Pigeons & Planes' Best Songs of the Month

With so much good music steadily coming through, it's easy to miss some of the best. To help prevent this, we've rounded up the best songs from the past month. Here are the songs you can't afford to skip, in no particular order.

The fact that Frank Ocean is dropping loosies in 2017 took some getting used to, but Frank's new release strategy hasn't hurt the quality of his music. "Lens" is another win—he's still exploring new sonic territory, still weaving personal and historical anxieties behind mysterious couplets.

On "Lens," Frank's vocals are masked behind some heavy Auto-Tune, and it's a dance between voice and electric keys for the song's first half. But the second half features a classic Oceanic evolution—drums start to kick, synths start to stack, bass rumbles. Then there are the lyrics, incisive as always. The internet made fame whack, Frank once said, but the lenses in his crosshairs this time around don't belong to paparazzi.—Graham Corrigan

There was a lot of new music this month, but Seattle's Shabazz Palaces stay operating in their own unique lane. On "Shine A Light," they merge soulful, vintage R&B (with some help from a Dee Dee Sharp sample) and smooth raps with a subtle psychedelic twist. The group is always experimenting with sounds, and on this one they pull off something that feels cutting-edge and classic at the same time.—Jacob Moore

We've been waiting a very long time for SZA to share another single from her forthcoming CTRL album. Actually, we've been waiting for the album as a whole for quite some time too. Thankfully, SZA finally returned with her brand new single "Love Galore" featuring Travis Scott this week, and it's addictive.

SZA has always had a habit of writing songs that are very personal to her, in turn telling stories that many of her listeners can really relate to. "Love Galore" is a perfect example of this. On the record SZA sounds tired of people wasting her time and toying with her emotions but, like her album title would suggest, SZA is finally at the point where she's figuring out how to take control of her life once again.—Adrienne Black

There are a lot of intense moments on DAMN., but right in the middle of it all is the gorgeous, introspective "PRIDE." Steve Lacy's contributions bring a lazy, dreamy vibe that provide a little moment of peace in an otherwise urgent album. Read more about Steve Lacy and Kendrick's collaboration here.—Jacob Moore

When he's not running around in a pink body suit, yelling guttural noises at strangers and destroying his apartment as Pink Guy on one of the wildest shows on the internet, George Miller makes gorgeous music as Joji.

His new single "I Don't Wanna Waste My Time" highlights Joji's soothing vocals over understated piano and percussion that feels like a warm, revitalizing shower after the obscene (but similarly genius) chaos that is much of the content on Filthy Frank TV. It isn't a stretch to say this is one of the most fascinating—and surprising—music projects we've come across in recent years. We can't wait to see what this guy does next.—Eric Skelton

The wait is over, and HUMANZ is here. Seven years after Plastic Beach, Gorillaz have delivered another insanely ambitious effort—the new album spans 26 tracks, features nearly that many guests, and comes with a litany of futuristic accompanying promo material. We're still wrapping our brains around the thing, but "Submission" kills. Kelela takes over lead vocals from Damon Albarn, and delivers an airy, effortless performance that gives new life to an otherwise classic uptempo Gorillaz groove.

Danny Brown joins the proceedings to deliver a surprisingly intimate verse about internal struggles. Just as good is the transition into the next song, the Grace Jones-featuring "Charger." Another reminder that when it comes to this album shit, Gorillaz are still paying attention to detail.—Graham Corrigan

HAIM are back! It's been nearly four years since they dropped their debut album Days Are Gone, which took the sisters from blog sweethearts to global superstars. Good on them for not rushing the follow-up though, because the pressure must have been there.

