Mutual appreciation or celeb injury management? Taylor Swift’s obvious new boyfriend — Matty Healy, from the 1975 — mocked the Bronx rapper Ice Spice and made different offensive feedback on a since-deleted podcast which will (or could not) have been ironic comedy; social media flared. Now, proclaiming admiration and good emotions throughout, Ice Spice will get her second on a remixed Swift observe that predicts karmic revenge on all of the singer’s antagonists and obstacles. Ice Spice seizes the chance in her verse, warning, “Karma never gets lazy.” JON PARELES

Beyoncé has now handed over the opening minute of her track “America Has a Problem” to Kendrick Lamar — the Pulitzer Prize-winning rapper who has beforehand collaborated along with her. His verses use a number of voices and registers to select fights with firms (Universal) and know-how (synthetic intelligence) whereas acknowledging hip-hop historical past by praising Jay-Z. It’s a industrial nudge to the “Renaissance” album that additionally deepens its sense of layered traditions and lore. Somehow the brand new observe’s timing provides as much as 4:20. PARELES

Dua Lipa, ‘Dance the Night’

“I don’t play it safe,” Dua Lipa insists on her gleaming, disco-kissed “Dance the Night,” the primary single from the soundtrack to the upcoming “Barbie” film. But the track itself — a rehash of the trusty “Future Nostalgia” formulation with just a little “Can’t Stop the Feeling!” thrown in — makes the opposing argument. Though disappointingly self-serious and mild on “Barbie Girl” camp, “Dance the Night” is a blandly enjoyable summer time jam that exhibits off Lipa’s straightforward confidence: “Ooh my outfit’s so tight,” she sings, “you can see my heartbeat tonight.” LINDSAY ZOLADZ

Water From Your Eyes, ‘Everyone’s Crushed’

The title observe from the Brooklyn art-rock duo Water From Your Eyes’ wonderful new album “Everyone’s Crushed” is a sort of lyrical Rubik’s Cube, discovering Rachel Brown twisting and rearranging a number of deadpan phrases till they click on into new meanings. “I’m with everyone I love, and everything hurts,” Brown declares, prompting Nate Amos to blurt out a caustic, angular guitar riff. The track makes house for each a collective feeling of generalized malaise and additionally the reduction of sharing it with others: “I’m with everyone I hurt,” Brown concludes, “and everything’s love.” ZOLADZ

Squid is without doubt one of the British bands that’s reconfiguring prog-rock within the wake of post-punk, mingling musicianly method and caustic perspective. In “The Blades,” Squid units up a tense 7/4 beat and a gnarled counterpoint of guitars, drums and horns, as Ollie Judge sings, insinuating and finally yelping, about surveillance and callousness. The track peaks with a dire imaginative and prescient of crowds that seem like blades of grass, “begging to be trimmed,” then tapers right down to a quietly alienated coda. PARELES

Jeff Rosenstock, ‘Liked U Better’

The Long Island punk lifer Jeff Rosenstock’s knack for writing shout-along choruses is on full show in “Liked U Better,” a one-off single that’s as blistering as it’s catchy. Racing ideas and a palpitating heartbeat set the track’s antic tempo, earlier than he shrugs all of them off in a cathartic chorus: “I liked you better when you weren’t on my mind.” ZOLADZ

Jess Williamson, ‘Time Ain’t Accidental’

A dinky drum-machine beat from a cellphone app ticks behind “Time Ain’t Accidental,” a track a couple of brand-new romance with a longtime good friend from a hardly ever visited city. Jess Williamson, born in Texas however well-traveled, has currently collaborated with Katie Crutchfield (Waxahatchee) because the countryish indie-rock band Plains; this would be the title track of her subsequent solo album. “I have a life somewhere real far away,” she sings, and later, with guitar and banjo becoming a member of her, “Look me in the eyes, I know it’s experimental.” But the track revels in staying smitten. PARELES

The scenario is obvious — “You gotta man, I gotta girlfriend” — however the music is blurry and dazed, because the R&B songwriters Blk Odyssy, from Austin, and Kirby, from Memphis, commerce impressions and rationalizations about an infidelity that was fueled by “dopamine and Hennessy.” Above a sluggish, woozy beat, amid a welter of echoey voices and electrical sitar, Blk Odyssy’s supply is disbelieving and hesitant, answered by Kirby’s excessive whisper, each of them unsure and then amorous; “See you next lifetime,” they vow earlier than parting. PARELES

Ichiko Aoba, ‘Space Orphans’

“Space Orphans” joins Ichiko Aoba’s intensive catalog of quiet, skeletal, soothing songs, typically accompanied solely by her acoustic guitar; they’re akin to bossa novas, American folk-pop and Japanese koto melodies. A string association — warmly sustained and generally harmonically ambiguous — opens up the observe as her Japanese lyrics converse of an otherworldly romance, the place “We go to sleep each night/In some quiet place, that’s neither land nor sea.” In an initiative led by Brian Eno referred to as Earth%, the Earth is credited as a co-writer and will get royalties for environmental packages. PARELES

Anjimile, ‘The King’

There are clear echoes of the minimalism of Philip Glass, Meredith Monk and Steve Reich in “The King.” The observe progresses from a fancy, wordless chorale right into a keyboard-arpeggio whirlwind as Anjimile sings biblical allusions and wise recommendation: “What don’t kill you almost killed you,” he observes. PARELES