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.

Kenny Rogers and Dolly Parton’s “Islands in the Stream,” originally by the Bee Gees, has been covered to death, but no other version is as stripped down and eerie as the new reimagining by Blake Mills and actress/screenwriter Molly Gordon. Their take, which appears in her new rom-com Oh, Hi!, is a solo vocal performance with Gordon singing and Mills on acoustic guitar. Gordon sings it straight with a clean, steady tone, but Mills’ accompaniment, which starts out simple and sweet, unexpectedly creates tension where resolution is expected. “Islands in the Stream” is one of the least subtle songs, but Gordon and Mills cover it with quiet nuance. — Raphael Helfand

Jetski is best known to the very online music community as a funny Twitter guy. Meanwhile, he’s been unleashing sick/twisted music on a small subset of the listening public for the past 10 years. “Bucking Broadway,” the second single of his next album, is an ultra-fragmented onslaught of sampled drum fills, wailing sax, and clips from government films about B-52 bombers and communism. If you’ve ever wondered what the Avalanches might sound like if they’d decided to get truly psycho with it, this is a plausible answer. —RH

Laraaji lends a sense of deep love to everything he touches, and “Voice Continues” is another example of the Orange Man’s healing powers. The track is the lead single from Farao’s forthcoming album Magical Thinking, and it’s one of the most hypnotically lovely songs I’ve heard in recent memory. Her vocals swim on a current of slow-strummed zither and plush synths, emanating a timeless aura that’s a pleasure to sink into. —RH

The title of Audrey Hobert’s debut album, Who’s the Clown?, gives the kind of vibe she’s bringing to pop music: self-deprecating songs that are in on the joke. Some of the tracks lean too twee for me, but “Phoebe” is a stirring exception, an example of when her sarcastic songwriting hits just a little too rawly: “‘Cause why else would you want me? I think I’ve got a fucked up face, and that thought used to haunt me.” Alongside the smooth edges, sometimes, Hobert can really bare her teeth. —Steffanee Wang

Five years on from her 2020 debut Forever, Ya Girl, keiyaA returns with new song "Stupid Prizes." A Percy Faith sample creates a warm glow that is dimmed by keiyaA's recollections of disenfranchisement. "Tell me how I'm supposed to try when all I've known is to survive?" she asks with a crushing sigh. —David Renshaw

The best way to experience Satellite, the new compilation from Swedish label inadvertent.index, is to press play and take a deep dive into the outer limits of Stockholm’s indie scene. But if you can only listen to one track, Tiffi M's beautifully tranquil "Seen" feels representative of the ways ambient, dream pop, and elements of trip hop production are drifting gently through the new generation of Scandinavian artists. Fans of ML Buch take note. —DR

London-based collective Thredd just dropped their debut album, It's Lovely, Come On In, via Scenic Route (Nourished By Time, Mark William Lewis). The group, made up of Will Lister, Max Winter, and Imogen and The Knife, describe their sound as "cold pop" but album standout "Party", with its deep-fried synth riff and magnetic spoken word vocals, is anything but icy. —DR

Last Friday, the Russian-English underground pop star responsible for 2024’s Song of the Summer dropped her debut project XO, and true to her mid-2010s Tumblr aesthetic she successfully replaces oxygen with swag across eight songs. On “Magic,” RADA channels puppy love and pre-party adrenaline into explosions of bugged-out rave-pop that almost immediately syncs with your heartbeat. Some may call it indie sleaze, but its references build something more durable than mere nostalgia. —Jordan Darville

Sortilège, the new album from Gabe ‘Nandez and Preservation, is a self-consciously American project. ‘Nandez’s wearily apocalyptic verses frequently touch on the often violent entitlement of the United States while being aware that his music can never be truly separate from it. “Mondo Cane” begins with a quote from Gangs of New York where Daniel Day Lewis’s psychotic dandy Bill the Butcher explains how he retains control of the city, then each rapper ruminates on devastation at home and abroad. There are no easy answers, as Benjamin Brooker hints on the hook, “If you fear it's only everyone / Then it's already won.” —JD