Best Songs of the Month

Nobody is incorporating the electric guitar into rap more effectively than THEY. The Los Angeles duo have made the most of their compact discography, throwing disparate influences into a jagged blender—rock, R&B, trap, and metal collide with increasing intensity throughout "Say When," but these two have taste—they know when to back off and drop a verse between the apocalyptic guitar riff.

THEY. have yet to release a bad song, and now that it's officially Hyena, we can't wait to hear what's next.—Graham

Trim first collaborated with James Blake in 2012 on "Confidence Boost/Saying," and the two have kept up their friendship and collaboration since then. Blake regularly played Trim tracks on his BBC Radio 1 Residency over the past year, including the incredible Airhead-produced "Man Like Me" and the hard-as-nails "RPG," produced by Blake himself.

It was all leading up to something very special, and now we know what—the first full album released on 1-800-Dinosaur, the label James Blake runs with his friends and fellow producers Airhead, Mr Assister, Dan Foat, and Klaus, will be a Trim album.

Trim is a real grime veteran, around since the beginning of the scene as part of the Roll Deep crew, and then consistently releasing solo music at a tremendous pace ever since leaving Roll Deep in 2007. Although the production on the 1-800-Dinosaur collaborations is more experimental than what we're used to hearing him on, don't get it twisted—Trim can hop on a classic grime beat and spray bars for days. In fact, his willingness to clash any other MC is well known. You don't want to get on the wrong side of this MC.

Of the three tracks that we've heard from Trim's album, which is simply titled 1-800 Dinosaur Presents Trim, "Before I Lied" might be the most surprising. The glitchy electronics of the first 40 seconds don't sound as if they will pair well with a rapper, but producer Happa makes it work, the ominous, lurching beat providing a perfect foil for Trim's aggression. In fact, the way he navigates such creative, unusual production is reminiscent of Danny Brown, another rapper who often does the unexpected but never puts a foot wrong.

Put any preconceptions or reductive genre pigeonholes aside, because this is creative, vital music of the highest quality. Trimanosaurus Rex is back to claim the crown, and the release of 1-800 Dinosaur Presents Trim on July 29 can't come soon enough.—Constant Gardner

"Shades" is 21-year-old Portland, OR singer Alexandra Savior's debut single, but it's not the amateur sound we're so used to hearing on debut singles in an age where everyone can record and release songs. Savior's upcoming album is produced by Arctic Monkeys' Alex Turner and James Ford (Florence + The Machine, Haim, Jessie Ware), and this is a well-crafted song with expert production to match the razor-sharp songwriting. I can't wait to hear the rest of the album Savior is working on.—Jacob Moore

The past is no match for Maggie Rogers. “Alaska” sees the Maryland farm girl break free of lingering memories and share that feeling with a ravenous, fast-growing audience. She bridges the soulful overlaps of hiking and dancing to enter a place of peace, where the kindhearted are welcome to roam.

There's been a need for feel-good tunes lately, and Rogers delivered a hopeful song for the summer months to come. Meanwhile, Pharrell’s ear continues to prove itself time and time again.—Alex Siber

Clams Casino's 32 Levels is shaping up to be one of the summer's biggest releases. A collab with Lil B came first, and we were gifted this week with "All Nite." Clams provided production for Vince Staples' massive debut Summertime '06, and they haven't lost a step here. The ominous, percussive beat comes complete with birdsong and plenty of excellent samples from Clams' otherworldly sound bank, but Vince takes things higher with some of his best verses in recent memory. He promises death upon enemies, preaching a whip-smart, shoot-first philosophy: "Better bite the bullet 'fore the bullet fight your brain"—Graham

Boston rap is having a moment right now, with artists like Cousin Stizz, Michael Christmas, and Vintage Lee leading the way, but it took UK production duo God Colony to introduce us to Stash Marina. The Boston rapper gets deep and personal on "Desperate," delivering drawled bars over God Colony's distinctly ominous production. Squeaking doors, screams, and hyperactive percussion back up Marina's verses, which tell a very specific story:

"The first verse talks about when I was about to move to Louisiana and I was staying at my friends house. I had no idea what was about to happen and felt I was walking the line between adventure and desperation. That’s when the chorus came in. The second verse was written when I got to Louisiana. I felt loca and needed to reflect on my train ride there. The verse ends with me warning myself that shit is going to go awry, but I need to keep going though."

