Best Songs of the Week

I really miss the '90s. Like, not the actual time, because back then I was just a kid running around being a little asshole, but I miss the spirit of the '90s. I miss the format of songs that were meant to really strike a nerve, instead of just meandering around like well-dressed kids in an expensive second-hand store. Meg Myers is a master at striking nerves. Her Make A Shadow EP is out now.—Confusion

In the catacombs of pop culture, it's easy to lose sight of that fact that George Michael was a) once a gigantic, global star and b) that he wrote some phenomenal, soulful pop tunes.

Some might take it as a back-handed compliment to consider Erik Hassle's SOHN-produced new single "Pathetic" a spiritual successor to some of Michael's biggest hits, but it is a credit to one of pop's most intriguing emergent (or re-emergent) talents that he is able to pick unexpected points of influence and refract them through his own considerable talents. For good measure, there's a sprinkling of Prince's purple specter here and there, but Hassle remains the star of the show (with ample help from some of SOHN's finest and most accessible production to date). An excellent second step to build on excellent return single "Talk About It."—Jon Tanners

As the name would suggest, "Klapp Klapp" is a percussive, powerful new track, given to us by one of Sweden's most vibrant talents, Little Dragon. Glittering, relentless, and explosive, the band's latest release explores countless directions in just over three and a half minutes, starting with a jazzy bass in the opening seconds before shifting over to electronica and hip-hop's respective domains. But their music never makes an outright distinction between these influences, instead opting to twist them altogether into one, intricately-woven fabric.

Considering the long list of collaborators that Little Dragon has racked up over the years (Big Boi, Raphael Saadiq, Gorillaz), their willingness to blur the lines between various genres is unsurprising, but it remains as invigorating as ever. With their fourth album, Nabuma Rubberband, on the way, "Klapp Klapp" is a succulent teaser for the band's forthcoming material, suggesting that this release could be their best yet.—Gus Turner

20 SCANDINAVIAN POP ARTISTS YOU SHOULD KNOW

There was a time many, many years ago when pop music was able to have both an infectious beat as well as relatable lyrics. Today, though, it seems that more and more the songs you hear favor heavy, hook-driven production over having a message that actually speaks to the listener. I mean, I joke about 2 Chainz not getting things, but have you really listened to modern pop song lyrics? Britney Spears actually has the lyrics "And while I wait I put on my perfume, yeah, I want it all over you, I'm gonna mark my territory" in one of her new songs. What the fuck?

With this in mind, someone like Shura is a breath of the most refreshing air. Her debut, "Touch," blends influences of '80s-tinged R&B with modern touches, like lush synths and smooth percussion. Most impressive though is the song's message, packing an emotional punch as striking as the production itself.—Katie K.

Over the last two years, we've watched SOHN develop into the kind of producer with sharp instincts for collaborating with artists just beginning to hone in on their artistry. You'd almost call him a muse for many of these musicians, bringing out the best in singers like Kwabs, BANKS, and Erik Hassle. But tacking on the title "producer" and likening him only to those he's worked with shortchanges his versatility. In the past, we've heard his solo work in songs like "The Wheel" and "Oscillate" and have seen a noticeable maturation in his voice as he's grown into a celestial, electro-pop sound.

With "Artifice," the first idea of what's to come from his debut album Tremors, we're truly starting to witness the full scope of his talents. It's a song that feels larger than anything else he's done with gliding instrumentation and glittering synths. When SOHN premiered it on Zane Lowe's radio show, he described its aesthetic as opening up a window for some fresh air. Breathe it in.—Dee

Hockeysmith, the sisterly duo of Georgie and Annie from the UK, seemed to have something really special when they released their debut track "Let's Bang" (probably the least aggressive song to ever be called "Lets Bang") in July 2013. They were quiet for quite a while, dropping the solid "Meanwhile" but not reaching the same glorious highs as on their debut track. The wait is now over, and "But Blood" shows the benefits of not rushing out more songs quickly to capitalize on that fleeting blog buzz, but instead biding your time and cooking up something really excellent.

With a beautiful video from The xx album art and video creator Davy Evans, and layers of distorted guitar swirling around soaring vocals, you should be excited for the duo's debut EP, coming soon.—Constant Gardner

A couple of months back, I had a convo with a couple of Pigeons about the idea of dance music sets taking you on journeys. To keep it 100, it's one of those terms that I've always understood, but never put into words (ironic, as MY FUCKING JOB IS TO PUT THINGS INTO WORDS). If you look at a DJ set, think of it as a good book: good books should take you somewhere, meaning there should be a beginning, middle, some kind of climax, then an end. A DJ should structure sets like that, and depending on the time they're out there DJing, you can't just have a set full of climaxes. The esoteric shit is "well, what tunes would be the climax? How do you know you're not building a mix full of climaxes?"

That's not a discussion for today. I bring all of that up, though, to say that this new tune from Kidnap Kid, "Stronger," reminds me of a good DJ set. It has a certain build to it that mimics the bell curve that quality DJ sets pattern themselves after. Maybe it's the dub-wise echo chamber shit. Maybe it's the random snippets of rain storms. I don't fucking know. What I do know is that this tune is hypnotic and moving, keeping you in a round and making you FEEL before releasing you. And I might sound like I'm on Es but I swear I've not touched them shits. I'm "stronger" than that. (See what I did there? Tied all of that shit up to the track in the end. So proud of myself.)—khal

Oscar Key Sung has one of those voices that washes over you, like warm water or a hot stone massage. Or acupuncture. I was terrified of those needles, but it's not as scarring as you might think. Like "Holograms," acupuncture leaves you in a sort of paralyzed relaxation where it takes a few minutes to convince yourself it's okay to move (or play a new song).

The Aussie producer has made something that just melts, a tentative confession of love that shimmers and glistens as the synths reflect off eachother. Whether you end up using Oscar's "Holograms" for teary-eyed nostalgia or as a sex jam, you can be sure it'll work in your favor.—Crax

Slightly ashamed to admit this, but I went through a heavy emo phase. There were a lot of band tees and striped shirts, a lot of moshing, and many, many whiny voices that bemoaned broken hearts. While there are many bands that I left behind when I shed that coccoon of awkwardness, Bright Eyes is one that stuck with me as I clumsily navigated through my teen years and even now, as I wade through my early adulthood. There's always a tinge of nostalgia that I feel whenever I hear Conor Oberst's unstable, vulnernable voice. And in his latest song, "Hundreds of Ways," he's got me feeling like I'm that uncertain, insecure teen all over again.—Joyce

THE 20 BEST BRIGHT EYES SONGS

Wild Beasts’ newfound embrace and love for synths is working extremely well for them. “Sweet Spot” is a further cementing of this, with a gentle sweep of a song resulting in a gorgeous build that unravels slowly towards its cushiony end. Switching between minimal and grandiose in the blink of an eye, it’s evident that Wild Beasts’ song arrangement abilities have grown exponentially since their previous effort. Alongside “Wanderlust,” it’s starting to look like the four piece’s upcoming album, Present Tense, might just be their best work yet. There are very few bands that can sound so gentle, yet so grand at the same time.—Joe Price

Woop, SBTRKT is back, and has a new album on the way. We haven't heard any singles from the album so far, but, thanks to a premiere on Mary Ann Hobbes' BBC Radio 6 show, we have "Hold The Line." The track is part of an instrumental EP series that SBTKT will release before his next album, and it's a slow-building tune, full of atmosphere and emotion, and best played on good speakers, nice and loud.—Constant Gardner