This Week’s Best New Songs

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This Week’s Best New Songs

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 tracks, delivering a weekly playlist of our favorites. Check out this week’s best new songs, in alphabetical order. (You can check out an ongoing playlist of our favorite songs of 2024 here.)


Beach Bunny: “Vertigo”

The “self-sabotage bop” new single from Beach Bunny, “Vertigo” is as catchy and poppy as any of the Chicago band’s previous material. Lili Trifilio is one of the best when it comes to self-aware songwriting that’s as jubilant as it is merciless. Here, she takes aim at jealousy, expectations and the rinse-and-repeat cycle of a breakdown. “I thought when I was older I would be on top,” Trifilio sings. “I’ve got a strange obsession of mixing love and loss, but at what cost?” I’m protecting myself from emotional healing.” Focusing more on their pop punk brass than the hooky dreamscapes that populated something like their Prom Queen EP, Beach Bunny soar through a grandiose melody fit for the greatest Paramore disciples. “Vertigo” is one of Trifilio’s best, an immediate level-up for an already great band primed to take the vibrancy of Emotional Creature and up the ante. —Matt Mitchell

Crack Cloud: “The Medium”

Crack Cloud’s third album (and Jagjaguwar debut) Red Mile has been floating under the radar this summer, but the Calgary band’s new single “The Medium” has the brilliance to change all of that. The septet (or ennead, based on a recent press photo) would have taken over the world in 1982, given the sheer velocity of their snarling post-punk that often is set aglow by a rapture of pristine, synth-driven dream pop. It’s somewhere in between Strawberry Switchblade and Public Image Ltd., and “The Medium” is euphoric at every turn—leveraging a no-frills attitude into a pillow of daydreamy, choral harmonizing, with verses that poke fun at the very genre Crack Cloud partially embodies (“The rejects came along in the name of punk rock / Borne from a nihilistic, self-imposed schlock / Fuck you, fuck you, fuck you, fuck you, blah, blah, blah, boah”). There’s a string arrangement near the song’s end that capsizes the chaos with an extra juxtaposition of sweetness and UK-inspired growls. “The Medium” is delightfully earnest even in its kiss-offs. —MM

Dutch Interior: “Ecig”

The latest single from the mysterious Los Angeles band (and Fat Possum signees) Dutch Interior, “Ecig” is a fit of crunching, finger-cracking post-punk washed in infrared. The song has guitar tones reminiscent of pre-2002 Wilco and melodies that cut through the noise with hums and reverberating, droning vocals. The song, to put it bluntly, is visceral—likely the best song about the metaphysical, emotional and psychological dimensions of a knife wound you’ll hear all year. “The wound pulses like a rusted swingset, and now the higher I get off my electronic marijuana cigarette, I feel regret,” one of the band members, presumably Conner, sings. “So hold pressure where it lacks, ’cause I could lose a lot of black blood, the black blood that dresses the macerated edge that drips into buzzards that follow you, my friend.” It’s captivating, perplexing and, to be honest, a little bit terrifying. That’s a recipe for a rock song that’ll stick with you long after it’s over. —MM

Fontaines D.C.: “Favourite”

Let’s talk about a song that, from the first note, is perfect. “Favourite,” the second single from Fontaines D.C.’s forthcoming new album (and XL debut) Romance, is a chest-bursting, terminally sweet earworm that finds the post-punk Dubliners experimenting with a far poppier hue that usual. If preceding single “Starburster” was frenetic and energized through an anxiety personified, “Favourite” is the lullaby meant to cushion its fall. “Stitch and fall, the faces rearranged,” bandleader Grian Chatten sings. “You will see beauty give the way to something strange.” “Favourite” is immediately one of Fontaines D.C.’s best songs ever, a “continuous cycle from euphoria to sadness, two worlds spinning together.” There’s well-worn poetry and romance in the candy-coated, rocking and rollicking arrangement; a sense of longing that swirls around the endearments. —MM

Horse Jumper of Love ft. MJ Lenderman & Squirrel Flower: “Snow Angel”

Horse Jumper of Love enlist an indie darling dream team on “Snow Angel,” the third single off their forthcoming fifth record, Disaster Trick. “Snow Angel” is certainly the heaviest of the three singles the band has released so far, with fuzzy, layered rhythm guitars and spacey drums in tow. Airy vocal interjections from Squirrel Flower’s Ella Williams add a welcome contrast to the rest of the instrumental. Like many HJOL songs, the lyrics are vague and abstract, and here the band paints a picture of grief: “It feels evil in the dark / The minutes of your life / Love’s been sleeping in my mirror / I just want to be alone in it” really is something that can mean whatever the listener wants it to, and it’s certainly a thought-provoking way to end a song. —Leah Weinstein