God Colony's Where We Were EP, which features another collaboration with Stash Marina, is out soon.—Constant Gardner

As a songwriter, Starrah has contributed to Rihanna's "Needed Me," Travis Scott and Young Thug's "Pick Up The Phone," Jeremih's "Pass Dat," and Kevin Gates' "2 Phones." She's obviously got an ear for extremely catchy hooks and unforgettable melodies, but so far, she's best known for her behind-the-scenes work. "Rush" is an early step towards establishing herself as a solo act, but she's already sounding like a star.—Jacob Moore

KAMAU is an incredible talent. He sings, he raps, he contorts his body like a gymnast when performing, and he can build songs from scratch using only his voice. But despite his serious abilities, KAMAU also knows how and when to use humor and a playful tone, and that's what makes "GAIMS" one of the most fun songs of the summer so far.—Jacob Moore

Pre-order KAMAU's A Gorgeous Fortune EP here.

After graduating high school and racking up over one million plays on "Location" in a month, Khalid could have easily relaxed and rode the wave of success through the summer. Instead, he turned around and delivered "Let's Go," and this track is easily one of my early favorites for the summer.

The pop-friendly production from Hiko Momoji & OZ helped the El Paso singer show that school was really the only thing holding him back from fully blossoming. The 18-year-old is showing no signs of letting up, and it should be exciting to see what he comes up with next.—Eric Isom

As attention spans seem to grow shorter, it's common for people judge an entire song after only hearing a few seconds of it. Judging by just the first thirty seconds of Jay IDK's latest single "Mentality," some my assume that this is just another boastful track layered over a trap beat—but they would be wrong.

For "Mentality," the Maryland rapper creates a balance between rhyming about the stereotypical things that may describe success to some, while simultaneously managing to take a moment to contemplate what this level of materialism can do to a person. In this fast-paced generation, it's easy to see people fall from grace just as quickly as they rose to fame because their priorities weren't straight. In the most subtle way, Jay IDK tells listeners to be mindful of this "Mentality."—Adrienne Black

Back in 2014, Danny Brown referenced collaborating with The Avalanches and said that their work together would "change the world." Two years later—and over 15 years since The Avalanches released their game-changing album Since I Left You, "Frankie Sinatra" emerges.

If this song changes the world, it's going to make Earth a weirder place. The song features Danny, along with the elusive MF DOOM and a sample of "Bobby Sox Idol," a 1940s calypso song by Wilmoth Houdini. It's mischievously fun, completely off its rocker, and unlike anything we've heard this decade.—Jacob

Goodbye Tomorrow released their new EP Tunnel Stripe Exit Ramp exactly a week ago and "What Would You Say" immediately stood out to me as a highlight. The song comes at a point in the project where the group decides to mellow out after starting the EP with more intense, uptempo tracks.

What stands out most is the vulnerability of the lead vocalist, the usually confident voice of GT opens up a little and expresses his concerns to his partner. "What Would You Say" is Goodbye Tomorrow showing that although they are anonymous, they are still human. It's a peek into the emotions of the group, and a chance for the listener to further relate to the faceless face of rebellion.—Eric

Cousin Stizz is removing all doubts on whether or not he would be able to match the bar he set with his incredible debut project Suffolk County. Boston's Fresh Prince returned earlier this year with the Max B-influenced "Gain Green," but Stizz took things to another level this week on "Coulda Been."

