Best Songs of the Week

When it was announced that Rustie would be producing for Danny Brown's OLD, it was a big "aha!" moment. Rustie's colorful production blends well with Danny's vivid cadences, and "Attak" is their strongest pairing yet. It's like the combining of two giants, each doing their respective genres their own way, forming together for something unstoppable. It doesn't give the most accurate impression of Rustie's upcoming album, Green Language, but damn if it isn't indicative of its quality. At this point, it'd make a hell of a lot sense for the two to pair for a full-length, or at least an EP.—Joe Price

Shura's debut track "Touch" was so totally fully formed and well-rounded that it was hard to imagine where she would go next or how she would rival the gorgeously nostalgic, '80s inspired song. What is immediately most impressive about both her songs is the lush, rich production, but where "Just Once" is really taken to the next level is by the painful, honest lyrics. "If you get my name wrong, I won't get pissed off 'cos I wish I was somebody else," Shura sings softly, "I wanna get lost."

Rarely are songs so believable, so gorgeous, and so painful at the same time.—Constant Gardner

Has it really been three years since HudMo's released solo material? Since Satin Panthers, it's been TNGHT this, Kanye West that, with remixes all around. After concluding with Lunice that a TNGHT hiatus was necessary so they could complete their solo records back in late 2013, we finally have a new HudMo EP, Chimes. For those who have been hearing HudMo live, you might instantly be saying "this is a bunch of new old shit," but compared to a lot of the imitators and duplicators, tracks like "Chimes" really do come through. We're talking those instantly-recognizable muted horns, super deep bass, and chilled atmosphere. Space-y turn down music to the nth degree.—khal

Honestly, I'm a bit mad at Jessie Ware. Apparently I'm not able to buy tickets for her forthcoming tour. Instead, I'll have to enter to win via a lottery system. I'm especially mad after hearing "Share It All" because I have shit luck, so it means I probably won't get to watch her perform this wonderful song.

The xx is one of my favorite bands, and the influence of Romy from the group is so potent in "Share It All" that the song is like a happy marriage of her and Jessie's sounds. Her vulnerability is so delicately beautiful, and it makes me angry to think that I might not be able to experience that in person. I'm excited for Tough Love, Jessie, but damn will I ever be choked if I don't get to see you in concert soon.—Joyce

When I caught the first play of SBTRKT's new single "NEW DORP. NEW YORK" on BBC Radio 1 my first reaction was confusion. Vampire Weekend's Ezra Koenig is half-rapping half-singing an ode to New Dorp, New York (which SBTRKT explained to us is actually a real place on Staten Island) over a shuffling but bassy beat. This wasn't the Sampha-featuring electronic soul we were expecting!

But given a bit of time to sink in, and having listened to it on speakers rather than headphones, you start to realize this is a creative and uniquely excellent track. Koenig's vocals are remarkably catchy and the track itself is a marker of sorts: on his new album SBTRKT is not afraid to experiment, do new things, and totally confound your expectations.—Constant Gardner

Seven seconds in, I already know what you're thinking—another pop-rap acoustic guitar medley with references to sunsets and lost love, wah wah wah next. But stay thine hand, listener. Raury is one of Atlanta's most exciting young songwriting talents, and he continues to impress with this week's "Cigarette Song." It's smooth without verging towards sap, and Raury keeps things interesting with some vocal gymnastics and guitar harmonics that lock into place to provide yet another solid effort. Even if it follows pop music's conventions, the kid has been writing music since he was three. He knows how to do it right.—Crax

The production of “Girls to the Floor” is enough to put you into a trance, but the addition of Rome Fortune’s voice brings another element entirely to the track. As soon as the beat begins to chop and screw a bit, Rome immediately comes in to keep the energy up. The combination of his energetic flow over a beat that almost sounds as if it’s being played in slow motion make for an addicting result that you can’t help but bounce along to—even before he instructs you to do so. Rome Fortune may only be calling the girls to the floor but there’s no doubt that this is the perfect song for the end of anyone’s night.—Adrienne Black

Fryars has been floating around in label limbo for a while, but it now seems that everything is sorted out, and his new album, Power has a firm release date (November 18) and label (Fiction Records). This is great news. The album is an ambitious, sweeping alternative pop journey, a mix of big choruses and subtly weird production, and all that is evident on "Prettiest Ones Fly The Highest."

It's a love song, but one that only Fryars, with his pop songwriting chops and love of vocal effects and fuzzy synth parts could make, and it's a great example of why we can't wait for the album.—Constant Gardner