Jordana: “We Get By”

After recent collaborations with Paul Cherry, Yot Club and Dent May, Los Angeles singer-songwriter Jordana is stepping into the light alone on her new single “We Get By.” Doused in summery optimism and harmonies that you’ll be humming for days on end, the track is an ode to true love and, as Jordana puts it, about “leaving any materialistic things behind and basking in the appreciation of the truest loving from a pure ground zero—whether that be with yourself or with someone else.” That joy oozes out of every instrument, with small dashes of pedal steel poking through the seams sewn shut by a dreamy, matter-of-the-heart acoustic guitar. And then, when the voices fall away, a violin (or maybe a fiddle, circumstantially speaking) animates the song’s Golden Hour shine. Affixed someplace between the green of Laurel Canyon and a yacht anchored beneath a well-lit night sky, “We Get By” is the type of pop gem that requires as many listens as your heart can take. —MM

Lunar Vacation: “Set the Stage”

On Monday, Atlanta dream pop band Lunar Vacation released “Set the Stage” along with the announcement of their sophomore album, Everything Matters, Everything’s Fire. The ballet-centric music video was directed by Stranger Things star (and Lunar Vacation collaborator) Finn Wolfhard, and “Set the Stage” is a gorgeous tune about the turmoil of unrequited love—with frontperson Gep Repasky hitting you with some absolute gut punches (“I feel like crying every second that I think of your complexion / To be you’re never really fair to me” being chief among them). Repasky’s dreamy vocals blend beautifully with the song’s sonic palette, which is nothing short of gorgeous, and the arrangement’s lush guitar tones make it sound like something off an Alvvays record in the best way possible. —LW

NewJeans: “Right Now”

K-pop group NewJeans continue to prove that they’re the most innovative force in the genre on their new single “Right Now.” Combining K-pop touchstones with elements of breakcore and Muzak on paper seems like it wouldn’t work, but on “Right Now” NewJeans blend them in a way that’s both tasteful and a blast to listen to. “Right Now” is also the first song where NewJeans weave between singing in English and Japanese language instead of their native Korean, with the accompanying Powerpuff Girls-themed music video being a collaboration with iconic Japanese artist Takashi Murakami. —LW

Oceanator: “Be Here”

Oceanator’s “Be Here” is a stunning, all-in declaration of love—bursting at the seams with passion, its exuberance matched by the sheer power of its synth-drenched heartland rock instrumentals. Lead vocalist Elise Okusami is fully present—lyrically, emotionally, and sonically—and “Be Here” finds victory through vulnerability. It’s the sound of riding off into the sunset or running into a lover’s arms, not knowing what comes next, but throwing everything you’ve got into right now. —Grace Robins-Somerville

Orla Gartland: “Mine”

Irish singer-songwriter Orla Gartland is at her rawest on her new single “Mine,” the second teaser from her half-announced sophomore album. Muted guitar and a sparse string quartet underscore Gartland’s retelling of an abusive relationship; “Whisper a word in my ear like a secret / Melted like butter / Always the fucked, never the fucker / rewrite the rules and start from scratch again” she sings over the track’s haunting instrumental. I’ve been following Gartland and her distinct songwriting prowess for the past seven years, and “Mine” suggests that she could very well be entering the most distinguished era of her career. —LW

Ric Wilson: “We Aight”

An ever-energetic and charismatic emcee, Ric Wilson’s rap career has been one of the most rewarding to watch over the past few years, and his rise to stardom shows no sign of slowing down. The local legend of Chicago’s DIY rap scene has now linked up with a dream team of Mayer Hawthorne, Party Pupils and Brasstracks for an imminently danceable and glowingly sexy funk track in “We Aight.” Wilson showcases some of his smoothest bars yet over a shimmery brass section and a bumping, ‘70s throwback beat that feels both fresh and timeless. “We Aight” is bound to liven up the mood of patio bars and block parties all summer long. —GRS

Robber Robber: “Dial Tone”