Now, we have some firm information about HAIM's second album—Something To Tell You will be out July 7, and they worked with Ariel Rechtshaid and Rostam Batamanglij from Vampire Weekend. A single has yet to be officially released, but in it's place HAIM shared a single-shot video of them performing "Right Now" in the studio, directed Paul Thomas Anderson.—Alex Gardner

Two of our favorite young artists, Kweku Collins and Allan Kingdom, have carved out successful lanes for themselves with unique approaches to genre-defying hip-hop. So, it was hard to guess what would happen when their distinct voices came together on the same song for Collins' new grey EP. A few hours after its release, I'm sitting here midway through my eighth  listen (I can't stop) and can confirm that what happened was, well, magic. Instead of clashing, these guys managed to mix their respective styles into a sound unlike anything I've ever heard before. What a song.—Eric Skelton

L.A.-based singer DEDE announced her debut solo album Panoply with a beautiful song this week, teaming up with Grizzly Bear's Ed Droste and Fade To Mind boss Kingdom for "Faultline." You might recognize DEDE as the singer from Tiny Hearts, and fellow band member Tim K also contributes production here, but DEDE and Droste's mournful twin vocals.

"We both couldn’t shake the feeling of impending doom in the aftermath of the election," DEDE explains. "The song is a reflection of how we were feeling at that time.” The album Panoply will be out this summer via Fresh Selects.—Alex Gardner

Norwegian producer Cashmere Cat's highly anticipated debut solo album 9 has finally arrived. The album features collaborations with multiple unlikely characters, and none of the guest artists shine against Cashy's whimsical sonic backdrops quite as brightly as Jhene Aiko, who lends her vocals to the album's closing track "Plz Don't Go."

While "Plz Don't Go" includes many of Cashmere Cat's trademark production elements such as lilting flutes and pitched-up vocals, it also showcases his ability to play with the listener's expectations. The song begins with a slow build, erupts into soaring pyrotechnics driven by strings and swirling synths, and then collapses back down into minimalism. "Plz Don't Go" marries EDM and R&B in unexpected ways, attesting to Cashmere Cat's innate ability to blend disparate influences together flawlessly.—Charlotte Freitag

It's been over a year since we last heard new Miles from Kinshasa music, but he's definitely back with a bang. "Fireworks" is just as punchy and infectious as his previous singles, making brilliant use of his vocals. Just like "Kaya" and "IVRY" before it, "Fireworks" keeps the production relatively simple without compromising. The lively production provides a perfect backing for Miles' vocals, even offering a little moment for him to show off his rapping skills in the second half. If "Fireworks" is any indication of what his debut project will sound like, it's likely to arrive with big impact.—Joe Price

NUE is a 23-year-old artist from Toronto, and he's two for two. His debut track "Obvious" was smooth, and "Alaska" is just as catchy and has the same kind of sleek, euphoric feel to it. NUE has an ear for melody, and unlike a lot of rappers experimenting with melodies, he's got a natural songwriting ability that gives these songs enough structure to stick. For now, "Alaska" and "Obvious" are all we've got, but look out for a project on the way.—Jacob Moore

Throughout their respective rises, Allan Kingdom and Kevin Abstract have made for a compelling duo. When they come together they always come up with something memorable, and Lines highlight "Fuck My Enemies" continues this trend. It's a little bit of a different collaboration than we've come to expect from the pair, focusing more on rapping than singing, but that's what makes it stand out against their previous collabs. It's great to hear Kevin rapping like this again, too.—Joe Price

There comes a time within every 20-something's life where everything just feels like it's falling apart, no matter how hard you try. Whether you're struggling with the post-grad job hunt, moving on to Plan C, or just completely lost in the world, Michael Christmas' latest single feels like a much-needed anthem.

Sometimes knowing that people around you are struggling just as much as you can feel strangely comforting. Michael Christmas' "Not The Only One" was made to pick you up out of that discouraged mood. Singing along with Tobi Lou's chorus as he says: "I'm still fucking up all the time / I know I'm not the only one," is enough to let listeners know they're not alone out here and serves as motivation to keep pushing.—Adrienne Black

Michael Christmas is on the No Ceilings tour with Boogie, Kaiydo, and Kemba. More info and tickets here.

