Bonus ‘Ctrl’ by SZA and 8 additional new songs

One way to satiate fans clamoring for your long-delayed next album: just keep adding new material to the stuff they already love! Five years ago this week, SZA released her widely adored debut album “Ctrl,” and while she’s released a handful of singles and made a few celebrity appearances since then (including her Grammy-winning collaboration with Doja Cat “Kiss Me More”), she has not yet followed up with a feature film. As a stopgap measure, however, SZA treated fans to seven unreleased tracks this week on a deluxe edition of “Ctrl.” The best of these is ‘Jodie’ – already a fan favorite, ever since a demo version was leaked last year. “Stuck with just weed and no friends,” she laments on the dynamic track, which balances a confessional tone with self-deprecating humor. Her voice is melodically nimble but endearingly improvisatory, as if you’re overhearing an animated conversation she’s having with herself. LINDSAY ZOLADZ

Whether the exuberant horns deployed on Saucy Santana’s “Booty” are sampled from Beyoncé’s “Crazy in Love” or “Are You My Woman?” (Tell Me So)” by the Chi-Lites (who provided the original sample of “Crazy in Love”) is immaterial – it’s pure cheat code anyway. “Booty” works as a kind of remix conceptual bootleg of the Beyoncé classic, a way to trumpet an alliance that could be real, virtual, or theoretical. Most listeners won’t parse it. Consider it a savvy shot by Saucy Santana, whose “Material Girl” was the best kind of TikTok escapism — a tagline that was actually tied to an outsized personality. “Booty” is his first major single, and it also has a few other borrowings: a J-Kwon flow “Tipsy,” a nod to Bubba Sparxxx “Ms. New Booty. But above all, this former makeup artist is having fun in the shrinking space between fan and star. JON CARAMANICA

Another entry in the 2022 free remake contest: Lizzo reinvents the Beastie Boys’ hypercrass “Girls” as a celebration of female friendship: “She’s my daughter, we’re codependent / If she’s with her, I’m with her.” CARAMANIC

“Somebody’s gonna figure us out,” Lili Trifilio sings with bracing confidence, “and I hope they do because I’m falling in love with you.” The desperately catchy opening track from Chicago Beach pop-rock band Bunny’s upcoming second album, “Emotional Creature,” is all about swerving caution and going public with a clandestine romance. There’s appropriate clarity in the song’s production and arrangement: shimmering guitars, steady drumming, and Trifilio’s vocals front and center as she sings lyrics as heartfelt as “I want to kiss you when it’s all over.” the world is watching”. ZOLADZ

Demi Lovato — the child star turned adult hitmaker who survived a drug overdose in 2018 and went non-binary — leverages notoriety and a setback in fierce punk-pop with “Skin of My Teeth.” It’s a bulletproof confession that begins “Demi is leaving rehab again” and mounts earthquake drums, hand-cranked guitars and a pop hook “ooh-woo-hoo” to claim solidarity with all those fighting against the addiction. “I can’t believe I’m not dead,” they wrote, adding, “I’m just trying to keep my head above water.” JON PARELES

“40 oz. to Fresno,” the new album from rock band Joyce Manor of Torrance, Calif., is a relentlessly melodious 17-minute collection of killer, fillerless power-pop. An obvious highlight is the punchy “You’ re Not Famous Anymore”, which sounds like something that would have been played a lot on the alternative rock radio of the mid-90s – the kind of song that would have seemed like a simple novelty hit until it ended up sticking around. stuck in your head for weeks.”You were a child meth star,” frontman Barry Johnson sings, “Now who knows what you are, ’cause you’re nothing.” A surfy guitar, Johnson’s archaically sour delivery cuts through the rest of the song’s mock atmosphere.

A splendid and hard-hitting piano ballad from Japanese-American singer Joji, who finds common ground between 1970s soft rock and James Blake. Its singing is slightly unstable, mixing an unsettling sadness with a better known resilience. CARAMANIC

23-year-old pianist and multi-instrumentalist Julius Rodriguez wowed New York club audiences for more than half of his young life. In a story that is already part of 21st century jazz tradition, from the time Rodriguez was 11, his father would drive him from White Plains to jam sessions at Smalls. The cats were floored from day one. The other big part of his musical upbringing took place in church, where he started at an even younger age as a drummer, and these two great influences resonate throughout “Let Sound Tell All”, the very first album expected from Rodriguez. On “In Heaven,” an invocation written by Darlene Andrews and first recorded by Gregory Porter, Rodriguez joins fellow rising star, singer Samara Joy. He accompanies his molasses-rich vocals with unfurled harmonies, channeling Kenny Barron and Hank Jones from heavy clusters of notes to crystal-clear threads. GIOVANNI RUSSONELLO

“Love is an emotion in action,” recites eminent saxophonist, poet and visual artist Oliver Lake, 79, over the suspended, open-vowel harmonies of the Sonic Liberation Singers. “There’s nothing real but love / It moves independent of our fears and desires.” Lake recently performed a series of farewell shows with Trio 3, the ground-breaking supergroup he played in for more than three decades — but it’s no surprise that in closing one chapter, the ever-prolific Lake opened another: “Justice,” on which this track appears, is the first LP to feature Lake’s vocal compositions. At times wild and purgative, the album is also full of moments like this: poised, stubbornly hopeful, grounded in the music of Lake memories of a more revolutionary time and seeking to rekindle that energy. RUSSONELLO

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