Geese’s “Long Island City Here I Come” 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.

Geese, “Long Island City Here I Come”

Geese’s deliriously fun third album, Getting Killed, is full of blasphemous biblical metaphors but none as brazen as the use of Long Island City as a stand-in for Heaven. Over a piano-based instrumental that builds frantically toward a crescendo, frontman Cameron Winter talks to Joan of Arc, Joshua, Charlemagne, and Buddy Holly, seeking answers but confident his score will be settled when he finally gets back to that long-yuppified Brooklyn-Queens border town at the foot of the Pulaski Bridge. —Raphael Helfand

Magdalena Bay, “Second Sleep”

Soon after Magdalena Bay released 2024’s Imaginal Disk, it became clear that few other bands were matching them for vibrance and depth. Listen to “Second Sleep,” one of two new songs recorded during that album’s sessions, and you may find yourself grinning in spite of yourself. The lavish, proggy orchestration of the hook, the groovy Rhodes noodling sprinkled throughout… you won’t have a better time listening to a pop song this week. —Jordan Darville

Rochelle Jordan, “The Boy”

Rochelle Jordan has long blurred the lines between alt-R&B, dance, and electronica, melding these genres effortlessly on her newest album Through the Wall. This standout hits like a cocktail of everything you’d need to survive a night on the dance floor and well into the afters. With Kaytranada on production, the two Canadians have cooked up another smooth banger. —Kylah Williams

Syd, “GMFU”

I am seduced by this noodling guitar line like a cobra to a charmer and Syd’s voice is the spell that seals the deal. —Steffanee Wang

Cate Le Bon feat. John Cale, “Ride”

By the penultimate track of her new LP Michelangelo Dying, Cate Le Bon is accepting the loss of the great love she’s been grieving for the entire album. “It’s alright… It’s just feelings going away,” she sings at the end of verse one as a howling vocoder denatures beneath her. The track continues to move methodically forward, but as Le Bon and John Cale’s iconic baritone intertwine on the chorus, she sounds like she’s risen above it all. —RH

jackzebra feat. James Ferraro & Glasear, “Human”

On his latest, the Sichuanese MC is moaning inchoately over misty synths, redlining 808s, and sub bass gone haywire — everything you could hope for from a collaborative beat with vaporwave legend James Ferraro and hyperpop mainstay Glasear. It’s a toxic blend of cloud and rage, riding a whirlwind of aesthetic signifiers that would make a Victorian child spontaneously combust. —RH

Juana Molina, “Siestas ahí”

Argentine art-pop icon Juana Molina just announced her first studio LP in eight years, and its first single is as beguiling and beautiful as her early work. On “Siestas ahí,” a chorus of Molinas are compressed to thimble size and singing siren songs in the ear of an earthly lover, sweet entreaties to be taken somewhere else among the stars. — RH

Dry Cleaning, “Hit My Head All Day”

“Hit My Head All Day” is woozily propulsive, with wiry guitars that create outlines for vaporous synths to flow into. Dry Cleaning’s Florence Shaw, in her trademark deadpan delivery, ponders the outsized influence others exert on us through phone screens. “I simply must have experiences” she sighs as she scrolls from one thought to the next. Next time you feel a doomscroll taking over, listen to this instead. —David Renshaw

Chanel Beads, “The Coward Forgets His Nightmare”

Currently opening for Lorde, Chanel Beads’ Shane Lavers says he wrote “The Coward Forgets His Nightmare” while vaping too much and feeling like life was out to get him. Paranoia creeps into the song, with Lavers praying for mercy be it from God or a musical breakthrough. The song slowly transforms into a moment of acceptance, turning a cry for help into something slyly uplifting. — DR

Sarz, “Getting Paid” feat. Asake, Wizkid, Skillibeng

If a song of the summer was needed, Sarz delivered. Featuring a Mount Rushmore of Afrobeats and dancehall stars, this one would’ve owned the season if fall hadn’t already been creeping up. It can rule Detty December instead. —KW

Marem Ladson, “Cavity”

Marem Ladson, who was born in Spain but now lives in New York, teams up with Nick Hakim on her emotionally piercing new song. “Cavity” is Ladson resisting the need to fully rationalize painful feelings and, instead, finding some form of peace in watching them pass by. It’s a quiet song about a major breakthrough. — DR

Shlohmo feat. Salem, “Chore Boy”

It’s a blog-era reunion on “Chore Boy,” the first single from Shlomo’s upcoming album Repulsor, out October 31. The shadowy-toned electronic producer and WeDidIt founder teams up with witchhouse’s golden children Salem for a grim and guttural new track. “Chore Boy” is less indebted to Houston screw than Salem’s earlier releases, still, the underlying trap drum patterns bring things back to the foundational vibe: a broken down shack somewhere deep in the woods, where a haunted NPC weaves songs that burn and bubble. —JD

Sol ChYld, “fake the funk”

Mystic sax, incense smoke, and her own poetic flow are the ingredients that make up New Jersey-based MC Sol ChYld’s new invigorating, neo-soul and hip-hop-influenced sound. —SW