Best Songs of the Week

People fucking with Wolfgang Amadeus Mozart in 2015? If not, that fire intro from that new Meek Mill album (Dreams Worth More Than Money) might make some of these trap producers classical believers, at least.

I can't even get through the rest of Meek's album (I call it "Legend" syndrome, named after the Drake track from earlier this year). It's one of those five minute-plus tracks that didn't hit me until 90 seconds in, when those thunderous drums and resonant bass drop out, and it's just Meek's Philly-bred flow going maniacal all over the full Mozart sample. To the point where your head is nodding to his flow and not the heavenly "Requiem In D Minor." Once he builds to that peak, the drums and bass fall back in and it's like pure ecstasy.

The best part? Meek isn't talking smart-dumb shit. This is a guy who had a jail bid that fucked up his momentum, sees the hate for his clique, and wants to make sure the acclaim isn't just because of his chick (who is so bad she's on his Christmas list). He's a messiah, he doesn't get the hype for "these suckas," and he's dropping real life in between these rap lines.

It's quite possibly the most uplifting, beautiful piece of gutter excellence to drop in 2015. Yeah, I said it. And I'm rewinding this one right now.—khal

“Golden Age” is golden indeed. Leo Kalyan’s silky record has snares that sound like slaps against a liquid surface and an unwavering vocal performance. It’s an immersive record: Leo slips into deja vu and away from reality.

The track begins with a similar bass pattern to the second-half of Channel Orange closer “End / Golden Girl,” and also adopts the same descending wind-down found on Drake’s “Tuscan Leather.” Unlike in the Toronto rapper’s song, however, that mechanical whirlwind doesn’t signify any transition. Kalyan carries on, calm as can be—calm enough for you to forget he might just be lost.—Alex Siber

Zane Lowe's first shows as part of Apple Music were packed full of interviews and exclusives, but one of the best moments came with the premiere of Gallant's "Weight In Gold." It's a sultry, swinging cut that showcases the singer's formidable vocals, especially on the absolutely massive chorus. It's the kind of song that'll have you throwing your head back to belt out the hook, and a sure sign this Los Angelino has a lot to look forward to.—Graham Corrigan

There's an energy almost palpable in everything the Brockhampton crew releases, and it has nothing to do with beat selection or style. Whether they're singing, rapping, or screaming, there's a young and disruptive element that conveys a sense of urgency and importance. "Fye" is Brockhampton affiliate Merlyn Woods' debut, and it's an unpredictable, unbalanced, and excellent introduction.—Confusion

Last weekend Diddy (P.Diddy? Puffy? What are we calling him these days?) excited viewers of the BET Awards with a huge 20th Anniversary performance featuring many Bad Boy classics. Diddy finished his set by performing a new single with Pharrell. After singing along to a few minutes worth of familiar hit singles, I had a moment where I didn’t know if Puff and Pharrell were performing a song I had somehow never heard before or premiering a new song. But that simultaneously exciting and stressful moment of confusion made it even more intriguing.

The performance of their new single “Finna Get Loose” was enough to spark my excitement and make me raise the volume on my TV by at least ten. But the official version sounds even better. Immediately, I can tell that I’m not really experiencing the full potential of this song by sitting at my desk and listening to it on my laptop. This is a party hit, it needs to be blasted at high volumes on late summer nights. Every summer I have a go-to favorite that I want to hear the DJ play—this just became my jam for the summer.—Adrienne Black

How do you select a top pick from one of the most consistently strong projects of 2015? Scribbling each track title of Vince Staples' Summertime ‘06 and tossing the scrap paper into a hat, maybe. Another option was to pull up the album in iTunes, close your eyes, and randomly point to a specific song. Hell, even album intro “Ramona Park Legend Pt. 1” deserves a shout out and the only vocals there come from flapping seagulls.

If the message isn’t yet clear, here it is: listen to all 20 songs. To highlight one piece, though, “Summertime” intrigues because much of its elements differ so much from the rest of the album. There’s still that sense of downtrodden spirits and suppression, but Staples’ voice attacks his words with less aggression. The rapper sounds broken rather than at odds with his environment. Less gritty, more somber production makes it a standout just as much for what it’s missing as for what it offers—an emotional pillar rarely expressed in Vince’s Long Beach world.—Alex Siber

Though Jack Garratt's catalog is relatively small, it's impressively diverse. His first offerings experimented with a few different styles, ranging from soulful R&B to more electronic-based productions. Though they all worked thanks to Garratt's talent, it was unclear what he was aiming for. And then you hear "Weathered" and you realize, this is it. This is the kind of song that a voice and ability like Garratt was meant to make.

The track starts off rather minimally, relying on just guitar and slight percussion to soundtrack Garratt's voice. Then as the song goes on, it builds into this masterful and gripping ending that shows you just what the singer is truly capable of. It may be his best offering yet.—Katie K.