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.

“Louisiana” is clear standout track on Alex G’s very good major label debut, Headlights. Lyrically, it’s nonsense; the track title came from free-associating syllables over the song’s chord progression, he recently told Pitchfork, and the rest of the words seem to follow suit (it doesn’t take a genius to see how he got from “Louisiana wild and free” to “Marry me Louise”). The song’s greatness, then, is all in the way his grainy voice floats just barely above the marshes of deliberate bass, bedraggled drums, and guitar, an inherent strangeness that seeps through chords and lyrics that might seem utterly unremarkable without his special, indelible touch. —Raphael Helfand

Two decades ago Wayne Rooney was the biggest soccer player in England, having worked his way up from the streets of Liverpool to center stage at the World Cup. Jim Legxacy draws a parallel between himself and his idol on this euphoric standout track from his new album, Black British Music (2025). Rooney went on to become England's all-time top goalscorer. Who's to say Jim Legxacy won't go just as far? —David Renshaw

Blood Orange's Dev Hynes is collecting pop girls like Pokémon. Both Caroline Polachek and Lorde (and Mustafa the Poet) feature on the dreamlike "Mind Loaded," a song that sounds like it should be soundtracking a bucolic vacation to Europe countryside somewhere. It's lush with a hint of darkness, helped along by the ghostly Polachek, Lorde, and Mustafa Greek choir. —SW

Upchuck have been releasing consistently excellent punk music for the past few years. “Forgotten Token” arrives with the announcement of the Atlanta outfit’s third album I’m Nice Now. It’s got a run time of three-and-a-half minutes and vocalist KT is able to maintain a visceral energy for the track’s entirety, driven by Chris Salado’s thrashing drums, Ausar Ward’s bludgeoning bass, and dual power chords courtesy of Mikey Durham and Hoff. “Makes me sick just to think that we’re lost from it, forgotten tokens,” KT sings, her voice straining in anguish. The track culminates in a final chorus that allows each word, each drum beat, and each shredded chord hit with renewed potency. — RH

On their second linkup in the same number of months, MAVI and Niontay offer further proof of their easy chemistry. Both have flows that can pivot from nonchalance to explosive emotion in split seconds, but MAVI’s is steadier, while Niontay’s intonation veers wildly as he raps. Their compatibility is made even clearer here than on their first collab as they trade bars like they’ve been doing it their whole lives. — RH

Silver Gore is the new project from Ethan P. Flynn and Ava Gore, two London-based songwriters born from the same off-kilter folk scene that brought us Jockstrap and Black Country, New Road. "Dogs In Heaven" is equal parts rustic and alien, medieval and spacey, partly inspired by Gore's penchant for watching animated movies alone as a child. —DR

"Willow" is filling the Alvvays-shaped hole in my heart. Zofia Smith's vocals chime sweetly above diet shoegaze guitars that shimmer underneath the light. It's a song with earthly matters at its core, written about the changing climate and our relationship to the natural world. “Let the seasons crawl," Smith sings. "We can learn to start again.” That might be wishful thinking, but songs as pretty as "Willow" give you something to live for. —DR

Kenneth Blume, FKA Kenny Beats, produced "Play Me," a wobbly, dubstep-lite club banger from one of New York City's coolest electronic duos now, Fcukers. Their collaboration seems like a surprising one, given Mr. Beats' hip-hop-heavy history, but his touch slots into the stylish Fcukers world well; he populates the beat with swiggly hi-hats and menacing piano that play well against Shanny Wise's sweet vocals. —SW

In the fragmentary, engaging music of Joanne Robertson, whole worlds are spun from the spaces between notes and words. The melodies of her folk guitar, recorded on what sounds like a laptop mic, resonate with some long forgotten lullaby in the recesses of your memory. Similarly, you may only catch bits and pieces of her lyrics, like a conversation carried your way through dirty alleys and blooming flowers. Enlisting cellist and experimental producer Oliver Coates for “Gown,” the first single from her upcoming album Blurrr, thankfully doesn’t sacrifice these effects. His presence is a tide that gently rises throughout the track before eventually flooding it, turning Robertson’s fragments into glittering pieces of sea glass. —Jordan Darville

Hours after the release of Contacting earlier this month, it was clear that the new collaborative album from N.Y.C. rapper Sunmundi and producer Sasco would become one of summer 2025’s defining rap albums. Taking stock of the inescapable decline that surrounds us, Contacting bridges vaporwave and lo-fi beats, Antipop Consortium and Backwoodz Studios. “Clout Spells” is a haunted dispatch from the algorithm swamp, where art sinks and clout floats. —JD