Best Songs of the Month

Linking back up with producers The Heavytrackerz, whop produced earlier hit "Not The Deep," Stormzy comes through with another hard track to follow his “WICKEDSKENGMAN 4” freestyle, which broke in the Top 20 of the UK charts.

Sitting on a gold throne, Stormzy drops boast after boast. "Best grime act 2015, come to chat to me next year," he raps, and it's hard to argue with him.—Constant Gardner

Jon Hopkins is a master of the flip: give him an electronic pop song, and he will turn it into something so much more.

He's done it again this week with "Magnets," which was quite possibly the best cut off Disclosure's Caracal. Hopkins' remix is a far cry from the original—it's hard to even pick out Lorde's voice amidst Hopkins' swirling synth storm, but it all comes together for a hypnotic dance experience that really explodes in the second half.—Graham Corrigan

There are several elements that can make a song lovable: the production, the vocals, or a great chorus. Dutch duo Klyne managed to fit all three of these key factors into their latest single “Waiting.”

“Waiting” opens up with an infectious clap, layered over slinky, haunting production. The velvety vocals provided by Nick Klein add a touch of mystique to the rhythm, taking the song in an eerie direction. The trance-inducing track makes a sharp left turn near the close, as an unexpected guitar solo enters to complete the proceedings. And yet, somehow with so many contrasting elements layered over the other, Klyne finds themselves with a winning track.—Adrienne Black

It's too early to fully process Grimes' new Art Angels album, but so far, it's sounding awesome. The project features more stark contrasts and jarring moments than Visions did, but it's no less singular. On tracks like "Belly of the Beat," saccharine pop elements blend with timeless melody and Grimes' unorthodox approach to making music that is both challenging and accessible.—Confusion

When TDE gets together, there are few other squads that can rip a track up on so many levels. Jay Rock's "Easy Bake" was already a solid song on its own, but when Kendrick Lamar and SZA join him on the audio stage, they hit a whole other level.

Kendrick's verse tackles some of his favorite topics: big booties, marble floors, and cunnilingus. Absolute fire, as usual.—Graham Corrigan

Why must you tug at our heartstrings like this Okay Kaya? "You don't love me enough," she sings. " You say I should stay here by myself, I get lonely." With a gorgeous voice backed by simple piano, Kaya pours out her emotions—her fears, insecurities, and pains—and it makes for brilliant music.

Paired with the simple but entrancing video, Okay Kaya has another winner with "I'm Stupid (But I Love You)." We may be stupid, Kaya, but we do love you.—Constant Gardner

That hospital stay must have done Rustie some good, because he's been operating on a whole different level ever since.

"Peace Upzzz" is one of two towering, skittish singles that Rustie released just days before his surprise album EVENIFUDONTBELIEVE. It's not the straight-ahead gut-busting beats we're used to hearing from the Scottish beatmaker. "Peace Upzzz" is more reminiscent of SBTRKT's more experimental work—Rustie finds a patch and twists it every which way, with great success.—Graham Corrigan

After a big announcement that he's now president of G.O.O.D. Music, Pusha T makes a triumphant return to the mic on "Untouchable." Timbaland handles production, but this isn't one of those playful, futuristic-type Timbo beats. Stuttering drums crack with militant intention, and a Biggie loop serves as the chorus. Most importantly, of course, Pusha delivers with the confidence he's known for, sounding as sharp and deliberate as ever.—Confusion

As if new Missy Elliott could have escaped our weekly collection of best songs, especially when Pharrell is in the mix. After her Super Bowl performance earlier this year, the internet was abuzz with her triumphant return. I also had the good fortune to see her perform in the summer at Pemberton Music Festival and I felt transformed after her set.

The thing about Missy is that she doesn't disappoint, and the same goes for "WTF (Where They From)." Infectious production, an effortless flow, trippy and imaginative visuals featuring marionettes (?!), and a verse from Skateboard P? It's classic Missy.

Welcome back, girl. We missed you.—Joyce

Alchemist's Craft Singles series just started off with a bang. Mac Miller and Migos might not seem like the most obvious track-sharers, but "Jabroni" goes off without a hitch. It's got one of the smoother hooks in recent memory ("I growed up looking up to wrestling/I found out it was fake and started hustling"), and Alchemist's de-tuned siren production is just cruel. It's sparse and hazy, but Migos and Mac bring a crazy energy that puts "Jabroni" a cut above. My only complaint is that it feels too short at just over three minutes. Oh, and those wondering what exactly a "jabroni" is, please see below.—Graham Corrigan

On her own, Little Simz can grab anyone’s attention. For her latest track “Don’t Forget,” however, she links up with Hit-Boy to create a track that is as impressive as one would assume from these two talents. Hit-Boy provides intricate production which is both menacing and intriguing, but even with such a complex beat, Simz remains in control.

Little Simz has an exceptional ability to deliver hard-hitting verses that sound like they're completely effortless for her. Her calm delivery shines through once again on “Don’t Forget” and makes it easy for listeners to never miss any of the cleverly vicious one-liners embedded within the track. This song seems to serve as a proper reminder to those who continue to underestimate Simz’ talent that it’s time to stop fooling themselves and finally admit that she is a force to be reckoned with.—Adrienne Black

It's been immensely interesting to see how far Yung Lean has come since 2013, evolving from an internet curiosity into a full-blown cult-like figure in an astonishingly short amount of time. Thankfully his status as the king of sad-rap hasn't gone to his head, and if "Hoover" is any indication, he's looking to progress more than initially thought possible. With its grinding Yung Gud-produced beat, "Hoover" is by far Lean's hardest hitting song to date, pushing his idiosyncratic sound and punk approach to rap into even more exciting territory.

As if a message to those that wrote him off as nothing more than a meme, "Hoover" is proof that even internet kids are capable of evolving.—Joe Price

Smino's "Raw" (from his S!CK S!CK S!CK EP) is one of my most listened to songs of the year so far, but "Ciabatta" might catch up soon. The St. Louis rapper, who is currently recording in Chicago, raps like it's second nature. He finds pockets in Monte Booker's spacious production and as soon as you catch on to his flow, he switches it up with a touch of melody or a change of pace. Artists with such an innate talent for rapping are often one dimensional, but Smino's songwriting skills and hooks are on point too.—Confusion

At only 17 years old, Night Lovell dropped one of 2014's most unique mixtapes. There was heavier hip-hop out there, but nothing carried the same heft as Concept Vague did throughout its entire runtime. His voice is commanding, hypnotic, and dominant. Ever since the release of the mixtape he's branched out more here and there, celebrated his 18th birthday, and improved considerably. His latest, "Fraud," might not be his best track yet, but it's easily his most attention grabbing.

Produced by frequent collaborator Dylan Brady, the unrelenting track is a showcase of Lovell's massive capabilities. The minimal but monstrous production gives plenty of breathing room, but Lovell doesn't leave a second to spare. Brakes aren't even an option here, and if this is any indication of how good his next project will sound, then we're in for one hell of a treat when it finally drops. Lovell is one of Canada's most promising prospects right now, and "Fraud" is solid proof of why.—Joe Price