As a group, Migos have found an undeniable formula for catchy singles and they continue to prove it with each new release. However, within the last year the members have begun to branch out to showcase what they each bring to group by delivering more solo features.

This week we received a really special treat as we heard Offset's first solo single "Monday." To no one's surprise, "Monday" is incredibly catchy—good luck trying to fight the urge to repeat "Drop my top, let the roof loose / Look at these diamonds, Fruit Loops." Whether or not this will be featured on an upcoming solo project from Offset feels irrelevant right now because this song will be on repeat this summer regardless.—Adrienne Black

Iranian-born, Holland-based Sevdaliza has been consistently delivering some of the most creative and engaging songs, videos, and live performances out over the past few years. Her hard work has culminated in her debut album Ison, a stunning collection of songs that are part pop, part experimental electronic music, and part R&B.

Listening to this album gives me the same shiver down my spine as Portishead's classic Dummy. Sevdaliza is pushing boundaries, and you owe it to yourself to listen to this album in full.—Alex Gardner

After the density of To Pimp A Butterfly, it's refreshing to hear Kendrick deliver something comparatively straight-forward. "Element" isn't a simple song by any means, but it's not the incredibly lyrical, rapping-over-multiple-musical-movements-Kendrick that many expected. That works in the track's favor, with Kendrick providing memorable verses and a sticky hook over some sparse but gorgeous production.

It's unfiltered and direct in the way his 2015 work wasn't. "Element" is a prime example of what makes Damn an immediately appealing body of work that is just as rewarding as his more challenging output.—Joe Price

Earlier this month, Beyoncé and Jay Z celebrated their ninth wedding anniversary. While many couples might take this time to share their special moment privately, Beyoncé generously shared a piece of her gift to Jay Z with the rest of the world. "Die With You" features the kind of tender lyrics that feel as if they were solely created for hundreds of couples to recite as their wedding vows.

The pairing video montage shares home video of various intimate moments between Beyoncé and her family—only making an already beautiful piano ballad into a true tear-jerker. Without being able to completely relate, "Die With You" has the power to make listeners long for a soulmate they haven't even met yet. Preview the song below and listen in full on Tidal.—Adrienne Black

Ever since Stockholm's Busu released "116 RIP," it was clear that he was onto something. Coming up with a distinct sound, Busu's music shouldn't work anywhere near as well as it does. Somewhere between pop rock and euphoric rap in the vein of Travis Scott and Yung Lean, his debut album is concise and easy to get into. "25 to Lyfe" might be the best of the new songs on the album, offering a chorus that will surely go off at live shows despite being so stripped back. Whether he becomes a global cult star or not remains to be seen, but tracks like "25 to Lyfe" make it obvious he deserves to be one.—Joe Price

When I think of D.R.A.M., I think of a big smile, bright catchy sounds, and carefree “trappy go lucky” energy. But on his new single “Gilligan,” the Virginia native shows us another side. Alongside ASAP Rocky and Juicy J, D.R.A.M. rides over a dark bass-heavy beat and boasts that he’s “gone off the shit again.” Then Rocky and Juicy J come through with strip club-ready verses.

Wait. Hold on. Did D.R.A.M. just make banger?—Eric Skelton

It's not easy to make a huge pop song interesting, but MØ is a master. On "Nights With You," the Danish singer combines great songwriting with massive production from Cashmere Cat, Benny Blanco, and Sophie, but there's enough space for the song to breathe, making it stand out from your typically overproduced radio hit. MO's 2014 debut album No Mythologies To Follow was excellent, and it sounds like her follow-up could be even bigger.—Jacob Moore

If there’s one word to describe Anik Khan’s music, it's versatile. He’s proven that his voice and melodic delivery can fit on just about any rhythm. Recent releases have featured the Queens rapper going in over bass-heavy rhythms, Bollywood-inspired production, and everything in between.

For his new single “Kites,” Anik yet again floats over another kind of beat, one that incorporates an array of live instrumentation. The production provided by Jarreau Vandal, Raj Makhija, and Anik himself creates an atmosphere that's both soothing and thoughtful.

