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Dawn Richard gives “Bussifame” four syllables – as in “Bust it for me” – when she sings it in her new single, a preview of her April album “Second Line”. The video, posted on Mardi Gras, opens with someone dancing to a second-line (sadly uncredited) beat from the New Orleans Marching Band. Then the track itself begins, with Richard and his dancers dressed in pointy, futuristic costumes outside the giant graffiti on an abandoned former Holiday Inn. “Feet move with the beat / Bussifame, second line,” she sings, huskily, in an electronic track closer to home than to the second line, but keeps adding levels of perky syncope. JON PARELES

“Black Myself” begins as a brutal catalog of stereotypes and discrimination – “You better lock the doors as I pass / Because I am black myself – before asserting black solidarity and self-determination in its final verse. The song was already a bluesy stomp when Amythyst Kiah first recorded it with the folk all-star alliance Our Native Daughters; now she’s revisiting it with a fuller studio production, beefing up her distorted guitar with more effects, more layers and a bigger beat, adding extra weight. PARELES

On a stammering bassline, a folding balafon and a wah-wah-infused guitar, gospel singer Theresa Thomason offers an unwavering tribute to Nelson Mandela, dwelling on the struggles he endured and vowing to move forward his legacy. “Always look left, always look right / Always stand up for people’s truth / We will never forget you,” she sings. The song comes from “Afrofuturism”, the latest album by percussionist and multi-instrumentalist Michael Wimberly, who recorded it with a diverse group of musicians from around the world. GIOVANNI RUSSONELLO

The hip-hop version of 24kGoldn is, in essence, pop-punk covered with the lightest layer of R&B – that is, extremely pop. His latest single, which arrives as “Mood”, his recent No.1 with Iann Dior, is still No.5 on the Hot 100, is tense, angsty and extremely effective, a fait accompli of hybrid pop. JON CARAMANICA

About three years ago, you wouldn’t have made Lil Yachty one of hip-hop’s most versatile talents. And yet there it is, fast rap on a nervous beat on “Hit Bout It”, a strong duet with the fresh out of jail Kodak Black. It comes less than two weeks after “Royal Rumble,” a group of (mostly) greats from Michigan, full of the tough, non-sequential talk that has been defining this scene for a few years, and that Yachty has an affinity (if not enough aptitude) for. Instead, focus on the big verses of the valiant Icewear Vezzo and the rising Babyface Ray. CARAMANIC

A flamenco guitar sample unfolds on the insinuating two-chord track of “Jealous” as English singer Mahalia and Maryland rapper-singer Rico Nasty casually demolish male pride. “I’ll do whatever I want baby / I won’t be stuck without you baby,” they nonchalantly explain, as Mahalia shows off her wardrobe, car, “crew” and indifference. “Unless you have this heart, you can’t come to me,” she sings, jerky and indifferent. PARELES

For his debut album, rising pianist Chris Pattishall goes back 75 years to revisit the 12-part “Zodiac Suite” by Mary Lou Williams. The result is neither too nostalgic, nor newfangled and gadget. Pattishall’s ‘Zodiac’ is a surprising achievement precisely because of the depth – and personally – this old material seems to resonate with it. Pattishall said he was particularly drawn to Williams because of the way she seemed to sway between atmospheres and registers within individual compositions, without sacrificing the sense of the narrative. This is confirmed on the very first track from his album, “Taurus” (Williams’ own astrological sign), which begins with a ruminative piano passage before a quick acceleration, with Pattishall dragging his quintet into a swirling, bluesy chorus. RUSSONELLO

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