Best Songs of the Week

With so much good music steadily coming through, it's easy to miss out on some of the best. To help prevent this, we've picked some of our favorite tracks from the week. Here are the songs you can't afford to skip, in no particular order.

If you're one of those cats who can only fuck with "that real hip-hop" and have been tired of what's getting play these days, Danny Brown's here for a five minute, 19 seconds dose of pure rap bliss. Sometimes, it just needs to be like that.

Produced by Black Milk (with a hypnotic, twinkling melody over some crispy drums), "Really Doe" finds a way to get three of the game's illest—Danny Brown, Kendrick Lamar, and Earl Sweatshirt—to coast over a track. Danny leads off, going ham with his signature nasally flow. Ab holds his own, giving heads that middle ground between super laid back and lowkey intense. Kendrick not only handles hook duties, but he touches pen to pad for his usual brand of ginsu-sharp lyricism. It's actually kind of dope that Earl gets to bat clean-up, like the hoodie-wearing bad ass in the back of the class who's just ready to put his foot down and black the fuck out. Essential material for any fall collection.—khal

Being a Kevin Abstract fan isn't easy. Sometimes it's frustrating, like when I saw him in New York at a No Ceilings show and he wore a black bag over his head and stood silently on the stage for what felt like 20 minutes. Kevin is challenging, ambitious, and disruptive. Sometimes I don't understand him. Sometimes, he's brilliant.

I heard previews of "Empty" in a video Joe made when he tagged along on Kevin's tour stops with The Neighbourhood in England, and I've been looking forward to it. In that video, he has a massive crowd of The Neighbourhood's fans waving their hands from side to side while he sings a welcoming chorus. It was a far cry from the quiet room of alienated onlookers in New York City.

Kevin is hard to read, like he has so much to express but is unsure how to get it all out, or he wants to maintain a comfortable amount of distance, even when he's getting personal. After a lot of time listening to Kevin Abstract, I still feel a disconnect, and maybe that's what he wants. 

Or maybe this is just because Kevin Abstract is still 20 years old and figuring shit out. Maybe it's because I'm old. But on "Empty," Kevin's vision is so clearly communicated, so perfectly executed, that it is universal.

The song comes with a video, and it's hard to not talk about that because it is maybe my favorite music video of the year so far, but this is Best Songs of the Week and I will save that for Best Music Videos of the Month, because everything must fit into our regular programming because that is how we have done things for years and that is what I'm comfortable with. Fuck, I am old.—Jacob Moore

When I first heard Juke Ross's "Colour Me," I worried that it was a bit too sentimental, that its earnest take on fleeting love bordered on treacly. The more I listened to Ross' voice—warm and course with the detritus of an old soul's experience—the more I felt the spirit of "Colour Me," a search for specific, emotional truth in this sort of moment faced by anyone who has loved and lost. Ross' evocative writing and aching timbre make his debut single a window into his inner landscape; it feels like the kind of song that could hush a field full of festival-goers at sundown. 

My initial response stemmed from embarrassment in emotional honesty; Ross' candor, tenderness, and beautiful performance may seem alien in a harsh world beset by horrors and often met with defensive irony, but they are healing qualities necessary for anyone looking to forge a way forward without the bulwarks of bitter cynicism. An affecting first step from the 22-year-old singer.—Jon Tanners

BANKS is confident. It's a trait that comes across in her writing, delivery, and composure. Regardless if she's angry, lustful, or sentimental, there's a self-assuredness with which she presents herself that's undeniable. With the last few tracks she's released, we've seen her display the first two emotions, but she takes on the third in her new song "To The Hilt." 

The track features a much more bare-boned approach, with only piano backing her quivering vocals. "Hated you for walking out / I blew up and you were gone," she laments. It's a narrative that strikes with relatability, as she dissects a relationship that seems to deteriorate due to two people growing in different directions.

But despite the fragility of the subject, BANKS doesn't appear broken. She remains collected. It's this ability that sets "To The Hilt" apart from other stereotypical break-up songs, and it's also what makes BANKS as an artist so powerful.—Katie K.

