Caroline Polachek, Bb trickz, and the best new songs right now

Tracks we love right now, in no particular order.

Each week, The FADER staff rounds up the songs we can’t get enough of. Here they are, in no particular order. Listen on our Spotify and Apple Music playlists, or hear them all below.

Bb trickz, “leche^^”

The new Bb trickz EP, lechita, is super short and experimental, with the Charli xcx and Ice Spice collaborator rapping mainly over dub-heavy basslines and ambient soundscapes. “leche^^” is the standout, a quasi-indie rock song about fake romance, disappointing men, and discovering your own worth. —David Renshaw

Candelabro, “Domingo de Ramos”

Two years ago I stumbled across the Chilean experimental rock outfit Candelabro. What struck me then was a sound that subverted modern notions of indie rock while skillfully navigating its touchstones. The band’s new album Deseo, Carne y Voluntad is even more dynamic, pushing saxophone and clarinet to the forefront for a stunning, jazzy transformation. “Domingo de Ramos,” a standout, is both math-rock and Windmill scene indie, their sharp angles and smooth grooves perfectly interlinked. —Jordan Darville

HEALTH, “Vibe Cop”

Health’s 2023 album Rat Wars was the industrial rock group’s best full-length album in years, and on September 11 they’ll follow it up with a new project entitled Conflict DLC. New single “Vibe Cop” launches HEALTH straight into their Nine Inch Nails-circa Broken bag with trashy industrial guitars and punishing drums, but it doesn’t take long for the cinematic melodicism that defines the band to emerge. —JD

Fcukers, “I Like It Like That”

Soon to be opening for Tame Impala on tour, Fcukers return with the bouncy and infectious “I Like It Like That.” The Kenneth Blume-produced song isn’t here to overcomplicate things, as you might expect with lyrics like “hit the beach, hit the bongo.” This is a song for switching off and letting destiny take its course. I can’t stop playing it. — DR

Beguiling Junior, “AI On Cocaine”

Okay Kaya and Oli Burslem are Beguiling Junior. Their debut single lurches into focus with a mix of fuzzed out guitars and a palpable disgust for tech bubbles and those who can’t keep out of the cubicles at parties. It’s proof that songs about AI will always be preferable to those written by it. — DR

Danny L Harle, Caroline Polachek, “Azimuth”


It’s kinda surprising no one got Caroline Polachek on a trance song sooner since — as her new collaboration with Danny L Harle clearly shows — her otherworldly voice is a clear match for the fantastical, escapist ethos of the genre. Berghain is definitely popping off to this this fall. —Steffanee Wang

BOY SODA, “Father’s Heart”

“Father’s Heart” is the fizziest standout from BOY SODA’s new R&B album SOULSTAR. He delivers lines like, “Blood is not deeper than trust,” showing how much he values loyalty and honesty above family or circumstance. He flips his flows on the song like a rapper and closes out the song with chopped-and-screwed jazz R&B. It’s a blueprint for the way he loves, thinks, and exists. —Kylah Williams

Lou Val, “Vir@l”

With delicate vocals over Jersey club beats, the Toronto-based Nigerian singer/songwriter keeps us moving through the fall with a potent reminder: “Storms are built for lovers, and love is built for storms.” —KW

Shungu feat. Liv.e, “Last Time”

The latest taste of prolific Brussels-based producer Shungu’s forthcoming album is a jazzy, immaculately chopped instrumental over which slinky neo-soul mastermind Liv.e croons about the many “lasts” of a breakup. They last collabed in 2020 and their mind meld here is seamless, as if the conversation they started then has been simmering on the back burner all this time. — Raphael Helfand

Ratboys, “Light Night Mountains All That”

These days, it feels like there’s a plucky new punk-country band hiding around every corner in the Bushwicks, Silver Lakes, and Logan Squares of the world. But Ratboys have been at this for a while, and they’re quite good at it. “Light Night Mountains All That” is a propulsive jam that sustains its nervous energy for six minutes and change. Vocalist Julia Steiner sings with increasing urgency over pacing drums, edgy bass, and haywire guitars. —RH

Tom Skinner feat. Meshell Ndegeocello, “The Maxim”

The centerpiece of The Smile and Sons of Kemet drummer Tom Skinner’s second solo album is a dubby, 10-minute journey co-piloted by world-class multi-instrumentalist Meshell Ndegeocello. For most of the track, Ndegeocello — who sings and plays clavinet, wurlitzer, and bass synth — takes the lead role, but Skinner’s restrained drum beats are the scattered stepping stones on which she wanders. They chart a course through birth, life, and death. — RH