The Tee-WaTT-produced record served as a chance for Stizz to sit back and reflect on all of his success from the past year, and acknowledge the different paths his life could have taken. Stizz never fails to acknowledge his blessings and show appreciation for all he's accomplished—"Coulda Been" is him putting it in song form.—Eric Isom

Before Kaytranada was collaborating with an array of top-tier artists for his brilliant debut album 99.9%,, he was making a name for himself on the internet with his remixes. He earned thousands of new fans thanks to his remixes of Janet Jackson’s “If,” Teedra Moses’ “Be Your Girl,” and AlunaGeorge’s “Kaleidoscope Love”—to name a few. This week he returned with a brand new remix to remind fans just how well he’s able to flip a record on its head.

His latest effort takes Rihanna’s sexy single “Kiss It Better” and amps it up into a track that listeners can really dance to. The once-sultry record receives a complete transformation, resulting in a club-ready track with a deep groove. Kaytranada has been on an undeniable hot streak lately.—Adrienne Black

A.CHAL is moving fast. Since the release of "Gazi" back in 2015, the Los Angeles-based artist hasn't missed. From "Round Whippin" to "Psycho," A.CHAL's catalogue grows stronger with each release. On "Far From Home," he addresses his rapid ascent, singing, "I should probably slow it down / but every night I'm going out / and I don't want to feel alone / cause I'm here and too far from home." Without being obnoxious or obvious, "Far From Home" is immediately catchy and is just another reason to watch out for A.CHAL. His debut album Welcome to GAZI is out on iTunes now.—John W.

Young Thug has been featured on my favorite summer songs of the past two years. In 2014 it was T.I.'s "About The Money," and in 2015 it was "I Know There's Gonna Be (Good Times)." It's still early, but "Pick Up The Phone" is feeling like a strong soundtrack to the summer of 2016. It may not be a chart-topping hit or a radio smash, but it's one of those songs that can change your mood within the first few seconds. Can these guys just make an album together already?—Jacob Moore

Sometimes it pays off to take a moment to listen to recommendations from your favorite artists, and it did so spectacularly in this case in particular. After meeting with Kevin Abstract in L.A., genre-hopper Roy released a promising EP last year that showcased exactly what he is trying to do with his music.

Now, with the help of Brockhampton's Bearface and Joba, he's back with a song that fully capitalizes on the immense promise he showed last year. Sounding like it could've been taken straight from a beautifully shot coming of age film, Roy's "Thunder" is a triumphant track that has us eagerly awaiting what he has in store with his currently untitled debut album. If the rest of the album is as fantastic as "Thunder," then Roy might just have 2016's best debut on his hands.—Joe Price

For the first single from the rumored Cruel Winter album, Kanye West enlists Quavo, Travis Scott, Desiigner, Big Sean, 2 Chainz, Yo Gotti and the big Guwop himself Gucci Mane. Like many of Kanye's recent releases, "Champions" feels unfinished and we wouldn't be shocked if we get another version in the coming weeks. But the one we have for now is still a jam.

Kanye threatens to hit the 'Ye button, Desiigner spits his ad libs all over the track, and Gucci declares the end of Gucci clones. 2 Chainz and Big Sean always seem to spit their most memorable verses on collective songs like this, and this track is no different. But who had the best verse? That's still up for debate.

Like any G.O.O.D. Music song, "Champions" is a celebration of success and excess and we can't wait to see what else Cruel Winter has in store.—John Walaszek

Some members of clipping. have been busy of late, winning Tony awards for their work in blockbuster musicals. But this week's Wriggle EP is definitive proof that the Los Angeles trio is just as insane and ferocious as ever.

The title track moves at a dizzying pace, layering heavy bass drums under feedback and a sample of sample what sounds like a devious dance instructor("WRIGGLE LIKE AN EEEEELL!!"). Daveed Diggs' rapping has never felt this fast, threatening, or thrilling, and Jonathan Snipes and William Hutson’s production is as jagged as ever.

Their third album is coming this fall, and "Wriggle" is reason enough to believe it will be incredible.—Graham Corrigan

Sometimes pop, as a genre, settles on that mainstream, cookie-cutter sound. Other times, pop rises to its own potential and reminds us how powerful good songs can be. Enter Skott's debut single "Porcelain." The track features her whimsical, hypnotic vocals over swelling, anthemic production—it's the perfect balance of edge and accessibility, and definitely worth paying attention to.—Katie K.

