J Hus and Asake’s “Gold” and the best new songs out 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.

underscores, “Music”

How does one put into words the inexplicable feeling of being in love? For Cali-based electronic pop artist underscores, the best way she can phrase it is like music, a spiritual harmony that only a devotee to sound like her can understand. “Music” is a love song but also a why do I love song, put over pummeling thumps and featuring lines like “Last night, I had a wet dream ‘bout the perfect song.” Like your favorite song, sometimes there’s no clear reasoning to the draw, only a pull to put it on again and let yourself crash deeper. —Steffanee Wang

Street Sects, “Spitting Images”

Street Sects make terrifying music fit for their terrifying shows, in which frontman Leo Ashline sneaks menacingly around the audience as strobe lights flash through dense fog. Announcing their first new album in seven years, they’ve shared “Spitting Images,” a two-minute gut punch of eviscerating production and venomous vocals. “It’s Saturday night and I’m dying / Can’t stop now,” Ashline growls through gnashed teeth. The track arrives alongside “Turn Blue,” the debut single from Street Sects’ new side project Street Sex, which is pretty gnarly in its own right. —Raphael Helfand

Hatis Noit, “A Caso (Jlin Rework)”

Japanese vocalist Hatis Noit’s 2022 album Aura is an eerie suite of songs packed with astonishing feats of the human voice. On its newly announced “reworks” edition, she’s allowed other artists to sculpt her voice into their own shapes. In Jlin’s reimagining of “A Caso,” the Chicago composer-producer fixates on a tiny snippet of Noit’s singing, setting her high-range vocal gymnastics against a villainous sub bass and richly textured footwork rhythms. —RH

duendita, “piel”

In her first new track since the release of her April album a strong desire to survive, duendita slides like butter across a hot pan. Her delivery, often unintelligible but always entrancing, takes on an especially amorphous quality over smoothly chopped samples and sleek electric bass that together form and reform swinging pockets of jazzy bliss. —RH

No Joy, “Bits”

In the midst of a new generation’s revival of shoegaze and dreampop, No Joy defiantly zags, spiking their punch with death metal, techno, and darkwave. Such an ethos makes their collaboration with the polysonic electro-rock musician Fire-Toolz, who produces the upcoming No Joy album Bugland, a natural one. “Bits,” the project’s second single, has chintzy keyboard flourishes rub against goopy bass licks and barreling subterranean distortion that gives way to crystalline guitar melodies. It’s got the vividness of a playhouse, but with fewer safety nets. —Jordan Darville

Lawrence Matthews, “Breonna’s Curse”

After Breonna Taylor’s death at the hands of police in 2021, Lawrence Matthews found himself unable to feel comfortable in his own home. “Breonna’s Curse” began as an attempt at an exorcism. “I wanted to channel an energy of reclaiming that security,” he writes, “and repelling anything that would seek to take it.” Over gentle country-folk instrumentation that builds from a solo guitar to a full, spectral band, Matthews lets his words fall out of his mouth like pennies into a bottomless well full of a deep, mystic resolve. — JD

Corey Lingo, “See Where You Coming From”

Listen closely to the unabashed ‘00s R&B vibe of rap producer-turned-crooner Lingo’s sound, and you’ll get a lesson in how to make a throwback stand comfortably next to the original. “See Where You Coming From” sounds ripped from a first generation iPod Nano playlist titled “xXC.Breezy.HeartbreakXx,” from Lingo’s impressive vocal runs down to the crisp pop-and-locking drums. —JD

debbiesthuglife, “MEDUSA PHASE”

London NTS resident and YouTube chat show host debbiesthuglife makes a high-energy mix of drum & bass and trance built for euphoric moments on the grimiest dancefloors. “MEDUSA PHASE,” a standout from her new EP, JELLYFISH, is a warpspeed charge through the club with what I swear sounds like Homer Simpson screaming with rage. —David Renshaw

J. Hus, “Gold” feat. Asake

J. Hus recently celebrated the anniversary of his 2020 album Big Conspiracy by performing alongside an orchestra at London’s Royal Albert Hall. “Gold,” his first new music in a couple of years, shows that he isn’t leaning too far into nostalgia or grown music cliches, though. Backed by a guest spot from Asake, Hus delivers his verses from the middle of the party, “smokin’ jamba” and sipping henny and coke. It’s a classic J Hus track, a bass-heavy celebration laced with the sense that things could switch up in an instant. —DR

Venna, “Day x2” feat. MIKE

“Day x2” is a laid back and sax-flecked ode to meeting life in the moment and letting joy emerge spontaneously. Venna, whose work touches on jazz, afrobeat, and U.K. rap, brings in MIKE to deliver the message in his trademark slippery flow. Venna knows how to pick a collaborator; his upcoming album Malik will also feature vocals from Jorja Smith and Smino. —DR

Teethe, “Hate Goodbyes”

Teethe’s slowcore is for soundtracking the bittersweet moments in life: a fading sunset, the end of summer, the sudden waves of relentless heat after a particularly cold spring. The Texas band have a knack for encapsulating that particular emotional crevice where you’re both accepting of an ending yet quietly, subtly still yearning for something more; downtempo, lo-fi Americana perfect for that liminal space of endings and beginnings. —Cady Siregar