Billie Eilish’s kiss-off, and more new songs

■ Billie Eilish, ‘Therefore I Am’: There’s not much subtext to Billie Eilish’s “Therefore I Am.” It’s a direct brushoff — “I’m not your friend, or anything” — from someone who knows she’s in the public eye. The music revisits some of her favorite devices: a slowly pulsing beat, a skulking bass line, a vaudeville bounce to the chords, a switch between whispery singing and deadpan rapping with a dismissive chuckle. It’s a relatively minor addition to her catalog, but it has attitude enough to get by.

■ Run the Jewels, ‘No Save Point’: “Haven’t seen the sun with the naked eye much, so the neon is my god and it shine on the numb,” El-P raps on the first verse of “No Save Point,” Run the Jewels’ contribution to the soundtrack for the hotly anticipated video game Cyberpunk 2077. El-P’s vivid verse and bass-buzzing, blown-boombox production fit the game’s dark, “Blade Runner”-esque aesthetic. But then, characteristically, Killer Mike swoops in to survey the larger socioeconomic forces at work in this digital dystopia: “I used to pray to God, but I think he took a vacation, ’cause now the state of Cali is run by these corporations.” Let’s hope it turns out to be science fiction.

■ AC/DC, ‘Realize’: From Brian Johnson’s screechy vocals to the bludgeon and crunch of the guitar riffs, “Realize” is instantly recognizable as AC/DC, a band that has rarely swerved from the sound it established in the 1970s. Malcolm Young, the group’s founder, rhythm guitarist and songwriter, died in 2017, but the songs on the new album, “Power Up,” are still, as always, by Malcolm Young and Angus Young, AC/DC’s lead guitarist and Malcolm’s brother. While Johnson exhorts, “Feel the chills up and down your spine / I’m gonna make you fly,” Brendan O’Brien’s production brings subtleties to the band’s wall of guitars, embedding trills, quick lead licks and wordless vocals within the all-important riffs.

■ Chris Stapleton, ‘You Should Probably Leave’: A vintage-style soul backbeat and two-bar melody phrases carry the terse storytelling of Chris Stapleton’s “You Should Probably Leave” from his new album, “Starting Over.” The song lands precisely where country meets Southern soul: with grit, details, clarity and ache. Every syllable — precise in meaning, sung with ambivalence — supports a narrative that, spoiler alert, is bound to lead to regrets.

■ Foo Fighters, ‘Shame Shame’: Foo Fighters, a band with rhythm at its core even though Dave Grohl has moved from drummer to guitar-strumming frontman, discover funk with “Shame Shame,” which backs the band’s rock guitars with a double-time beat and pizzicato strings. “Shame Shame” harkens back to glamrock, as Grohl sings about nihilistic despair — “I found a reason and buried it / beneath a mountain of emptiness” — even as the melodies lift the song toward hope.

■ Lil Nas X, ‘Holiday’:

It should be said, first, that “Old Town Road” was novel, clever and direct. And then it should be said, second, that nothing Lil Nas X has made since then has come close to that song’s vim, brightness or wit. His is the peculiar conundrum of the viral phenomenon burdened with the expectation of becoming something more, and burdened further by the budget, time and attention that such a goal requires. And so the further he progresses in his career, and the more professionals he works with, the less intuitive his music becomes. “Holiday” is clunky, stilted and dull, almost provocatively unmusical. To be fair, though, the song is merely a pretext for the video, which is a hyperfuturist update of the Missy Elliott oeuvre.

Killer Mike of Run The Jewels