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.
Perfume Genius, "It's A Mirror"
"It's A Mirror" is the lead single from Perfume Genius's forthcoming album Glory (out March 28). Over crashing guitars, Mike Hadreas finds himself alone and staring out of the window. What he sees is not just natural beauty but a different way of life. "Can I move on without knowing specifics?" Hadreas sings on a song that occupies spikier territory than his more recent work, calling to mind prime R.E.M. —David Renshaw
Asian Glow, “The Worst Way to Start an End”
Despite ending the Asian Glow project in February of last year, its bandleader Shin Gyeongwon brought back the Korean shoegaze band for a brand new album called 11100011. On “The Worst Way to Start an End,” Gyeongwon’s vivid voice simmers like boiler-stained glass as more epic instrumentation unfolds around him, darting from an interlude of turbo charged arcade guitars to its colossal post-rock conclusion. It’s a great reminder of Asian Glow’s specific, curious excellence. —Jordan Darville
Taxidermists, “Shoot”
In his solo act LUCY, Cooper Handy imbues a boyish charm to his beats and his vocals. With Taxidermists, his longtime duo with drummer Salvadore McNamara, he brings the same energy to grittier post-punk fare. “Shoot,” the lead single from the group’s forthcoming album, 20247, is a characteristically short track that pivots from an upbeat verse to a slowed down hook, culminating on the lyric, “Tired, exhausted / Tired, tired, exhausted.” —Raphael Helfand
Julia Michaels, Maren Morris, "Scissors"
Even before clicking play you already know a Julia Michaels song is going to hit. “Scissors,” the pop genius’ latest collab with Maren Morris — and perhaps the sister to their 2024 duet “cut!” — is a generously scathing break-up bop with Michaels and Morris reassuring whatever loser they’ve just dumped that they’re already over it: “If you want to cut ties/ I'll get the scissors baby.” It oozes sour grapes, but Michaels still makes it sound so sweet. —Steffanee Wang
Bummer Camp, "Animal in a Cage"
On Bummer Camp’s latest single “Animal in a Cage,” taken off their forthcoming debut album Stuck In a Dream due in February, anxiety presents itself as a force of distorted guitars and hazy dissonance, a swirl of pitched-up vocals that warn of too many monsters and the threat of fingers being cut off. The project of Eli Frank, Bummer Camp is based in Queens but shares the same sonic ideology as noisy Philly shoegazers They Are Gutting a Body of Water and blue smiley, with the added bedroom-pop familiarity of the likes of Greg Mendez and Alex G. —Cady Siregar
John Glacier, "Ocean Steppin' (feat. Sampha)"
The latest single from John Glacier's Like a Ribbon (out February 14) is a warm and textured celebration of defying others and owning your own lane. With an unwavering delivery that arrives halfway between rap and spoken word, Glacier sprays "Ocean Steppin'" with her innermost thoughts, including discomfort with the idea of having fans and how talking about money makes other people feel a certain kind of way. Sampha's voice, a layer of sheer silk, floats over the top of it all, softening the bumpy ride. —DR
Florist, "Have Heaven"
On "Have Heaven," Emily Sprague exits the corporal realm and embraces a fantastical world that exists in the gaps between life and death. Sprague's vocals, which on older material would be a series of reluctant whispers, are imbued with a newfound directness as they ponder the afterlife and finding joy back down on Earth. The song will appear on Florist's new album, Jellywish, due out on April 4. —DR
Operelly, “Vows”
Despite having only released a handful of songs as Operelly, Olivia Austin has distinguished herself as an extremely promising singer-songwriter with an ear for subtle creative choices that draw you deeper into her world. Following the grungey Grizzly Bear-pop of 2023’s “Cozy” is “Vows,” another acoustic song with a less impressionistic loneliness coursing through it. The directness serves Operelly well, adding more immediate stakes to her sparse melodies that loop back around like a bitter memory lodged in her brain. —JD
Whatever The Weather: “12°C”
Arriving alongside news of Loraine James’s second Whatever The Weather album (Whatever The Weather II), “12°C” is a blend of whirring synth chords, guitar noodlings, clicks, buzzes, and fragmented snippets of what sounds like children' s speech. It’s a busy track, but James ingeniously syncs all of its moving elements together into a perfectly balanced biome. —RH
OHYUNG, “no good”
A thumping, behind-the-beat kick-snare drives “no good,” the first single from OHYUNG’s newly announced album, You Are Always On My Mind. The track then unfurls into a moody retro synth-pop jam, centering the Brooklyn-based artist’s low-slung voice. “I’m no good for you,” they sing on the hook, letting each syllable linger a little. A little more than halfway through the song, their vocal disappears, making way for a mesmeric string section that brings the whole thing home in haunting fashion. —RH