Listen now: Essential tracks from Cass McCombs, Dawn Richard and Gonjasufi

Cass McCombs, “Mangy Love” (Anti- Records). The underappreciated singer-songwriter Cass McCombs has been making understated, oft-strange folk-rock records for the last decade, and in that time he’s become one of those songwriter’s songwriters whose work is lauded by his peers while being mostly ignored by the press.

The title of his new album might help explain why. It’s called “Mangy Love,” which is hardly a hook for those looking for lyrical uplift or joyful sentimentality. Like kindred spirit Nick Cave, McCombs seeks comfort not in the daisies but in the dirt. “Rancid Girl” is the opposite of a love song: Over the course of four bluesy minutes the song’s narrator berates a teenage girl so much that you’ll want to sock his rancid mouth. “In a Chinese Alley” spins skeletal details that recount finding a dead body under ice.

“Run Sister Run” is a typically odd work built on the back of a conga-fueled groove that, once locked in, moves with thrilling momentum. For his part, though, McCombs can barely keep up with the song as he spins lyrics dense with syllables — trying to cram extended thoughts into tight musical spaces. Like most of “Mangy Love,” it’s a song that might take a few listens before it clicks. But when it does, McCombs’ cynicism turns endearing, and lines that on first listen seem grim reveal themselves to be warm and inviting.

Dawn, “Cali Sun” (Our Dawn). Does California really need another song about the sun? Dawn Richard says yes, and with each new release it’s becoming obvious that we should listen. Taken from the former Danity Kane member’s forthcoming album, “Cali Sun” is a snapshot glimpse at future pop.

Filled with hissing snare patterns, deep bass and Richard’s computer-enhanced voice merging woman and machine, the song was produced by Machinedrum, who is best known for his work with Azealia Banks and Theophilus London.

Richard sings “Cali Sun” with an affected, playful accent that suggests she’s a British ex-pat, but she’s not. Rather, the New Orleans-born would-be commercial R&B singer took a decidedly left turn when she ditched her made-for-TV group and has since issued a string of albums and EPs that push at the edges of R&B, nudging the sound of human soul further into a digital landscape, one step closer to the singularity.

Gonjasufi, “Vinaigrette” (Warp Records). The San Diego artist who makes music as Gonjasufi might have harnessed autotune to correct his off-key throat, but where’s the courage in that? On his new album, “Callus,” the artist born Sumach Ecks continues to mine the world that connects dark rock, deep Jamaican dub, grim electronic soundscapes and an overall experimental bent.

Like the post-punk sounds of the Basement Five, Massive Attack and Public Image Limited, Gonjasufi relies on lots of bass to steer the ship, and the evidence is all over “Vinaigrette.” The track flickers and hums, unsure of and unconcerned with where it fits from a genre perspective. Is it experimental R&B or electronic rock? Post-dub or post-rock? Doesn’t matter. It burns.

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