Dent Might, “90210” (Carpark). You needn’t know the Highland Park-based mostly singer’s bio earlier than popping on his new music, as a result of he lays out some fundamentals within the lyrics.

He’s open about his funds, for instance, telling a would-be lover by way of a barroom piano melody, strummed guitar and voice within the opening verse that he does not have some huge cash, however so what? “I’ll a celebration in second-hand garments: Tackle 90210.”

The second verse provides to Might’s backstory: “I ain’t obtained a lot to cruise to valet/ However these 4 wheels do me OK/ This Mississippi boy positive ain’t used to this view/ I come from 39202.’

Sure, like Britney Spears, William Faulkner and Tig Notaro earlier than him, Might was born in the Magnolia State. And like one other current L.A. transplant, Mac DeMarco, the younger Southern troubadour writes singalong songs crammed with wit and earnestness. Assume Boston renegade Jonathan Richman or songwriter-actor Loudon Wainwright III. Woven by way of: a dynamic association that means his Pasadena neighbor Van Dyke Parks’ work each solo and with the Seashore Boys.

The track’s refrain is splendidly evocative, regardless of its brevity: “Palm timber and Champagne/ By swimming pool mild/ 90210 deal with me good tonight,” he sings, and you may virtually see the shimmering blue water.

Might has been engaged on his so-referred to as L.A. album since he relocated. Referred to as “Throughout the Multiverse,” it was recorded in his residence studio — however it’s arduous to inform — and comes out Aug. 18.

Baths, theme from “Dream Daddy” (Recreation Grumps). The artist born Will Wiesenfeld’s new monitor underneath the Baths moniker arrives within the type of a theme music for a brand new online game referred to as “Dream Daddy: A Dad Courting Simulator.”

The premise is fairly easy: “A Dad Courting Simulator is a recreation the place you play as a Dad and your objective is to satisfy and romance different scorching Dads,” reads the sport’s gross sales pitch. Assume the basic of the style, the Sims — besides you’re a divorced dad and after shifting into a brand new neighborhood, your aim is breaking apart houses one gentlemanly tryst at a time.

Baths’ theme captures the sport’s playful spirit. An earworm if there ever was one, it’s pushed by a glossy synth-pop rhythm and a vocal mantra — “dreeeeaaaaam daddy” — sung with the stickiness of a cloth softener jingle. Wiesenfeld harmonizes with himself, singing, “Who’s going to be your dream?” and “Who’s it going to be?” within the background.

It’s ridiculously catchy. As one commenter wrote on the SoundCloud web page: “I can’t get this out of my head please ship assist.”

9 Inch Nails, “Add Violence” EP (9 Inch Nails). Almost three many years after Trent Reznor upended the alt-rock world with the aggro-synth power of “Head Like a Gap,” the producer, label head, Apple Music government and 9 Inch Nails founder continues to craft recent tones and patterns by means of circuitry.

The 5 new songs that make up this prolonged play give it the heft of a full album. Like synth-rock pioneer New Order’s early EP, “1981-1982,” it incorporates as many partaking moments as lesser artists’ full-lengths.

The meditative 4 minutes of “This Is not the Place” opens with a affected person piano run that progressively will get overwhelmed by buzzing digital noise and manipulated Reznor groans; when he lastly provides lyrics, they recommend a farewell. “Not Anymore” mixes sheets of distorted bass and guitar with arduous rock drums. Regardless of being the size of a pop music, it weighs a ton.

In reality, the one monitor on “Add Violence” that breaks the 5-minute mark is the final one. Referred to as “The Background World,” it runs for almost 12 mid-tempo minutes.

“You left me right here/ What am I imagined to do?/ I by no means dared to look inside/ Identical to you advised me to,” Reznor sings, and it is exhausting to know if he is speaking about exploring his psyche or a unzipping a physique bag. Because the track progresses, he progressively will increase the strain. Then he pulls again and begins an rectangular, rhythmically challenged loop that at the beginning pay attention feels like a corrupted file. However slight variations recommend in any other case, and because the track surpasses the ten-minute mark, the beats have been supplanted with gritty noise.

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For ideas, data, snapshots and tales on Los Angeles music tradition, comply with Randall Roberts on Twitter and Instagram: @liledit. E mail: [email protected].