Daft Punk has had a wild career, evolving from mid '90s party starters who released raw club tracks like this, to slinky pop hit-makers. The Weeknd is the latest to benefit from their production talents, on "Starboy," the title track and first single from his new album.

It's not as raw as "The Hills" or as obviously a huge pop hit as "Can't Feel My Face," but it's another interesting step in The Weeknd's career, further proof that even as he has become a top level star (boy), he still isn't just sticking to a formula or repackaging songs he's already made.—Alex Gardner

For the last few years it's seemed like Mick Jenkins' one true mission was reminding fans to drink more water. Although that is a great lesson in itself, there's far more to his message. On his new album The Healing Component, Jenkins puts previous metaphors to the side in order to present a message that's as clear as the water he once spoke of.

The singles leading up to the release of The Healing Component have all tied into the theme of self-reflection and self-love. For his latest single "Fall Through," Jenkins takes a moment to turn the mirror on his listeners, asking if they truly know themselves. As he continues saying, "You feel me, y'all don't hear me though," Jenkins offers a helping hand to join him on this path of self-reflection to those who are ready and willing. If we understand ourselves more, his message will start to resonate a little better.—Adrienne Black

Danny Brown is a divisive figure. His signature raps are screeching, chaotic affairs that celebrate life's looser moments, but he's also capable of dimming the lights and getting a little more serious.

That's what happens on "Tell Me What I Don't Know," another Paul White-produced cut off Atrocity Exhibition. Danny's voice is at a lower octave as he wearily recounts the shootings, addictions, and monstrosities of a life defined by drugs. "Tell me what I don't know" becomes the reluctant mantra of a man who has seen too much, and it's the perfect handcuff release to this week's other scorching Danny Brown single, "Really Doe."—Graham Corrigan

Anderson .Paak is blowing up right now, opening shows for Beyoncé while his latest album Malibu is heaped with praise and his tour is sold out. All that hasn't stopped him, however, from staying true to his roots and dropping an album on independent label Stones Throw Records with producer Knxwledge. 

Together, they are NxWorries (revisit previous collaborations "Suede" and "Link Up," if you're not familiar), and together they make magic, Knxwledge's warm, richly textured beats the perfect backdrop for Paak's laid back singing and rapping. 

"Lyk Dis" is a smooth and sexy introduction to the album, and we can't wait to hear the full package. ​Yes lawd!—Alex Gardner

"Baby this is just the beginning, it's preseason / I know you can tell I got it though."

SAINt JHN is still in the early stages of his career as an artist, but he's already got the charisma of a star, and he exhibits that convincingly on his new song "Reflex." Having charisma is only half the battle, though—the Brooklyn-based singer/rapper is also an excellent songwriter. It seems like something that comes naturally, and he's been harnessing it extremely effectively as of late.

"Reflex" matches the dark intensity of his last single, "Roses," and continues down the path of well structured songs with complex melodies. Melody is pervasive in the current hip-hop soundscape, but SAINt JHN's songs are not dependent on repetitive, catchy, three-note half rapped flows—he is crafting what could be full-blown pop songs, only they're slowed down and filtered through a moody, dark lens. It's a formula that works well, and if SAINt JHN can keep it up, he's well on his way to big things.—Jacob Moore

There's no denying that Canada continues to produce some of today's most exciting artists, but Toronto specifically seems the true hot spot of the country. More Toronto raised or based artists are making a splash in the music scene lately and they're not begging for anyone's attention because the music is strong enough to speak for itself. 

This certainly seems to be the case with newcomer K. Forest's latest single "Link." The sinister beat produced by dF creates a soundtrack for an atmosphere that seems dangerous but still manages to spark curiosity. K. Forest's suave vocals and persona work as the ultimate balance that is sure to lure listeners in. It doesn't take long to realize "Link" is a hit, and that this is just the beginning for Toronto's latest rising star.—Adrienne Black