Unheroic 1970s and 1980s nostalgia fills “I Want Some of That,” Weezer’s remembrance of growing up suburban and finding music as rebellion: “I was in my hatchback ragin’,” Rivers Cuomo sings. It’s portion of this band ’s pointedly titled pop-metal record, “Van Weezer. The proudly multilayered guitars and vocals invoke Boston and the Cars as well as the group, the song mentions, Aerosmith. Even if we blow up, were not going to develop, the song insists. But the track’s last spoken-word postscripts are grown-up and businesslike; they involve copyrights. JON PARELES

Na Kazonga, the new album from the Congolese group Jupiter & Okwess, opens with a blast of international funk: Telejayi, a net of rich Congolese vocal harmonies, Fela-style Nigerian Afrobeat and vehement guest verses from why not? — a Brazilian rapper, Marcelo D2. The lyrics are somber, mourning death and representing, “ We’re only people on this Earth”; the music is alive in the here and now. PARELES

The audio in “Diamond Studded Shoes” radiates optimism. It’s an upbeat soul-gospel shuffle, filled with little flashes of exuberance from a frisky studio group : a fast bass run, an organ burble, a slide-guitar swoop, a ripple of honky-tonk piano. However, Yola’s lyrics are a lot more skeptical; she’s warning that the wealthy and privileged still have everything rigged in their favor. Dont you tell me itll be all right/When we know it isnt, she insists. And thats why we got to fight. ” PARELES

Cordae is a dexterous and considerate rapper, but at times in the past he’s sounded constrained by his own perfectionism. On the earnest, calm “More Life” — from a between-albums place-holder EP, “ Just Until…. He seems relaxed and assured, with slow-trot wisdom (Laid my life over those lucrative scores/Document struggles that we choose to endure) over a glowing beat with a little citrus tang. At the hook, Q-Tip plays the beneficent elder, offering guru-like wisdom into a rapper that ’s a clear inheritor of his. CARAMANICA

I got love for the ghetto, love for the hood/Love for the people who turn the bad into good, Morray insists in Trenches. ” Morray, a songwriter from Fayetteville, N.C., sings and raps with a fervent, church-rooted voice. Trenches, from an album due next week branded Street Sermons, rides the minor chords and snare beats that often accompany antisocial boasts. But while Trenches doesnt ignore gangs, drugs or poverty, Morray also recognizes a community that holds families, neighbors and friends: They dont see the good times that outweigh the poor days/In the hood we grin to lighten up the dark caves. ” PARELES

Just another starkly beautiful, emotionally scarred, cathartic purge from the most quietly influential rapper of the last few years. CARAMANICA

The production is fundamental : a programmed beat, a cycle of electric-keyboard chords, increments of bass and backup voices. However, Jorja Smith’s voice and words sketch a huge loss: “Tell me what to do when the ones you loved have gone lost. ” PARELES

Sasha Sloan begins this song detailing a laundry list of misbehaviors and irritations, a knowing confession of failure to rise to the responsibilities of a relationship. It’s an icy start to a moody country-pop duet. When Sam Hunt arrives, he sounds wet with misery — his misdeeds are providing him agita. From the end of the tune, they’re groaning in harmony, the only thing left they have in common. CARAMANICA

Writers, this one’s for us. Open a dictionary for the obscure but clearly defined literary devices that John Grant riffles through in Rhetorical Figure yes, epizeuxes and paraprosodokians mean something. And stick around for the pumping electronics which unite prog-rock and post-punk. PARELES

Alfa Mist is a London-based manufacturer, multi-instrumentalist and M.C. with an ever-deepening — and increasingly rewarding — involvement with jazz. He composed and arranged all the tracks on “Bring Backs”; to make them come alive he assembled a chamber ensemble of brass, woodwinds, strings and rhythm section. Last Card (Bumper Cars) opens with the poet Hilary Thomas calling up wispy memories of a distant back home, over Alfa Mistslightly tolling Rhodes and rustling atmospheric percussion. Later on, a verse from Thomas marks a transition (Friday was payday, and glory comes Sunday, she says); the band kicks into a coda of proud horn declarations, over strutting rhythms which toggle abruptly. Then Alfa Mist cuts it off, as if ripping off a needle a record. GIOVANNI RUSSONELLO

Arooj Aftab, who was born in Pakistan and now lives in Brooklyn, carries an ancient verse form, the ghazal, toward the West on her serenely innovative album released on Friday, “Vulture Prince. Written by the Indian poet Hafeez Hoshiarpuri, Mohabbat declares, ambiguously, that the number of people who love will not decrease, and it’s been recorded several times in traditional South Asian styles. Aftab, who attended the Berklee College of Music, transforms it. Her voice is contemplative, breathy and relaxed, with all the intimacy of indie-pop and jazz though she occasionally uses the microtonal embellishments of classical South Asian singing. She’s accompanied by intricate plucked patterns on harp, guitar and bass fiddle, sustained tones from brass and electronics and silent metallic percussion. The song doesn’t bridge two worlds; it creates its own. PARELES