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.

Carolina Oliveros, the singer of such groups as Combo Chimbita, Bulla En El Barrio, and the Latin Grammy-nominated Tonalada, is branching out. “Asfixia,” her second as a solo artist, is a track about the kind of desire that permeates every fiber of your being until you can think of nothing else. “Sisisisi, es que es una fuerza sobrenatural” (“Yesyesyesyes, it’s a supernatural force”), she says at the start of the bridge, switching her echoing alto to a sultry monotone as the dembow bass and dreamy harp synth drop out, then slowly return. “Es como mental y físico y ajá / Y luego lo sientes como en la piel / Y luego en los huesos” (“It’s like [it’s] mental and physical, and aha! And then you feel it in your skin, and then in your bones.”) —Raphael Helfand

The lead single and intro from the soundtrack to Flying Lotus’ forthcoming self-directed and -scored sci-fi horror film, Ash, is a short and sinister one-and-a-half-minute cut featuring a throbbing darkwave bassline and supernatural synthwork. It’s yet another demonstration of FlyLo’s supreme versatility as a producer of sounds and creator of worlds. —RH

Arriving with the announcement of Hataałii’s seventh LP, “She Ain’t Coming Back” marks a development in the 21-year-old Navajo singer-songwriter’s lyrical capabilities and a milestone in the progression of his wisdom. Blessed with the vocal style of a young Leonard Cohen, he’s got a knack for stinging, pithy wordplay. “Freedom wonders / How sad is your name / Trade in trade out / You threw it away,” he sings on the new track over gentle acoustic guitar strums, mournful cello bowing, and a barely perceptible lament from what sounds like the high-end of a pedal steel. —RH

Kwes e, who last week was part of a Plaqueboymax stream in London alongside friends and collaborators YT and Jim Legxacy, pays homage to an afrobeat pioneer on his latest track. "Fela Kuti" isn't about the past though, with Kwes rapping about night buses, Yu-Gi-Oh!, and Gucci Double G's over a beat that swirls around him as he charts his come up. —David Renshaw

"Boxing," a standout from Mount Kimbie’s 2024 album The Sunset Violent, is propelled to balearic new heights by DJ Python. This remix feels like cracking a window on a sunny day, refreshing, warm, and making the desire to go outside almost irresistible. King Krule's vocals have never sounded dreamier than this. —DR

Florence Sinclair's first new music in over a year is a guttural and intense rhythmical workout. The London-based artist, who has previously worked with Sega Bodega and Klein, mixes heavy bass rumbles with striking verses, the words "She danced for the devil... nothing good to say" echo through the song like an ancient warning. —DR

Philly noise-rockers Feeble Little Horse have been relatively quiet since releasing their sophomore album, the great Girl With Fish, in 2023, spending their time on the sidelines and waiting to bare their teeth and pounce. “This Is Real,” their first new music in almost two years, is the sublimation of the band’s restlessness, an electroclash torrent of pure noise and grit as Lydia Slocum screams: “If you’re not real / then I’m not real.” The band go full nightmare mode: We can’t wait for more. —Cady Siregar

Pondeggi is a peculiar South Korean street treat made of silk worm pupae that’s been boiled and seasoned with soy sauce and salt. In the music video for “Pondeggi,” Yaeji appears as a silk worm pupae who’s being terrorized by a purple-haired witch who kinda looks like 2NE1’s CL. All of this happens while the song’s unassumingly catchy, clapping beat pounds on in the background like an ominous drum. Steffanee Wang

Grant Chapman is a prolific NYC-based drummer who backs bands like Body Meat, but also crafts his own surreal and atmospheric compositions. “Holy Ghost / Death March,” his latest single, uses delicate drum work to weave together dissonant soundscapes like haunting chimes, billowing wind, AI chatter, and a jump-scare Lady A sample. Something about it feels simultaneously like gazing at a piece of contemporary art at a museum, and all the sound files on your computer opening at once. —SW

The short film for Paris Texas’ new EP, They Left Me With A Gun, is wild, a convenience store robbery goes wrong but not in the way you’d expect. The 5-minute visual opens with the streaking hyperpop track, “Superstar,” which sets the curiously bizarre but stylish tone for the entire project. —SW

The new single from Al Nardo and Bailey Wollowitz’s indie-prog project is heavy on the broken heart. Few indie rock bands are better suited to write songs about fraught romance: Their 2024 debut, Feats of Engineering, made sonic contradictions feel complimentary, and “We Confront the Demon” turns the emotional frenzy of romantic angst into an anxious rapture. —Jordan Darville

Shapshifters since their debut in 2008, These New Puritans take on their most avant-garde form yet: machinery. On the sophisti-indie duo’s new single “Industrial Love Song,” vocalist Jack Barnett and guest Caroline Polachek play two cranes in love, themselves still under construction but still built for each other. “We are higher than the setting sun,” Polachek sings, her voice lovestruck yet surrounded by tragic concert hall instrumentation, its golden notes signalling an end rather than a beginning. —JD