"Kites just don't fall, they fall to grace," Anik told Zane Lowe on Beats 1. "What's important is the people steering. It's basically about who's important to me and that's my loved ones. And those are the ones steering and keeping me up." Anik Khan's Kites drops April 28.—Adrienne Black

"Magnolia" is one of those songs that probably shouldn't be a hit, but it's undeniable. It feels like a care-free, one-take freestyle, plus a hook, over an unmastered beat, but that's all part of the charm of Playboi Carti and it's executed perfectly here. Plus, this might just be the catchiest hook of the year so far.—Jacob Moore

GoldLink has been on his remix game recently—one of the standouts off last month's At What Cost is his flip of Hare Squead's "Herside Story," and the DMV rapper is back this week to add a verse on Khalid's "Let's Go." Positive vibes abound, as GoldLink spins a story of elevation and empowerment over bright piano chords, giving new life to a summer playlist mainstay.—Graham Corrigan

Before releasing their brand new album Season High, Little Dragon shared three singles to showcase the variety of sounds they would be offering. Though each of the tracks seemed to differ in style, there was one very important detail that tied everything together—every single is without a doubt a feel-good song.

One of the stand outs, "Celebrate," is a mid-tempo track that is just upbeat enough for listeners to work their way up from a steady two-step to a full dance break. As Yukimi Nagano sings, "Don't let little worries make you blue," before the chorus, this comes off as a sign that it's alright to let loose for the moment. At just under four minutes long, "Celebrate" feels like a track that needs to be on a weekend playlist to help melt the stress away.—Adrienne Black

Norwegian singer Sigrid's "Don't Kill My Vibe" is one of our favorite debuts of the year so far, and her follow-up "Plot Twist" is proof that it wasn't just a stroke of luck. Most artists work their way up to anthemic, radio-friendly music of this magnitude, but Sigrid is diving right into it, and 2017 is already shaping up to be a breakthrough year for the talented 20-year-old. Her Don’t Kill My Vibe EP is out on Island Records on May 5.—Jacob Moore

On his latest surprise release, Frank Ocean teams up with Jay Z and Tyler, the Creator for an enthralling collaboration called “Biking.” The new track debuted on the third episode of Frank’s Beats 1 show “blonded RADIO” and has since been released as an Apple Music exclusive.

“Biking” finds Frank and his old friends ruminating on freedom, fame, and the cyclical nature of life. The track explores several sonic landscapes, moving from distorted, swirling synths to dusty pianos to acoustic guitars and back again. Frank alternates between singing and rapping, sounding equally at home in both mediums. Jay Z’s laid-back verse is offset by Tyler’s sharp, animated one, creating a fascinating juxtaposition that complements the various sonic textures of the song nicely. As “Biking” draws to a close, Frank screams about riding a million dollar bike as understated guitars swirl around him, abandoning his inhibitions once and for all.—Charlotte Freitag

LEYYA are an Austrian duo with a malleable sound. Their 2016 debut album, Spanish Disco, featured spare electronic production and atmospheric vocals, but their latest single is a little different. "Zoo" is bright and bubbly, led off by sitar and soft singing, and anchored by a brilliant chorus.

As I said on Twitter yesterday, I wouldn't be surprised if this ends up in one of those inescapable commercials sometime in the future. Whatever happens, LEYYA are making moves, and "Zoo" is their best song yet.—Alex Gardner

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Chicago polymath Knox Fortune stewards his collaborators (Joey Purp and Cam O’bi among them) in search of something fresh. The resultant success, “Help Myself,” pivots between emotions and eras in sweeping fashion. Fortune first defines the Americana of the digital age with swift poetics, recalling a stunted romance cut short by ideological division. His play-by-play lyrics ride syncopated bass bursts, vivid back-and-forth observations between Boy and Girl that follow a tambourine’s tempo. The song could soundtrack a 2017 film featuring prep for a ‘50s diner date until gentle guitar melodies transition the first verse into a lovestruck hook with one line, repeated seven times: “I can’t help from going back.”

