Best Songs of the Week

With so much good music steadily coming through, it's easy to miss some of the best. To help prevent this, we've rounded up the best new songs of the week. Here are the songs you can't afford to skip, in no particular order.

A$AP Rocky has made some interesting sample choices on his records, from Aaliyah and Imogen Heap to Cypress Hill and Ol' Dirty Bastard. Building "A$AP Forever" around Moby's "Porcelain," however, is one of his most surprising moves yet, but it works so well.

Moby's haunting melodies provide the perfect backbone of a moody rap beat, and hearing Rocky ad lib over the full section of "Porcelain" that plays out around the two minute mark is a perfect interlude. It didn't hurt that "A$AP Forever" was released with an incredible video directed by Dexter Navy, but if there's one thing Rocky's never had trouble with, it's presenting a cohesive artistic vision, from sound to style to visuals.—Alex Gardner

Denzel Curry's energy is unmatched. You know when you hear about those crazy stories about an ordinary civilian getting fueled by a rush of adrenaline and mustering up the superhuman strength to lift up a car or move a boulder? That's how Denzel Curry raps. But instead of just intensely shouting repetitively, Denzel meticulously crafts together impressive raps and flows around his choruses. Since Denzel's game-changing "ULTIMATE" dropped in 2015, many new rappers have followed Denzel's blueprint for intense, bass-heavy, skull-crushing hip-hop. "Sumo" is just another example that Denzel still does it best.—Jacob Moore

Yellow Days' spot in an Atlanta commercial introduced him to a whole new audience, but the teenage artist has been winning since 2016. His contemporary take on the sounds of jazz, blues, and rock & roll has a classic feel but a youthful, modern edge, and best of all, it simply sounds natural. The British artist is blessed with a voice that is rich beyond his years, and on "The Way Things Change" a bit of funk is added to proceedings too. It's Yellow Days' first release under Sony/RCA, and an exciting taste of what's to come as he evolves and continues to hone his craft.—Alex Gardner

Read our interview with Yellow Days here.

Kali Uchis has come a long way from her days of writing and producing songs in the back of her Subaru Forester as a teenager. Over the course of her five-year ascent to stardom, she's reinvented herself several times, each iteration of her musical aesthetic sounding more polished, confident, and alluring than her last. On Isolation, her hotly anticipated debut album, she displays her greatest superpower: her versatility. Kali shapeshifts to adapt to the extensive variety of musical styles she explores throughout the project, sounding equally at home in all of them.

One of the most magnetizing tracks on the album, "Your Teeth in My Neck," combines elements of old and new R&B in unexpected ways, making it feel both vintage and forward-thinking at once. Her vocal melodies are reminiscent of the innovative sounds of classic groups like The Gap Band, and the simmering instrumental is driven by a nasty, rollicking bassline that commands you to move. Wintery keys, washed out electric guitar, and a mesmerizing half-time breakdown section provide a modern edge. The song's refrain is anthemic and endlessly singable. "Your Teeth in My Neck" strikes the perfect balance between nostalgia and the thrill of discovering something new.—Charlotte Freitag

On “Smile,” Saba sets a stirring scene immediately, describing a neglected apartment on the west side of Chicago where he was raised, and spinning that into an autobiographical tale about taking care of his day ones. What makes Saba such a captivating artist is that he never loses his narrative thread; lyrics and themes always coalesce, and the final bars land harder thanks to the momentum built by everything that came prior.

In this case, the final hook’s daydream about vacationing in the South is anchored by the weight of Saba’s family history. Produced by Saba and frequent collaborators DaeDaePIVOT and Daoud, the instrumental is heady and subdued, a clean canvas with crisp percussion and an active bass line. The rapper’s new album, Care For Me, is full of poignant snapshots and rich detail, all of which make Saba’s desire finally kick his feet up for a minute feel well-deserved, and his conviction to his family that much more laudable.—Grant Rindner

After some time out of the spotlight, Memphis artist Jon Waltz is back in motion in 2018. He dropped "Backstreets" in February, and today he follows it up with "Money." Jon has leveled up as a songwriter, and with "Money" he's got an extremely accessible song that doesn't stick to traditional structures. "Money" is filled with standout moments that come in waves, and some of the catchiest parts of the song ("My pockets lookin' shallow like my old friends") aren't even part of the hook. Instead of filling space and sticking to the script, Jon Waltz isn't wasting a breath.—Jacob Moore

Sabrina Claudio makes every moment feel intimate. So far, all of her songs have felt somewhere between a personal love note to the listener and a peek into a very private conversation. Either way, if you're looking for the proper soundtrack to set the mood, Sabrina's latest single "All To You" should be added to that playlist immediately.

