5 new songs by local artists you need to hear now

The year is barely a month old, but New England’s musicians have hit the ground running. Melodic punk, melancholy rap, acoustic folk, even a few jazz standards – it’s all on order. Our critics weigh in on the recent releases they’ve fallen in love with by artists from the region.

“Labyrinth In The Weeds” is the third single from Heather Maloney’s new album “Exploding Star.” The Northampton singer-songwriter penned the album in the aftermath of her father’s death. For a time, she felt the songs were too private to share. If “Labyrinth In The Weeds” is any indication, we’re lucky she changed her mind. The song is an ode to memory and the way a parent’s love becomes encoded on one’s very being. It also boasts some of Maloney’s most poetic writing. She opens with a childhood memory of following her father as he mows a rambling path through the tall grass in the backyard: “You made a labyrinth in the weeds,” Maloney sings, a chorus of backing vocals echoing her, canon-like. When the refrain returns, it has changed: “You made a labyrinth out of me.” The meaning of this line is obscure, mysterious, much like the grief the song describes — a loss that stays with you, a presence nearly glimpsed around every bend in the road. — Amelia Mason

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From the 1990s onward, saxophonist Jared Sims was a valued part of the Boston music scene, playing both his own material and with everyone from jam rockers to exotica revivalists. Teaching work took him away, but happily, he’s recently moved back to town, and in late December he released his 11th album. As the title of this gorgeous session implies, it’s mostly standards, plus one original: “Seeds of Shihab,” a timely ode to the late saxophonist/flutist Sahib Shihab, who in recent years has enjoyed a critical rediscovery.

On this recording, Sims exclusively plays baritone saxophone, and he brings out all of that low-end instrument’s dreamy potential. The rhythm section of pianist Chris McCarthy, bassist Keala Kaumeheiwa and drummer Steve Langone provide crisp accompaniment on bossa nova classics “A Felicidade” and “Pensativa” before digging into a popping arrangement of “The Night Has a Thousand Eyes.” — Noah Schaffer

The Jared Sims Quartet performs Feb. 6 at Parish of All Saints in Dorchester.

Over the past 10 years in the Boston hip-hop scene, it’s been rare to see an artist consistently drop music that can stand the test of time. A song will have a season but then fade to black. One artist who does not have that problem — and who has proven it multiple times — is Dutchy DoBad. From cuts like “Money Friendly,” “O.T,” “Round the Way,” “Doing Numbers” and “Fake Love,” he’s very methodical with how he distributes his hits. His new project “Where is Dutchy?” is a holdover for supporters while he works to fine-tune what it means to be an independent artist. Two stand-out tracks are “Swervin” and “Dirty.” These cuts symbolize his longevity. While the songs are at least 4-5 years old, they still evoke a reaction compelling enough today to make them standouts on this new EP.

Inspired by a bad relationship, he used the emotions he felt to create “Dirty,” which fully displays Dutchy as an artist. You can hear the genuine hurt he feels: “You said you weren’t gon’ hurt me.” He continues baring his soul, even mentioning how he got hooked on Percocet, which his ex had suggested he take. This vulnerability is commendable, especially for an artist some might solely consider a street rapper. Yes, Dutchy is from the streets, but he has far more to offer as “Where Is Dutchy” shows. — Noble

It was only a few short months ago that Vermont-based singer-songwriter Lutalo put out their debut album “The Academy,” which they describe as their “first chapter.” They released another metaphorical page in the book this month with “‘I Figured,” a single that sways between sorrowful, tension-building verses and single-word choruses with almost romantic repetitions of the lyric “you.” In this song, Lutalo continues to play to their strengths: sweeping arrangements subtly placed in the sounds and structure of a folk song. Their resonant, low-pitched delivery at times gives the impression of someone attempting to tell a story while falling asleep on a couch at a party. It’s a timbre that few artists can pull off as well as Lutalo does, and they use it deftly in this song to prepare listeners for the dreamy, pining chorus. — Solon Kelleher

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Over the last decade Massachusetts quintet OH THE HUMANITY! has taken its delicious hooks and unapologetic shredding everywhere from basement shows to big showcases like Camp Punksylvania and the Florida punk paradise The Fest. After starting with a short instrumental, this new LP offers 10 mostly breakneck speed tracks that are as poignant as they are catchy. The group has got plenty to say about its condition and the human condition. Social commentary provides some of the best moments: “Circumstances” looks at how a desperate mother ended up panhandling, while “Worth Nothing” is a pummeling indictment of the capitalist chains that keep us “Trading time we can’t get back for currency.” — Noah Schaffer

OH THE HUMANITY! celebrate the release of its new LP on March 15 with a show at Faces Brewing in Malden.