“Everything Turns Blue” is the latest single from goth mainstay Chelsea Wolfe, who’s preparing to release her seventh studio album, She Reaches Out To She Reaches Out To She. The singer has been incorporating elements of trap into her songs, including this new one, though it’s subtle; “Everything Turns Blue” goes from brooding to brutal, building into a sweeping, dark tidal wave. According to Wolfe, the track is about healing after “being part of something toxic,” and it captures the nightmarish feeling of processing pain well after the fact. —Danielle

Despite her recent glow-up, TiaCorine has been at this for a minute. “Yung Joc” first appeared on a 2021 EP, but it was too good to be lost to pre-fame obscurity, so now the song has been resurrected and refreshed with a verse from fellow breakout star Luh Tyler. ORONDAY’s dreamy production takes me back to the heyday of cloud-rap, and Tia bars like “If I had a dick it would be soft/ ‘Cause you talkin’ too much, now I’m peed off” hit with rugged authority, like Jeezy in a much higher register. Speaking of high voices, Tyler’s pipsqueak drawl makes a fascinating complement to Tia. He’s such a mesmerizing microphone presence that it’s no surprise his pockets are getting fatter than Rick Ross. —Chris

There are only a few phrases threaded through “Saint,” but Tomato Flower’s Austyn Wohlers makes the most of them. “That’s right/ Why don’t you?/ You wanted it,” she sings. “In time/ I found/ You started it.” Her delivery is on the border between withering and mournful, and no wonder! It’s directed at bandmate Jamison Murphy — No, the album “Saint” comes from, is a document of the dissolution of their romantic relationship but the continuation of their creative one. The song’s shuffling undercurrent spikes with pressure, as Wohlers’ voice strains to carry the weight. It reminds me of a mellower Palm (another band that went through some intra-band romantic turmoil), and it serves as evidence that the best art often comes from knotty complications. —James

The new single from Jlin, queen of boundary-blasting footwork, features piano from the legendary minimalist composer Philip Glass. Is this real life? Even when “The Precision Of Infinity” is playing, it still doesn’t quite feel real. There’s nothing minimal about the way Glass careens across his keyboard here, as if attempting to match Jlin’s rapid-fire pops and glitches with a flurry of high-drama arpeggios. The result is something frenetic and physical but also heavy with emotion, like chamber music breaking out on the dance floor. —Chris

Hours before this week’s Pitchfork immolation, Alphonse Pierre, that site’s resident regional-rap expert, declared Kim Gordon’s new solo single “Bye Bye” to be the day’s must-hear rap song: “Throw ‘Bye Bye’ on a Destroy Lonely mixtape and nobody would flinch.” Kim Gordon is not a rapper, though she did once make a banger with Chuck D. She’s a 70-year-old underground rock legend. But “Bye Bye,” with its itchy trap drums and urgent, skittering beeps, is very much in conversation with the zooted and blown-out edges of today’s rap landscape. It’s also a classic Kim song, acrid guitar-clouds interrupting her deadpan delivery of sardonic non-sequitur lyrics. There are sounds on “Bye Bye” that never existed on a Sonic Youth record, but the song still works as one more sign that Gordon has always been decades ahead of the curve. Even now, we’re not close to catching up with her. —Tom