It's been more than a year since Donnie Trumpet & The Social Experiment's Surf made its debut. As with any album, there were plenty of songs left on the cutting room floor that usually never see the light of day. Donnie Trumpet bucked convention, however, when he combined the scraps into a ten-minute mix.

There are unreleased verses from Chance, some excellent trumpet licks, and plenty of heavenly vibes. It's also useful as a measuring stick against Coloring Book—listening back to "The First Time," the differences in tone and style are immediately apparent. Surf is a concept album through and through, a stylistic moment in time we probably won't see again in Chance's discography.—Graham

YG's Still Brazy album is out everywhere today, after streaming exclusively on Apple Music for the past few days. We're still getting into the Compton, California rapper's second album, but it's already sounding like an incredibly cohesive project, a strong addition to the contemporary West Coast canon.

Drake, Kamaiyah, Lil Wayne, Bricc Baby, and more feature on the album, but YG doesn't need any assists to shine. On "Gimmie Got Shot," for example, he flexes his storytelling side over a slapping DJ Swish beat. Get this album in rotation.—Constant Gardner

Anderson .Paak hasn't disappointed us yet, and his latest guest feature is another winner. On "No Slaves," he teams up with Knox Brown, a British producer, singer, and songwriter who debuted in 2014 with the brilliant "Harry's Code" and then laid low for over two years. Knox is back now with a new EP featuring Paak, BJ The Chicago Kid, and British rapper Kojey Radical, and "No Slaves" is the first single. With warm production, soulful vocals, and another fire verse by Paak, this is a strong return for Knox Brown. Yes lawd!—Constant Gardner

Drake songs that include a time and location in the title are always fire. It's science. And after just another Drake album we were desperate for a track like "4pm in Calabasas." Last Friday Drake came out firing and put out "For Free," "Back on Road," and "4pm in Calabasas." Full of Diddy references, shoutouts to both Kendrick Lamar and A$AP Rocky, and a friendly reference to Kris Jenner, Drake snaps on this record. He attacks the Vinylz, Frank Dukes, and Allen Ritter produced track with the intensity listeners couldn't quite find on Views.

The chip seems to be back on the 6 God's shoulder and he delivers punchline after punchline on "4pm."—John Walaszek

There are plenty of fantastic moments on Night Lovell's new album, Red Teenage Melody, but it's perhaps the opening track that leaves the biggest impression upon first listen. With its hypnotic Blvc Svnd production, "Boy Red" kicks things into fifth gear immediately with one hell of a hook.

There are stronger tracks on the project, sure, but there's something so instantly memorable about the way in which Lovell raps, "I got your euros in the stash," that just sticks. It's like a hurricane of a track that doesn't give enough time to prepare for its onslaught, leaving you both impressed and bewildered in equal measure.—Joe Price

It’s been a little while since we’ve received new music from London singer JONES, but thankfully she returned this week with a brand new track that made the wait feel worth it. Her latest single “Melt” is a sweet love song about truly being in the moment.

Whether you’ve really been in love or have had a memorable, short-lived summer fling that was dear to your heart, there’s something about this song that relates to both of these stories. The production and instrumentation for “Melt” work to match the warmth of JONES’ vocals just perfectly, and as a result, this new single feels good from beginning to end.—Adrienne Black

We got a triple dose of Young Thug this week, with "Gangster Shit," a new version of "Friend Of Scotty," and "Pick Up The Phone" all hitting the internet.

Yes, between official releases and leaks, a lot of Thugga's music makes its way into the world, but these two tracks are much more than throwaways. The Wheezy Beats-produced "Gangster Shit," which might appear on the upcoming I Came From Nothing 4 mixtape, is short and sweet, packing everything we love about Thug—catchy melodies, vivid imagery, and elastic flows—into its sub-three minute length.—Constant Gardner