Maybe it’s nostalgia, not love. Or maybe it’s loneliness in the absence of late-night conversations about life’s little things. No matter Knox’s exact motivation, the chorus hits home because it likely rings a bell for many—retreading the same relationships whether right or wrong. To the point and boyishly innocent, Fortune and co. flex their muscles during a restructured bridge that would make Paul McCartney proud, introducing a gorgeous mesh of violins and vocal chord changes reminiscent of vintage Beatles tunes. The song walks a rare line between youthful excitement and experienced gloom, as if Knox walks by flowers that wilt on a sunny day. It’s a perfect conception for spring days and mixed feelings.—Alex Siber

Jay Prince is back with new music just a few months after his Smile Good release, and he's tagged a P&P favorite for the assist. Avelino floats over Prince's joyful, chipmunkish production, nimbly finding a pocket between the feverish percussion. It's the first time Prince has worked with another rapper from London, he tells Zane Lowe, and the two have something good going on.—Graham Corrigan

Eli Sostre has been working with some of the biggest producers in the game (Allen Ritter, Boi-1da, Frank Dukes), but on his latest single he connects with his longtime collaborator Soriano and it sounds incredible. Eli cruised over this one with catchy melodies and he seems to have a chip on his shoulder as he addresses naysayers and old flings alike. With an album set to release this summer, "Let You Go" will be sure to keep Eli Sostre in the ears of listeners as we wait for what the NYC spitter calls his most personal project yet.—Eric Isom

As buzzing Portland rapper Aminé puts the finishing touches on his debut album, he's stuck to himself and avoided guest features and collaborations—so we didn't expect a random collaboration with British duo HONNE. But, somehow, the unexpected pairing works. Adding his unique, elastic vocals to HONNE's velvety synths, Aminé's playful appearance is a welcome addition to the excellent 2014 single. Most importantly, the mystery is solved: We finally know what that weird Fruity Pebbles clip was all about.—Eric Skelton

Out of nowhere, Lil Yachty dropped two new songs last night, offering fans a preview of his upcoming project Teenage Emotions. One of the tracks, "Harley," offers up Yachty at his whimsical best, but the Migos-featuring "Peek A Boo" goes for a different approach. The haunting production, which fits Migos perfectly, demands something a little more charged-up from Yachty, and he delivers with a manic verse and one hell of a minimal hook.—Joe Price

Cousin Stizz's rise has been steady, and his success is based on hard work and consistent output. "Headlock" might be his biggest moment yet, with a tough Vinylz beat, an Offset verse, and an exuberant Zane Lowe premiere on Beats 1 bringing more well-deserved attention to the Boston rapper. As he has done on so many tracks, Stizz delivers a low-key but catchy hook that will be stuck in your head for days. Boston keeps rising, and Cousin Stizz is at the forefront.—Alex Gardner

Mal and Squid might be my favorite tag team in the game right now. These two have been making music nonstop since they've linked up and they haven't missed once. SquidNice has a knack for making addictive melodies with his signature drowsy flow while Mal brings grit and charisma and together they make music you'll catch yourself humming along to almost instinctively. "Chelsea" puts all of these characteristics on full display and is easily an early favorite of 2017.—Eric Isom

In 2017 everyone is connected and everything is a group effort, but on JMSN's upcoming album Whatever Makes U Happy, he handles things on his own. He wrote, produced, engineered, and mixed the project himself, and his most recent single, the soulful "Where Do U Go," proves that his approach paid off. Whatever Makes U Happy drops April 28.—Jacob Moore

There isn't much information online about Just Mills, but if the last two tracks he released are any sign, this guy is one to look out for. "Cradle 2 The Grave" is only a few seconds over two minutes, but in the short amount of time he delivers bar after bar with a smooth, yet intense flow. His debut album Dark Sober Mind is set to release June 15 and it will be interesting to see what he comes with next.—Eric Isom