Best New Songs (January 2, 2025)
Don't miss these great tracks.
Photo by Tonje Thilesen
At Paste Music, we’re listening to so many new tunes on any given day, we barely have any time to listen to each other. Nevertheless, every week we can swing it, we take stock of the previous seven days’ best new songs, delivering a weekly playlist of our favorites. Check out this week’s material, in alphabetical order. (You can check out an ongoing playlist of every best new songs pick of 2025 here.)
Beach Fossils: “Inside Out”
Beach Fossils are no strangers to an out-of-left-field cover song, as they’ve tackled tracks by Kelly Lee Owens (“L.I.N.E.”), Disclosure and Sam Smith (“Latch”) and Yung Lean (“Agony”) over the last six, seven years. But their latest effort, a rendition of Duster’s “Inside Out” from 1998, is a bit more on-the-nose for the Brooklyn indie troupe. It’s out via Numero Group (Duster’s label) rather than Beach Fossils’ mothership Bayonet, so who knows what the label is cooking up right now. The Stratosphere song sounds great in the hands of Dustin Payseur and his bandmates, and it’s a two-minute slowcore arrangement that comes and goes even quicker than that. Beach Fossils make Duster sound more high-definition here, but it’s still a woozy, warm guitar track slowly stretching out. —Matt Mitchell
girlpuppy: “Windows”
“Today I drove past your old house and sat outside for a while / If I look close enough, I can see us through the windows,” intones Becca Harvey—the Atlanta singer-songwriter better known under her stage name of girlpuppy—on “Windows,” a soft, wistful track about the end of a relationship. Past comparisons made between Harvey and indie-pop icon Phoebe Bridgers definitely find purchase on “Windows,” but Harvey’s work stands on its own as well. Warm with yearning and steely with certainty, the song chronicles the impossibility of separating two intertwined lives—for both parties involved. “However much I might miss you,” Harvey sings, her voice clear, angelic: “You’ll always have to miss me more.” —Casey Epstein-Gross
hemlock: “anything at all (nov nineteen)”
Just after the holiday, hemlock—the one-person-project-but-sometimes-full-band led by Caroline Chauffe—released november, the sixth and latest entry in their ongoing “song-a-day” series. They wrote and recorded 30 tracks at the end of 2024, continuing their ever prolific release streak to coincide with their perma-tour. Sifting through the acoustic fragments recorded onto a Sire app on their phone, there’s so much on november to love but I return most often to “anything at all,” Chauffe’s entry from November 19th and a sweet, two-minute lullaby about the entanglements of loving and leaving. Chauffe calls the song-a-day exercise an “ongoing exercise in practicing imperfection,” and “anything at all” taps right into that: “you’re good as dead still blending in among the living, you’re good as dead and haunting my heart for a living.” —Matt Mitchell
Hour: “At the Bar Where You Literally Saved Me From Fatal Heartbreak – Live at PhilaMOCA, Philadelphia, PA – 4/12/24”
On Valentine’s Day, the Philadelphia-based, instrumental chamber folk and Americana ensemble Hour will put out Subminiature, a new collection of live material captured in various cities across the East Coast. In 2024, we named Hour’s last LP, Ease the Work, one of the 100 best albums of the year, and they’re sticking around in 2025 already. Some of Subminiature draws from the band’s seven-year existence, and lead single “At the Bar Where You Literally Saved Me From Fatal Heartbreak,” captured at PhilaMOCA in April 2024, gets a beautiful, aching tune-up from its album-recorded version six years ago. The song’s lifespan has been made anew by Michael Cormier-O’Leary’s and his bandmates (Jason Calhoun, Em Downing, Matt Fox, Peter Gill, Lucas Knapp, Evan McGonagill, Erika Nininger, Abi Reimold and Adelyn Strei). When the crowd’s yelping cheers flood the finale, I remember that “At the Bar Where You Literally Saved Me From Fatal Heartbreak” is being played live. Hour blur the line with a deeply profound and well-curated chemistry. —Matt Mitchell
Jane Remover: “JRJRJR”
After dropping three of the best singles of 2024 (“Dream Sequence,” “Magic I Want U,” “Flash in the Pan”), Jane Remover is going to have a busy, busy spring. Their side project Venturing has already announced a new record, Ghostholding, that’s due out 2/14. Now, Jane is following up their terrific, shoegaze oriented 2023 LP Census Designated with Revengeseezkerz, set to arrive sometime in the coming months. The project’s lead single, “JRJRJR,” glitches into focus, cycling through fits of noise, strobing trap beats and metallic hyperpop. It’s textbook Jane Remover—a popping culmination of Frailty’s most digital moments and Census Designated’s heaviest strains of chaos—and it’s purposefully disorienting. What draws me to Jane’s work is how unpredictable it is, even when it’s this digicore enmeshment of everything they do perfectly. Their new song is so non-categorical that your best bet is to just call it what it is: “JRJRJR.” —Matt Mitchell
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