustration towards those harboring “poison in their hearts,” ready to break free from his persona to confront the issue.
Tortoise, ‘Oganesson’
Since their inception in 1990, the Chicago-based instrumental ensemble Tortoise has been known for their innovative fusion of jazz, rock, Minimalism, electronics, and improvisation. Their latest release, “Oganesson,” marks their first new track since 2016 and is named after a synthetic element with the atomic number 118. This off-kilter 7/4 funk piece exudes a spy-movie vibe, characterized by laid-back guitar chords, distorted vibraphone plinks, and a playful bass line. The extended noise at the track’s conclusion may symbolize atomic decay, adding a layer of depth to the listening experience.
