Coi Leray Borrows a Hip-Hop Classic, and 8 More New Songs

It takes a certain audacity to sample Grandmaster Flash and the Furious Five’s “The Message,” but, as the 25-year-old rapper Coi Leray puts it on her punchy new single “Players,” “when you a boss you could do what you want.” The track has a playful swagger, and a relatively straightforward, if potent, message: “Girls is players, too.” LINDSAY ZOLADZ

Insecurities and fragmented bits of heartbreak ping across the weightless atmosphere of “Boy’s a Liar,” the latest two-minute missive from the TikTok phenomenon PinkPantheress. “Every time I pull my hair, well, it’s only out of fear/That you’ll find me ugly and one day you’ll disappear,” the 21-year-old British musician confesses, melancholically, to an unappreciative guy. The producer Mura Masa, though, turns out to be an attentive accomplice: His kinetic, carbonated beat bolsters the energy of PinkPantheress’s vocal and makes her sound like the heroine of her very own video game. ZOLADZ

Ahead of their much-anticipated second album “10,000 Gecs” — which finally has a release date of March 17 — the beloved hyperpop enfants terribles 100 gecs have released a surprise three-song EP, “Snake Eyes.” The whole thing is very much worth your time (and it’s only six minutes long): “Torture Me” features Skrillex and effectively compresses his glossy production style into the gecs’ lo-fi universe; “Runaway” is Dylan Brady and Laura Les’s warped version of a piano ballad, all AutoTuned operatics and melodramatic sonic explosions. The opener “Hey Big Man” is the EP’s most potent adrenaline shot, a scream-along live staple that updates the sound of “Treats”-era Sleigh Bells and piles on absurdist quotables. They’ve rarely been more audacious, or funnier: “I smoked two bricks, now I can’t pronounce ‘anemone.’” ZOLADZ

Ethel Cain — the darkly gothic yet high-gloss songwriter Hayden Silas Anhedonia — quietly released to SoundCloud this prettily morbid waltz inspired by “Bones and All,” the Luca Guadagnino film about a romance between cannibals. “Eat of me, baby, skin to the bone/Body on body until I’m all gone,” she sings, over strummed, echoey guitar chords and a wavery keyboard, serenely offering to sacrifice herself for love. JON PARELES

“Look at the hands that fed me today/Bless the hands that wiped the tears from my face,” serpentwithfeet (Josiah Wise) sings in “The Hands.” It’s a hymn of gratitude that arrives with sonic undercurrents of dread. As serpentwithfeet harmonizes with himself, joined by a choir, piano chords give way to inhuman electronic tones and drumbeats rumble like distant thunder. He sings about finding a refuge, but the production makes clear that he’s still very much at risk. PARELES

Kali Horse, formerly Kaleidoscope Horse, is the style-hopping Canadian duo of Sam Maloney and Desiree Das Gupta with assorted backup musicians. “In the Water” works up to beat-driven psychedelia: motoric like Krautrock, using the sound of dripping water as percussion, flecked with violin and harp sounds, cheerfully offering advice — “Don’t ask for much/Don’t ask if you will ever change” — and kicking up a ruckus before dissolving into a welter of vocal overdubs and a cryptic postscript: “Guilt takes many forms,” they sing. PARELES

The English songwriter Anna B Savage sings about one more tense, failing relationship in “In|Flux,” the title track from an album due in February. The song is a contrasty two-parter. Sustained woodwinds breathe a chord behind her at the beginning as she sings, between fraught pauses, about an angry, unsatisfying lover. But then a beat arrives, and it turns out that separation is liberation. Her low, troubled voice starts to leap upward as she exults, “I want to be alone/I’m happy on my own.” PARELES

Jelly Roll — the stage name of Jason DeFord — has a Southern-rock yowl to rival Chris Stapleton or Lynyrd Skynyrd’s Ronnie Van Zant; he can also rap. In “She,” he just sings. It’s a song about an addict — as strings and horns join him, all he can do is warn, “She’s afraid of coming down.” PARELES

Fievel Is Glauque — the duo of the singer Ma Clemént and the instrumentalist Zach Williams — glides easily through the musical and verbal acrobatics it packs into “Save the Phenomenon.” It’s from their new album, “Flaming Swords,” a set of 18 jazzy, hyperactive miniatures, all but one lasting less than three minutes; “Save the Phenomenon” runs 1:46. Over knotty chords and brisk meter shifts, Clement tosses off head-scratchers like “By parting the leaves you meet the sublime/and there a fake you find,” all with an utterly charming nonchalance. PARELES

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