Best Songs of the Week

Daniel Wilson, who put his angelic voice at the forefront of his Young Rubbish EP from earlier this year, switched things up on us with "Killed Ya." It's a propulsive, sub-three minute song that mixes his unmistakable vocals with pounding drums and synth-based production, which could fit comfortably on The Black Key's latest album, right beside "Fever."—Constant Gardner

In our interview with Copenhagen-based singer Kwamie Liv, she told us, "I honestly don’t know what the next thing is going to sound like. I don’t like to let anything besides what I’m feeling decide what I create." Sometimes, not knowing what's coming next is the most exciting part of an experience. If you're just listening to her EP for the first time, you'll be surprised with the start of each new song—from late-night slow burners to internationally flavored jams, Kwamie Liv isn't sticking to any script. One second you're tempted to compare her to M.I.A. ("Lost in the Girl," "comin THRU") and the next she's sounding like a lo-fi, electronically leaning Lana Del Rey ("5 AM").

Comparisons are a cheap way to describe Kwamie Liv, though. She exudes individuality that comes across as far more genuine than artists who chase a certain style or try to cling to a role that they'd like to play as an artist. Kwamie Liv is the real deal, and while she doesn't have any radio smash singles, there's a potential star quality about her that's really intriguing, and people are starting to take notice. What's next? Shit, nobody knows. That's the exciting part.—Confusion

When we first heard Lowell, we used words like catchy punk-pop and edgy. We had begun to categorize the new artist based off only a few songs. With "Summertime," Lowell reminds us why that's sometimes problematic. The downtempo ballad is a stark departure from anything she previously put out, choosing to focus on her emotive vocals rather than an infectious hook. It's melancholy, it's beautiful, and most of all, it makes us rethink the box we started to put her on. For a new artist, that versatility is indispensable.—Katie K.

I love that XL Recordings scooped up Kaytranada. For an imprint that's continued to pick the perfect artists to remain on that cutting edge, he's a great addition. And for as much as he loves (and loves being heralded for) that hip-hop vibe, Kaytranada's real calling (IMO, obvs) is these slinky house jams. Bass that feels like the rumble you hear from a neighbor's house party that just won't escape you, and the ULTRASEXY vocal from Shay Lia, this one has winner (winner) (chicken dinner) written all over it. This is the late summer jam that you didn't know you needed right now. Get sweaty during ungodly hours to this.—khal

The latest single off British singer Sinead Harnett's upcoming No Other Way EP is absolutely mesmerizing. On the hook she croons, "Let me take you to paradise," in a welcoming yet almost desperate manner. It creates an effect that allows listeners to easily adapt the song as a soundtrack to their own memories and perspectives. Sinead's presence is larger than life from start to finish, a sign that she might have something very special in store with N.O.W., which arrives August 31.—Tim Larew

Sub Pop continues to kill it. First it was Shabazz Palaces, then clipping., and the latest hip-hop signing to the label that introduced us to Nirvana is this Seattle based rapper named Porter Ray. He's got some of the experimental elements of his labelmates, but there's a more straightforward, jazzy element to what he's doing. Plus, he's got a sharp tongue and a way with words that never allows for a dull moment. How did we not hear about this dude sooner? Luckily, it's pretty certain that we'll be hearing a lot more of him in the future. His debut album isn't coming until 2015, but there's plenty of good music to explore. Check out more here.—Confusion

Arcade Fire is not an easy fish to fry, considering their music—despite its quality—doesn't lend itself all well to a traditional remix. Flume shows us how it's done, creating one of his best remixes to date by taking an alternative route.

In a glorious ten minute epic, Flume captures the sound of the Win Butler-fronted band and intricately scatters it over a backdrop of extra-terrestrial sound. The song starts simply and quietly, building up the anticipation with a repeated series of "Oh Oh Oh." But as the song progresses so does the sound, the yelps of Butler becoming increasingly prominent as his vocals begin to weave their way into the fabric with every clap of the drum—doing so until Flume and Arcade Fire are improbably linked as one.—Jules Muir

Lately it feels like everyone around us is constantly trying to “turn up” every chance they get. Once in a while it feels necessary to just slow things down for a moment. Thankfully, Spooky Black dropped his Leaving EP just in time for that. With many still doubting the young crooner’s talent, the simply named “Intro” is enough to not only grab everyone’s attention, but also quiet some of the haters. The beat is somewhat dark and eerie but Spooky Black’s voice glides right over it. And then it ends too suddenly, as a good intro should.—Adrienne Black

Deptford Goth’s Life After Defo album from last year was slightly under-appreciated but absolutely excellent. On it he mixed his pop songwriting skills with a love of groggy, swirling electronics for an end product that was satisfying on the first listen or the fiftieth. "The Lovers" is the first single from his new album Songs is typically heartfelt and unashamedly emotional affair ("love stays, everything goes"), not straying too far from the template established on the first album, but with a richer, fuller sound—a mark of his increasing confidence maybe.—Constant Gardner

Makonnen’s "Club Goin Up On A Tuesday" was already one of my favorite songs of the year. I used to look forward to Fridays more than any other day of the week. Starting in late June, Tuesdays became far more important. The Sonny Digital and Metro Boomin-produced track was incredibly infectious and a certified party-starter; I showed it to all my friends like, "Yo, look out for Makonnen this dude is gonna blow." Sure enough, Drake got hold of the track this week, and hours after the clock struck midnight signaling the start of Tuesday, dropped his remix with no warning. "Tuesday" is a spiritual experience; please listen more than once.—Tim Larew