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, “Taxes”
After the release of Cameron Winter’s stunning solo debut Heavy Metal many wondered if Geese could exist beyond their frontman’s shadow. “Taxes,” the first single from their newly announced album Getting Killed, proves they can. The first half of the song centers Winter’s raw scratchy voice with little accompaniment, but the track splits open halfway into a full-band affair that feels uplifting, even as Cameron promises to “break [his] own heart from now on.” —Raphael Helfand
Fletcher Tucker, “To Light A Fire”
Big Sur artist Fletcher Tucker’s musical practice endeavors to connect with the land, the people, and the invisible ancestors around him. “To Light A Fire,” inspired by the mystic compositions of Hildegard von Bingen, is hypnotic, multi-tracked spoken-word poetry delivered over a droning swell of “breathing” instruments. It also features Mellotron flute stylings courtesy of Spencer Owen and stumbling percussion from Phil Elverum, creating a dynamic Tucker refers to as “Cosmic polarity.” — RH
DJ K, “MEGA SUICIDIO AUDITIVO”
DJ K is at the forefront of the bruxaria scene, a branch of the larger baile funk universe. His is a primal and punishingly loud funk, as demonstrated on his 2023 Nyege Nyege debut Pánico No Submundo (one of our favorite albums of that year). He’s shared the emphatically brutal “MEGA SUICIDIO AUDITIVO,” which begins with a maelstrom of DJ tags, rapped vocals, and jarring samples. When the beat drops, it’s phone-in-a-blender harsh noise, vicious enough to make the dance floor fall into fetal position. —RH
Syd, “Die For This”
Returning three years after her last solo album Broken Hearts Club, Syd is a pin cushion for Cupid’s arrows on “Die For This.” She’s straightforwardly smitten on the track, leaving the instrumental — rich layers of funky soul-pop with an underlying Basement Jaxx-y arpeggio — to bolster the track’s elite replayability. — Jordan Darville
Ethel Cain, “F*ck Me Eyes”
An expert at building lore around her pop career, Ethel Cain delivers a master class wrapped up in a moving subversion of pop tropes with her latest single. A synth ballad with a true catharsis that’s revealed over time, “Fuck Me Eyes” unspools its central character’s struggle with her sexualization with care and compassion. — JD
Amaarae, “S.M.O.”
Amaarae has one of the most iconic voices in music right now. Her breathy, baby-soft coo is sirenic on “S.M.O.,” a colossal club rager built around high-bpm Ghanian highlife and zouk and an infusion of Detroit house. It pummels you down before she picks you up and stirs you back to life. —Steffanee Wang
Danny L Harle, “Starlight” (ft. PinkPantheress)
If you like PinkPantheress’s music but wish it came with 100% more bosh then “Starlight” is the song for you. Producer Danny L Harle says he channeled Renaissance composers and ’90s piano house divas when he made the tune. Pink, meanwhile, is battling feelings of rejection and a desire to escape. The result is an exhilarating ride to the top of the BPM counter and up towards the clouds above. —David Renshaw
Joviale, “Let Me Down”
The new Joviale album Mount Crystal (out September 12) is a wild ride through jazz, rock, and soul that began its life as murder-mystery stage play with their collaborators, including John Carroll Kirby and Fabiana Palladino, as characters. That wild streak of imagination can be heard in “Let Me Down,” a song about fading desires that bubbles with experimental sounds and rich melodies. —DR