Best Songs of the Week

Kwabs' voice is his greatest asset. It's a rich, sonorous, powerful weapon that the London-based singer uses to glorious effect on "Last Stand," layering his voice over itself as the song reaches its elegiac climax. What really takes this song to the next level though is SOHN's synth-heavy production, which provides a surprisingly perfect backdrop for Kwabs. Stunning stuff. - Constant Gardner

I don't care what anyone tells you; nothing was more amazing than a random Disclosure upload to SoundCloud that contained the dark beauty of "Apollo." Unexpected excellence, the brothers cooked up a track that isn't totally leftfield for them, but based on the stark, obvious pop-lean to the bulk of Settle, an eyes-closed, screwface dark roller of a house tune? As their latest new romp? This is what keeps a dance music head like me in love with what they have going on. The air of mystery, the lack of ANY information on its release... that hurts, but I just wheel this one back and get sucked back into its excellence. Then everything's OK. - khal

As we saw last week, some of the most powerful rap songs cast drums aside, letting other instrumentation and voices dominate the frame. On "Rolling Stoner (Spillage Village Mix)," Marian Mereba, EarthgGang, and J.I.D. let a plucked bass line keep time and set the rhythm while gorgeous piano chords and a wailing, wordless voice swirl beneath impassioned raps. As with past entries in EarthGang's catalog, "Rolling Stoner" feels like an extension of the Dungeon Family's more spiritual songs, charged with mystical energy and world-weariness: "Pockets fat from the curse I carry/And we don't take prisoners 'cuz they too heavy." It's soulful without being overbearing, a personal plea as opposed to a full on Sunday service. A reminder that rap in the key of Goodie Mob still sounds amazing in 2013. - Jon Tanners

Action Bronson has become one of those Curren$y-type rappers that is forever dropping free music. It's a strategy that has helped him build a core audience, develop a constantly evolving live show, and stay in people's ears. But it has also made it hard to imagine him dropping a proper album. Sure, his hardcore fans will support regardless, but a lot of casual listeners probably won't see any reason to shell out money when they've got plenty of good Action material available for free. With "In The City," Action steps away from the gritty mixtape vibe and toward something a little more polished. Action Bronson's mixtape raps are always on point, but over a live-sounding beat and complete with a chorus, it's kind of refreshing to hear Action make a song instead of dish out another rap. - Confusion

As much as I'm a sucker for a catchy hook (I see you Future), I'm typically much more attracted to a song's lyrics. Probably because I'm a girl and spent two years of my life in middle school as a devoted Something Corporate fan, but sometimes a terribly constructed song with really heartfelt lyrics just gets me. Then there are some times when you're lucky enough to find something that's both beautifully produced and possesses a message that really hits you. Josef Salvat's "Every Night" is one of these songs for me. The lyrics aren't terribly complex, in fact at times they're repetitive and simplistic, but there's an honesty in them that's so explicit it's palpable. You can relate to them—and if not, then you really want to—and when a song accomplishes that, it's special. - Katie K

When we first posted this song, Jon Tanners described it as "shoegaze-R&B," and he's spot on. It's a sound that needs to be heard to be believed, simultaneously ethereal, detached and hypnotic. The Beach House guitars come together with reverb-heavy claps to make a bed for Gallant's soaring voice. Each melody builds on the last, a trip through what sounds like millions of vocal layers crashing into each other like ocean waves. - Crax

There had been rumors swirling around that James Blake had contributed in some way to the recording of Drake's latest album, but there was no sight of him in the album credits or sound of that instantly recognizable voice on the record itself. What we now have, however, is this brilliant remix (or "version") which adds some mean synths, drums, and the occasional backing vocals, turning this from a smooth hook-up anthem into something much more sinister and menacing.

Oh, and it's also up for free download. So grab that now. - Constant Gardner

Another file in the attack of the talented teenagers. Ameer Vann's "Untitled" is a sure standout from his self-titled five track EP, a rare moment that combines pointedly lucid self-reflection with potent rapping ability. The ingredients aren't fully baked yet–Vann still has plenty of room to grow–but there's a certain knack for self-deprecation and observation of the wider world through a personal lens that makes the 17 year-old compelling in a way that often even the most technically proficient of his peers are not. A budding talent to watch. - Jon Tanners

Last Sunday, a legend passed away. Musicians and fans alike expressed their genuine despair, noting how unfortunate it is that we've lost such an influential musician, and of course, out of respect, many musicians also released tribute covers in memory of Lou Reed. Amongst the dozens of tributes, I can't seem to shake this one by Twin Shadow. It's so hauntingly sorrowful that it feels like George Lewis Jr. perfectly channeled what everyone was feeling. It'd be sacrilegious to suggest that Twin Shadow "did it better"—I am certainly by no means saying that, as the original is one of the most romantic, charming songs of all time. But Twin Shadow's wispy, subdued vocals paired with the gentle, almost skeletal backdrop is the ideal farewell to Lou, a perfect goodbye. I've always been a bit weird about death in general, so this song is doing all of the expressing for me. Rest in peace, Lou Reed. - Joyce