The latest single from Burlington, Vermont’s Robber Robber is hazy post-punk perfection. “Dial Tone” cloaks jagged guitars and Nina Cates’s creepily glamorous vocals in dreamlike distortion for a loud-and-quiet scatterplot of power-clashing ideas and melodies. It’s a beautifully disorienting track, one that surrounds the listener, spins them around and shakes them up. Robber Robber’s sound is electrifying, and if “Dial Tone” is any indication, their shock isn’t wearing off anytime soon. —GRS

The Japanese House: “:)”

If you thought the Japanese House’s last album, 2023’s In The End It Always Does, was great, then you’re going to cherish Amber Bain’s latest: the country-tinged, featherlight “Smiley Face” (or “:)”). Bain wrote the track in response to the joy she was feeling about talking to a kindling flame away from a dating app (“Talking to someone who I’ve never met / Thank you, God, for making the internet”). That flame wound up becoming Bain’s fiancee, and “:)” is a bright, burgeoning pop tune perfect for the season it was released in. Produced by Chloe Kraemer (Rina Sawayama, FKA twigs), the song employs Bain’s typical plainspoken storytelling (“I feel happier / I could be losing my mind, but something’s happening”) and her ability to embed rich detail into short verses (“In four weeks, I’ll be getting off the plane / Being home just doesn’t feel the same / My friends all think I’m fine, but I’m just counting down the days ‘til I see her again”). “:)” might just be a one-off for Bain; but, if it’s meant to serve as a preamble to whatever comes next for the Japanese House, then I have a feeling we’re all going to feel mighty spoiled by a pop treasure trove. —MM

The Softies: “I Said What I Said”

The ethereal Pacific Northwest power-pop duo the Softies are back with their first single in over two decades. “I Said What I Said” is the sweetest little breakup ballad of the “it’s not you, it’s me” variety, one that lets its subject down easy without letting them off the hook: “There’s gotta be more to love than discontent / I always knew there was probably someone better for you.” Rose Melberg and Jen Sbargia’s hazy harmonies are as dreamy as ever, flitting over folksy guitar lines. The Softies are playing to all of their strengths on the lead single for their comeback record, The Bed I Made; hearing from them again feels like catching up with an old friend and, even though it feels like a lifetime has gone by, picking up right where you left off. —GRS

Why Bonnie: “Fake Out”

“Fake Out,” the lead single from Why Bonnie’s forthcoming sophomore album Wish on the Bone, was the first track Blair Howerton brought to her bandmates before recording. It was a signal that the band was encroaching upon a new sound to explore, while also remaining anchored in Howerton’s voice. “Fake Out” encapsulates a lot of the sonic decisions they make on Wish on the Bone,, a direction that points its anthemic arrow true north. “If I put my tongue to my teeth like this, would you tell me to stop opening my lips?” Howerton belts out, before skyscraping into a tectonic rapture of piling guitars, glitching drum machine and her own climbing vocals. In just four minute’s time, “Fake Out” captures Why Bonnie’s wide-eyed past, present and future—not a “return to form,” but a mirage of regeneration in gifted, swirling technicolor. —MM

Other Notable Songs: Alison Moyet: “Such Small Ale”; Ben Katzman: “Tears On The Beach”; Boldy James & Conductor Williams: “Terms and Conditions”; Burial: “Phoneglow”; Cold Cave: “Hourglass”; Duck Sauce: “Can’t Stop”; Ed Schrader’s Music Beat: “Daylight Commander”; Ezra Collective ft. Yazmin Lacey: “God Gave Me Feet For Dancing”; Footballhead: “Before I Die”; Ginger Root: “Better Than Monday”; Girlhood: “Get Ready”; Jamie xx ft. Robyn: “Life”; Jeshi: “Total 90”; Jessica Boudreaux: “Main Character”; JPEGMAFIA ft. Freaky: “don’t rely on other men”; Kode9: “Eyes Go Blank”; Lilacs & Champagne: “Evil Has No Boundaries”; Mavi: “Drunk Prayer”; Mavis Staples: “Worthy”; Molina: “Scorpio”; Redd Kross: “I’ll Take Your Word For It”; Rui Gabriel: “Change Your Mind”; Thurston Moore ft. Laetitia Sadier: “Sans Limites”; Tindersticks: “Nancy”; TORRES & Fruit Bats: “Married for Love”; Victoria Monét: “Power of Two”; Wand: “JJ”; WHY?: “G-dzillah G’dolah”


Check out a playlist of these great songs below.

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