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.

On “From,” folk pop’s top weathered-voiced man Justin Vernon sweetly meets a lover where they are, reassuring them of his heart while saying, “we can just keep it here for now.” It’s the tenderest song on a record that’s full of warmth, made brighter by Mk.gee’s unmistakable guitar that shines like a lens flare. —Steffanee Wang

The U.K.'s underground rap scene is blowing up and it wouldn't be totally wrong to say that Jim Legxacy is the artist leading the charge. It's clear to see why while listening to his latest, "Stick," a poignant cut delivered by rapper with mighty pop sensibilities. He paints a picture of a tough past — getting evicted, witnessing drug epidemics — but though sharp melodies and a gorgeous voice on which he exerts masterful control. The tagline he frequently repeats on his songs is "Black British music," but it's only a matter of time it goes global. —SW

When Lana Del Rey said she was making a country album she was never going to jump on the Morgan Wallen bandwagon and start singing about downing whiskey and never settling down. Lyrically, "Henry, Come On" doesn't stray too far from the blueprint that’s got her this far; it's a dissection of an on-and-off relationship with a man "who flies too close to thе sun" and leads to self-reflection and a belief that her problems are God-given. "Tell him that his cowgirl is gone," she sings on a line that plays into the new direction a little more. Honestly, it feels more Yellowstone than true Nashville but "Henry, Come On" is the sound of an artist trying on a costume. It's a little different but all the signs suggest it's a role she'll feel right at home in. —David Renshaw

Searching Jordan Patterson online will bring up a lot of videos by the thin-skinned manosphere psychologist Jordan *Peterson* and spoil your day. Luckily, Patterson has more than enough to separate herself from her unfortunate near-namesake. "God" is a broody and atmospheric moment from an artist whose previous releases have leaned more straight folk. She playfully switches tempos to spotlight certain lyrics as she thinks deeply about motherhood. “If I’m idle, I feel like a waste/ They say your twenties are for finding your own pace,” she sings. “Maybe my purpose is to create other life.” The production switches from industrial clangs to lush strings, reflecting a thought process that is engaged but anything but clear. —DR

Danish vocalist Ydegirl and Berlin-based producer RIP Swirl are preparing to release their joint EP Emo Regulation next month. “Spirals On My Tongue” is a gentle and inviting introduction to the soft world this duo are conjuring together. "Perfect day, by the lake," Ydegirl sings as pillowy drums and synths that sing like birdsong wash over her and beckon you closer to the water's edge. —DR

One of the films I think of most, despite only seeing it once, is Zombie Child. The 2019 film is partially based on the life of Clairvius Narcisse, a Haitian man who died in 1962 and reappeared in 1980, claiming he had spent years enslaved as a zombie on a farm. “BLK ZMBY,” the new song from billy woods, inspires a similar sense of spectral dread. Here, a zombie is a slave to capital: a trope in underground hip-hop but woods stretches its dimensions and peers deeply into them in a manner that only reaffirms him as one of rap’s preeminent talents. By the end, woods is chanting ”Zooohm-BEE, Zooohm-BEE,” inviting us to chant along. Like a toxin of the undead pumping through your veins, it’s impossible to resist. —Jordan Darville

If I were to describe this song as “hyperpop Peter Gabriel,” you’d probably immediately be repulsed. But let it breathe a bit, swish it around, take a sniff, then listen to the song itself. There’s something to it. Kurtains hits a melodic hyperpop rap flow you’ll recall from artists like glaive, but with a far more sophisticated sense of melody, particularly with the voices that sing “Don’t think about it too much” on the hook. They help elevate a track about blowing a bag into a paean of presence. —JD

The second single from Cleveland future-soul group Mourning [A] BLKstar’s next album, Flowers for the Living, is a slow-building track about overcoming adversity, anchored by a particularly triumphant trumpet refrain. Three-and-a-half minutes in, the instrumental gives way to a moaning, bare-bones beat that heralds the arrival of weirdo New Jersey rapper Fatboi Sharif. It’s not immediately clear what the song’s final minute has to do with the rest of it, but it’s never a bad thing to let Fatboi cook. —Raphael Helfand

The jazzy, blissed-out textures that envelop “Low Love,” the latest taste of Eli Keszler’s forthcoming self-titled LP, are augmented by Sofie Royer’s dreamy, faraway vocals. A third of the way in, buzzing dissonance takes over, setting the stage for a barrage of militaristic snare hits, the only show of force Keszler provides here. Soon, the song fades back into its ghostly lounge groove, bearing no trace of the interruption. —RH

Preparing to drop a new record called Ready For Heaven next month, Angel Deradoorian has released another stripped-down, industrial take on ’80s disco funk. Its rhythm section — just drums and bass — is groovy and danceable, but strange sounds that start off in the background slowly bleed into the scenery of the song, making it impossible to ignore the metallic taste. —RH