Best Songs of the Week

Janelle Monáe's new album The Electric Lady is full of soul, funk, rock, pop, and everything else you'd expect, but she sounds more focused, arranging all these different styles in a way that makes perfect sense. There are plenty of highlights, including collaborations with Erykah Badu, Prince, Solange, and Miguel, but the final song on the album, "What An Experience," wraps things up perfectly. It starts off sounding like a Michael Jackson song before moving into reggae-tinged territory, but at it's core it's a simple and powerful song. It may not be the next single or chart-topping hit, but this already feels like a song we'll be able to listen to for years, and end-of-the-night, blissful piece of music. - Confusion

Start at 1:02:50 for "What An Experience."

There's a slew of great tracks on Repave, Volcano Choir's new album—it's the kind of record that will offer up several shifting favorites—but this one feels special. Justin Vernon's collaboration with Collections of Colonies of Bees never again fulfills its implicit promise of a "post-rock Bon Iver" as well as it does here and this probably serves as the best entry point to the band. "Dancepack" is plaintive, but with bursts of guitars so unexpectedly bright that the whole song is jarringly thrown into optimism and back again; a rag doll with decidedly ambivalent feelings towards its lack of a spine. The song builds into rousing territory without losing a constant edge of melancholy—"Take note, there's still a hole in your heart" is the chorus, and you'll want to sing along despite not quite knowing how to take that piece of advice. - Brendan

Spaniards John Talabot and Pional have combined for an absolute stormer of a song for Young Turks' newest project, a series of limited edition 12" releases that showcase the labels many brilliant artists. With distant vocals and a wonderfully nostalgic, but also incredibly catchy melody, "I'll Be Watching You" will embed itself in the hazy recesses of your conscious like the nostalgic, blurry, strobe-light lit memories of the unforgettable nights out of the past. - Constant Gardner

Daughter are known for creating these beautifully somber masterpieces, emotive and slow-building, they're the type of songs meant to soundtrack love and heartbreak, hope and despair. It's a testament to their talent that within a few seconds of their songs you're immediately transported to a different emotional state regardless of the one you're currently in. They highlight this gift once again with their gorgeous "Smoke." The track initially relies on minimal instrumentation, choosing instead to let Elena Tonra's delicate but wobbly vocals carry you to the chorus where it blossoms into a haze of reverberation and arresting, echoing voices. - Katie K

When I say DJ Snake can do no wrong, that's not me being cute. First off, I'm too old to be cute. Plus, I'm a man; I'm well past the cute phase. Snake's coasted throughout 2013 with some downright-banging material, and this cut with Yellow Claw and Spanker is no different. The "twerk" craze is alive and well, and this cut feeds right into it with a hypnotic, 808-heavy beat that at times falls down a dancehall highway, only to be reimagined with some throwback '90s rave riffs. The perfect definition of "turn up." FOR FREE. - khal

L'Orange and Stik Figa, a producer and rapper, respectively, are about to release their collaborative album, The City Under The City. While they've been creating music separately for a while now, it seems that them coming together was the smartest move that either of them have made thus far in their careers. Our first taste of the album, "Blind Tiger," vouches for this exactly. L'Orange's straight-forward throwback production that sounds like something you would expect to come out of the Golden Era, perfectly complements Stik Figa's relentless flow. It's a great first impression to leave on those who haven't been acquainted to either of their work. - Joyce

In the past few years, the sound of New York hip-hop has largely funneled into two camps, summed up succinctly by the artists who spearheaded them: Joey Bada$$' revivalism and A$AP Rocky's southern and midwest inspired style. While there are plenty of adherents to both sounds (with some rappers occasionally dipping their foot in both ponds), few have ventured a hand at the skullcrushing, party-crashing rap of groups like Onyx and M.O.P. With "BOTP," the title track from their debut album, Queens' World's Fair provides New York's first great angry rap anthem in a while, as emcees Nasty Nigel, Prince SAMO, Cody B. Ware, and Jeff Donna grab a menacing, thunderous SPVCE beat and chant, "This your party?/ We at your party screaming, 'Fuck your party!'" It's monstrous, rebellious rap that gets the blood boiling and makes you want to flip a beer pong table or ten before stealing all the liquor in the kitchen. - Jon Tanners

George Ezra is the product of a imaginary union between King Krule and Paul Simon. His voice has the strangely charismatic gravely of the young King, but he matches it with some African rhythms and melodies straight out of Graceland. It's pop music as Buddy Holly knew it. Just straight up four-piece magic. Nothing fancy, just a proven formula of what humans like in song structure. Works like a freakin' charm. - Crax

With "Over and Out," bright new London band Flyte managed to make something that is rooted in classic pop-rock songwriting, but still feels fresh and exciting. It feels timeless without feeling like a tired retread, and with those bright guitars and the oh-so-English vocals, listening to this song is like taking a jaunty stroll through sunnertime London. - Constant Gardner

"YES!" That's not only my reaction when this one hit the lovely Internets, but it's my answer when people ask me if there's captivating, thought-provoking dance music out there. Machinedrum's from America, but of course it's the legendary Ninja Tune imprint that's snapped him up and releasing his forthcoming Vapor City LP. Dark, bleek, and intriguing, dude builds a junglish piece that feels more like each individual hair on the back of your neck standing up (then sitting down), one by one, while you're surrounding by a group of thugs ready to fuck you the fuck up. Beads of sweat and beats you won't forget... or maybe that's just me. I get ahead of myself sometimes. Hit play though, and let the perfect paranoia set in. - khal

With the release of his quickly announced and hastily assembled Dedication 5 mixtape, Lil Wayne did little to sway the impression of a rapper struggling to regain former glory. On "You Song," however, Wayne manages to capture the spark that once made his songs appointment listening. Perhaps inspired by a typically strong, whimsical turn from collaborator and still-ascendant young emcee Chance the Rapper, Wayne's verse is loose, humorous, and surprisingly poignant examination of lust and love, the sort of clever, coherent narrative and insight Wayne is no longer supposed to be capable of, if you believe the detractors. It may be a rare diamond in a pile of Wayne's usual "shit" references, but "You Song" shines all the brighter for what surrounds it, a reminder that, given a compelling subject, Wayne can still deliver some of the most entertaining, personal rhymes in rap. - Jon Tanners

New York City rediscovered the funkier side of garage rock when Cults released their self-titled debut in 2011. Since then, Cults has expanded to a five-piece setup and announced a second album, Static, out October 5. "High Road" is a return to form in the best way possible, an upbeat, spaced-out song equally comfortable on a road trip or a morning kitchen. - Crax

Son Lux, also known as Ryan Lott, is a hip-hop producer, making beats for guys like Serengeti and Busdriver. Additionally, he's a classically-trained composer, working with Sufjan Stevens, Arcade Fire's Richard Reed Parry and These New Puritans. Which, we guess, makes his electronic-tinged solo project a moonlighting gig? We just found out about Son Lux and it's proving difficult to get up to speed with the sheer diversity of his catalog.

True to the varied resumé, "Lost It To Trying" is a rush of genres and influences, kicking off with an effervescent crescendo that sounds something like Rustie would cook up if he incorporated an entire saxophone section, flutes, and piccolos. It evolves from there, a mix of the electronic and organic giving the song an exciting, soulful undercurrent. It's hard to tell where live drums begin and programmed percussion takes over, guest vocalists Lily & Madeleine are attention-grabbing in a role somewhere between singers and sample source, and the end product is both overwhelming and engrossing. Son Lux may have just made it on to our radar, but you can bet he's going to stay there. - Brendan