Best Songs of the Week

In A$AP Rocky's interview with Complex, he said, "When Yams died, psychedelic music healed me. Stuff like the The Mysterians, '96 Tears.' That’s all the stuff I love. I love classic rock. Take the Doors—those organs."

That may explain "Everyday," in which Rocky and Mark Ronson bring that psychedelic vibe with those classic rock organs, thanks to a sample of  Rod Stewart's "In a Broken Dream."

In that same interview, Rocky said, "I don’t give a fuck, still." That might better explain "Everyday." With a touch of Miguel to modernize the sound, this shit is crazy.—Confusion

When I first heard that Lil Silva had put out new music, I expected something similar to his work on Mabel. His production, although still enticing and rhythmic, seemed to be mellowing out in a way that allowed vocals to take center stage. But boy was I wrong. In fact, being so wrong may have made Lil Silva’s latest single “Drumatic” even more enjoyable. Although the title warns you that the production on this track is going to be dramatic, it still caught me off guard in the best way.

From a gentle opening, the track seamlessly transforms into the perfect track for a dark club with intense strobe lighting. Yet there’s something else about it that makes me want to hear it anywhere and everywhere else, on repeat.—Adrienne Black

With assistance on drums from BADBADNOTGOOD, Kaytranada struck gold on the remix of Tuxedo's (Mayer Hawthorne and Jake One) "The Right Time." The original was fine in its own right, a straight disco track featuring the silky vocals of Tuxedo's respective members.

But I wouldn't rush to call it "cool." That didn't happen until Kaytra added his signature punchy synths and BBNG put down a drum loop that could be at home on a Tarantino soundtrack. This is a track best enjoyed with the windows down and the volume up: it's buoyant, flashy, and yes, all kinds of laid-back cool.—Graham Corrigan

Dylan Brady pretty much came out of nowhere earlier this year, rising from one of the more eccentric and colorful corners of the internet to deliver his wildly inventive debut, All I Ever Wanted.

The entire release is full of immensely talented guest stars and sleek slices of weirdo hip-hop, infused with the unmistakable polish of Scandinavian pop. It's hard to pick just one track from the album, but if one track in particular deserves to be shouted from the rooftops, it'd be the Ketema-featuring "U>Them."

Making the most of Dylan's formidable song-writing and beat-making talents, the sparse production on "U>Them" focuses on a haunting core melody that floats around the two vocalists. As the two deliver their solemn verses, the beat twinkles and swirls like a hypnotist's pendulum, leaving an indelible impression that demands a few replays. It's not the most immediately catchy track on the album, but it might just be the one with the most staying power.—Joe Price

Vince Staples, at the tender age of 21 and with only one official EP (and a bunch of mixtapes) to his name, is emerging as one of the West Coast's most recognizable voices. With the release of his debut album Summertime '06 (dropping June 30), a lot more people should be paying attention, especially if he comes with tracks as hard as "Señorita".

Vince can really spit and go in on a lyrical tip, but the beat on "Señorita" paired with a vocal sample from Future turns this one into a track that can turn the club up in seconds. Add in a surprising end section from Snoh Aalegra and you've got a unique track, a fine first single from Summertime '06.—Constant Gardner

If a song is buzzing, but Drake didn't remix it, was it really even buzzing to begin with?

That's the question this generation of hip-hop heads will be asking themselves. In the past few years, Drizzy has blessed a handful of up-and-comers with his co-sign, helping them elevate to the next level overnight. This week he hops on Fetty Wap's already infectious "My Way," adding a verse of his own that's full of signature Drake-esque lines sure to soon grace the captions of Instagrams everywhere. And while Wap's "Trap Queen" can already be heard from the car stereos all across America, Drake jumping on this follow-up will ensure listeners don't write the new rapper/singer off as a one-hit wonder.—Katie K.

I hate being on this kick, but it still kills me how man want to talk about grime... until it's time to talk about grime. Jme dropped a fierce new album this week and I was surprised that Skepta's brother didn't get premium coverage, especially with this video for one of the LP's standouts, "Man Don't Care." The tune does what it says on the title, allowing Jme and Giggs to keep it simple and pure over a hypnotic track.

Jme is only digging two-foot graves, sticking with his ABCs, and wondering how man who aren't in the street want to talk about the streets. Giggs is on his ultra laidback smooth murderation. This track is the turn up you didn't know you needed this weekend.

But man don't care about all that.—khal

From the very beginning, when we talked about Shamir, we couldn't help but talk about his voice, such an impressive and unique instrument. It's been good to see Shamir experimenting with different sounds, rapping on "On The Regular," for example, but he's still at his best when that voice is front and center. It is just that on "Darker," a powerful ballad with an appropriately sweeping video.—Constant Gardner