Best Songs of the Week

It's been over a year since the Australian producer/multi-instrumentalist/singer's last standout track, "Twisted," and he's outdone himself with this one. The production is sleek and dynamic, the vocals are gorgeous, but sometimes it's just the right combination of words and melody that stick with you. Those three simple words—"you won't win"—have a chilling effect here. There's no science to things like that, but it's usually those types of things that end up having the greatest impact.—Confusion

Sampha's lyrics are only a small part of his appeal. It's his voice—rich, timeless, but flecked with those human imperfections that so much overproduced pop music lacks—that provides memorable, spine-tingling moments on every track that he's involved in. Sampha singing over just keys (as on his last EP) is cool, but paired with SBTRKT's restrained electronic production, he reaches new heights. This one is a beauty, and hopefully it presages more collaborations on SBTRKT's new album, which should hopefully come out this year some time.—Constant Gardner

Jon didn't turn his blurb in on time for this post, but we GChatted about this song late last night, so in place of Jon's blurb, here is our GChat.

Jon: I was surprised you liked that Lewis song

Jacob: yeah i did. u sneak dissed it. y u surprised?

Jon: i sneak dissed it how?

Jacob: u say "“Drugs In Her Eyes” isn’t necessarily a pleasing listen"

Jon: hahaha never throwin shade it's more about like...this shit is not fun. but i find it compelling in general. i think people taking the influence of Yeezus is really compelling. but i always felt like i was alone in that regard

Jacob: i think the thing i love is that progression idk how to describe but it does kinda what "i got 5 on it" beat does with the bass

where its like constant then changes on the third or fourth go round. u know what i mean?

Jon: yes def i love the idea of using the bass as melody also

and like

808 as EVERYTHING

Jacob: yeayea

Jon: i keep going back to it it's kinda hypnotic

Jacob: i dont follow it v well tho. he tellin these hoez to not do drugs?

Jon: nah he fuckin wit a gurl who a addict

Jacob: but he telling her not to be 1?

bc let that girl live

Jon: yabasically

i'm gonna do it as my best song of the week i think

We've been hearing various tracks from Shamir's debut EP for GODMODE for a while, but with its release earlier this week, we finally got the full package. And what a strong EP it is. Sitting comfortable alongside the bouncy "I Know It's A Good Thing" and the manic "Sometimes A Man" is the gospel-influenced "I'll Never Be Able To Love" and the charmingly lo-fi "Lived And Died Alone."

It's a Lindi Ortega cover which, even at only 19 years old, Shamir delivers in a world-weary, broken-hearted way. It's sad, but ultimately an incredibly beautiful version of the mellow country original.—Constant Gardner

Honestly, it doesn't take a lot to please me. Well, maybe that's not true. I won't front like I don't have certain tastes, but I love a cut like "Truth," where Branchez really only has a few speeds (Jersey club-ish turn up, the big hook where a Brownstone vocal gets cut up over the UKG-ish flex, and that awesome bit that kicks in 15 seconds in). All I really need is that to happen over and over and over.

Branchez delivers. I could probably go into how certain sections will relay certain messages, and in a time when so many producers want to appropriate the Jersey club sound, something about Branchez's appreciation feels genuine, but I'm just too busy being wrapped up in this gem. So sexy, so many repeats.—khal

From the start, it has seemed that Death Grips’ most defining aspect was MC Ride's growling intensity. His spitting anger has always been intimidating, but "Say Hey Kids" flips the typical Death Grips formula on its uneasy head approximately 30 seconds in. Instead of yelping from the bottom of his gut, Ride opts for a brooding cadence that turns down the volume, yet retains the intensity. It's initially quite odd to hear Ride sounding so restrained, but the sense that he's capable of snapping at any point is just as appealing as an all out barrage of vitriol.—Joe Price

Lana Del Rey’s Ultraviolence is out June 17, and that summertime sadness is looming. In a recent interview with The Guardian, Lana said that she wishes she was dead already. "I do... That's just how I feel," she explained. "If it wasn't that way, then I wouldn't say it." If this doesn't already upset you, then think about this: Lou Reed was going to work with Lana on this song, but he died the day the two were supposed to meet.

If you're looking for tropical vibes and shit you can listen to while you laugh your dick off at a cute barbecue with friends, this isn't it. But if you took too many pills and you're looking over the edge of a balcony during a humid summer night, you'll need a soundtrack. This is it.—Confusion