"All To You" is not just about a sweet moment between two lovers, but also a declaration of Sabrina's own confidence in herself—one that will hopefully rub off on anyone who listens. We may never know exactly who she's speaking to in this track, but it doesn't matter. If you put the volume in your headphones loud enough it'll sound like Sabrina is singing sweet nothings directly to you. Don't let anyone tell you otherwise.—Adrienne Black

Aminé and Injury Reserve. Of course. It might not be the most obvious pairing of all time, but as soon as you hear them start trading references to Drew Barrymore, Oprah, and Kidz Bop over trunk-rattling production, it clicks. "Campfire" is on the "REDMERCEDES" end of the Aminé spectrum—a bass-heavy song that gives him a chance to shift into a lower vocal register and rap his ass off. Injury Reserve, of course, fit right in. Paired with a colorful Fairly OddParents-inspired music video, this one's worth running back a few times.—Eric Skelton

Lil Westside actually released "Can't Stop Won't Stop" last summer as part of her mixtape Welcome To The Westside, but things have heated up for the 21-year-old rapper since she released the impressive, uptempo visual to accompany it. Westside told us she's all about energy in our recent interview, and that becomes apparent as soon as you press play on the video.

"Can't Stop Won't Stop" brings an in-your-face mentality embodied by Lil Westside—she got her start rapping in front of her uncle's friends for money, and carries a level of fearlessness that could only develop from facing those crowds at a young age. "Can't Stop Won't Stop" is a hit and you can be sure this won't be the last you hear from Lil Westside.—Eric Isom

Learn more about Lil Westside and check out our interview with the Jacksonville rapper

Jazz Cartier's live shows are legendary, high-energy affairs, but his music is about much more than just turning up. The Toronto artist has consistently proven his talents as both a rapper and songwriter over singles and projects like 2016's Hotel Paranoia, and "Right Now" is another sleek song with a very catchy hook.

Jazz's major label debut album Fluerever is, according to a press release, coming very soon. "The driving force of Fleurever is duality—whether it’s battling the balances of love and money, risks and rewards, right and wrong, or living and dying," Jazz says. "I shed a lot of old layers in order to grow new wings.”—Alex Gardner 

Georgia spitter Bernard Jabs surprised fans with "Polo Robe" early this week and it's becoming more and more apparent that he knows what he needs to take things to the next level. He understands the value of consistency, and avoids making records that are too long. But he still delivers enough to showcase his abilities. Mike Hector produced this one and Jabs once again mixes melody with hard-hitting, quickfire bars over the lighthearted, minimal production.—Eric Isom

Sinead Hartnett is back with another steamy slow-burner—"Body" is some of her cleanest songwriting yet, wistful vocals bouncing off production from GRADES. "I was inspired by finding myself in a situation I wasn't ready to leave," Hartnett said, "but that had to end. GRADES always seems to be around when something dramatic like that is going on. He started playing the 'Body' chords and the song came straight away." It's a bittersweet song of secret loves and vulnerability, and further cements Hartnett's voice at the front of England's R&B movement.—Graham Corrigan

Tunji Ige has kicked off 2018 with his #TUNEFRIDAYS series and "Me & My" is the latest installment. The Philly native co-produced the record and puts his unique style of singing and songwriting on full display. #TUNEFRIDAYS will continue until Tunji releases his next project, which will break a two-year hiatus for him. He made a name for himself with stellar visuals to accompany his music but he's taken a different approach this time. It has been interesting to watch him grow from a teenager to young man through music, and this release will likely be a defining moment in determining where he goes next.—Eric Isom

Swedish singer Tove Styrke has a knack for writing accessible, breezy pop songs with a twist. Having just wrapped up tour with Lorde—another artist who has made a career out of making slightly left-of-center pop music—Styrke is gearing up to release her new album Sway on May 4, and she says “On The Low” is a personal favorite. We can see why. It’s an airy pop song built around simplistic production and a sticky, off-kilter little melody that grows and builds into one of her catchiest songs yet. As she puts it, "It’s the smallest song in terms of how it sounds but in another way it’s the biggest. It’s just a straight up love song, but what else do you really need?"—Eric Skelton

Adult Swim's Singles Series always comes with the fire, no matter the genre. Their last few weeks are case in point: they've covered everything from Dinosaur Jr., Jacques Greene, and Kitty, and this week's Washed Out contribution grabbed me immediately. "Face Up" is a candlelit dinner set in space—woozy synths recall Tame Impala's more tender moments, but the vocals borrow more from Sade. It's a captivating combination, turning what could have been a brooding ballad into something buzzing with quiet energy.—Graham Corrigan

Unknown Mortal Orchestra have never shied away from broadcasting their influences in their music, but frontman Ruban Nielson has taken it to a whole new level with immediate Sex & Food highlight "Hunnybee." Channeling the spirit of some of Prince's finest material, "Hunnybee" is a gorgeously tender song smothered in warm fuzz, hypnotically bouncing along at a steady pace. It owes a lot to Prince, but it's very much a song that flaunts UMO's songwriting chops and distinctively inviting lo-fi sound.—Joe Price