Each week, The FADER staff rounds up the songs we can't get enough of. Here they are, in no particular order. Listen on our Spotify and Apple Music playlists or hear them all below.
FKA twigs: "Eusexua"
FKA twigs has described "Eusexua," the title of her upcoming 2025 album, as being a synonym for "the pinnacle of human experience." The title track, which is produced by twigs alongside Koreless and Eartheater, is all about reaching that stage. Outsized and let off her leash, twigs sprints past anything or anyone holding her back. The song starts slowly, the synths are tentative and twigs' vocals gossamer-thin, before delicately blooming into its final trance-pop form. It's a thrilling return from an artist whose desire to push forwards shows no sign of slowing down. — David Renshaw
Oliver Coates feat. Malibu: “Apparition”
Two masters of atmospheric ambiance, Oliver Coates and Malibu make about as thrilling a duo as you’d expect. Coates’ cello strings take the texture of glitched-out silk and yawning, Stars of the Lid sunrise as Malibu offers breathy entreaties for us to enter their new world. The second single from Coates’s upcoming album Throb, shiver, arrow of time, “Apparition” leaves a lasting impression. — Jordan Darville
Arca feat. Tokischa: “Chama”
Perhaps the saddest, horniest song I’ve heard all year, “Chama” has a morose mood running through its infectious, mutated production. It introduces itself as a greyscale Jersey club track and evolves into the fierce, angular dembow Arca specializes in, as she and her counterpart sing as though enraptured and in complete sexual thrall. Despite all this, it’s almost as fit for the funeral parlor as the bedroom: it really puts the “death” in “little death.” — JD
High Vis: "Drop Me Out"
Much is made of U.K. band High Vis filtering their love of lad rock bands Oasis and Stone Roses into their hardcore sound. "Drop Me Out," however, is a back-to-basics stomp brimming with bilious rage. You can almost feel the spit flying from Graham Sayle's throat as he tears through his vocals. "We're meant to be in this together," he roars at one point. "Off you fuck these ties are severed." There is no coming back from that. — DR
Ebo Taylor: “Obra Akyedzi”
Ebo Taylor, the pioneering and legendary Ghanaian afrobeat and highlife artist, sounds completely vital here, at 88 years old, revisiting the vibrant syncopations and inventions of his ‘70s golden era. Part of that is surely down to masterful contributions from Adrian Younge and A Tribe Called Quest’s Ali Shaheed Muhammad, co-founders of the Jazz Is Dead label that brought Taylor to North America for a concert series this year. They’re releasing a whole album of this magic coming on October 25. The opportunity to see him celebrate that release, and perform alongside Pat Thomas, across the continent this year should not be passed up. — Alex Robert Ross
Show Me the Body feat. High Vis: “Stomach”
Show Me the Body’s new collaboration with High Vis oscillates between simple guitar lines and sudden bursts of volatile hardcore fury, but “Stomach” also serves as a surprisingly fluid exchange between the N.Y.C. and U.K. outfit. Despite initially presenting as barbed and hostile, it’s clear the fury powering the momentum-based track is a show of sonic symbiosis, communal ideals, and true solidarity between the soon-to-be tourmates. — Sandra Song
Papa M: “Ode to Mark White”
The lead single from Ballads Of Harry Houdini, David Pajo’s first full-length as Papa M since 2018, is an anthemic folk-rock ballad in the tradition of Leonard Cohen and Warren Zevon. Pajo’s wistful, narrative lyrics (“I said only fools think they’re invincible / She said call me a fool, then, just ’cause I’m happy today”) feel especially poignant in due to his vocal delivery — as hoarse as Tom Waits’s but not quite as affected, adding grit to the loose, jangling instrumental. — Raphael Helfand
Small Shake: “Montana Dream Wife”
On “Montana Dream Wife,” Small Shake treats the desert not as a sprawling terrain that represents liberty and lawless abandon, but the setting in which she loses a friend to the cage of matrimony. “Go off and wed him in a Montana church / bargain your white dress from the auction online,” she laments dryly atop jangly, Americana instrumentation that evokes the tenderness of a slow dance, a soft waltz. — Cady Siregar
Greg Mendez: "First Time"
Greg Mendez released his excellent self-titled debut last year just before wrist surgery rendered the Philly singer-songwriter unable to play guitar for an extended period. While he recovered, Mendez began noodling around on an electric organ leading to the creation of "First Time." The switch-up suits him, with the simple chords nestling between pleas to a loved one to look away while he weeps. A tendency to expose his darkest thoughts shows up in part ("push me around, ruin me gently" he sings into the darkness) but "First Time" is a tender call for privacy. — DR
Kamron Saniee: “Your Rays Make Me Entire”
Kamron Saniee’s forthcoming album Angel Express was inspired by “chance encounters with angel figures who upend the course of our lives.” Its brief but rich lead single “Your Rays Make Me Entire” crackles with the energy of a technicolor future, like city pop sent from a castle in the sky. — RH
RiTchie & FearDorian: “Cc Me”
RiTchie and FearDorian induce a hazy and hypnotic high with “Cc Me,” a tripped-out track that sounds ripped straight out of a lucid dream. A combination of the Injury Reserve rapper’s loose and limber flow and FearDorian’s choppy reverb and sprightly snares, “Cc Me” is a downbeat floater best enjoyed with your eyes closed and body in a horizontal position. — SS
Dummy: “Unshaped Road”
Free Energy, the sophomore album from L.A. trio Dummy, is a fresh and engaging take on space rock with a healthy dose of Stereolab-adjacent harmonies. “Unshaped Road” is built on an asteroid belt of stuttering hits, chirping satellite synths, and gauzy melodies that fizz and shimmer. If the new noise that has consumed modern underground rock is too in the red for you, Dummy offer a vibrant alternative. — JD
Slim0: “TRENCHES”
Taken from Slim0’s forthcoming debut record, “TRENCHES” is emblematic of the Danish trio’s complex, contemplative, and chaotic brand of grungy noise rock. Containing a sense of visceral pain and bittersweet grief, “TRENCHES” brings an oddly wistful and eerily cinematic feel to the distorted lull of a cyclical drone, occasionally punctured by pain-stricken howls and the chaotic clamor of raging noise. — SS
Foushee: "feel like home"
An outlier on Fousheé’s Pointy Heights, an album built more around Jamaican reggae and more recent indie-rock sounds, “Feel Like Home” is a sultry, sweeping, dramatic ballad. The synthetic sitar and warbling high-up backing vocals give the whole thing an odd feel, as though it’s been ripped from a black-and-white mid-century melodrama. Surrounded by relatively risky material — plenty of young singers would have played their second albums much safer — that uncanniness stands out. — ARR