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.

Listening to MAVI since his 2019 debut, you get a sense that he protects his peace with almost fanatical dedication. He’s not a prolific collaborator, and how else could he spin such dense lyrical displays, his bars an invocation, eulogy, and celebration all at once? “Landgrab,” his new single with Earl Sweatshirt, has a joy you won’t find in most link-ups not only in rap but music, period. The two rappers don’t just trade bars, they weave them together into a kind of circulatory system, pumping passion for Black folk heroes, their improbable successes, and the rewards of hard work: “More for the sport than the glory attached / I'm sure when the cortisol course through the labyrinth / Worth a small fortune, afforded to that.” — Jordan Darville

Cerrone is the French disco juggernaut behind the massively influential “Supernature” (a song you might recognize from its iconic appearance in Gaspar Noé’s Climax). And while the pop charts love a good sonic throwback, enlisting a left-of-center melodic genius like Christine and the Queens on his new track “Catching Feelings” ensures its slinky sexuality is both period appropriate and as fresh as just-ironed bellbottoms. — JD

Life in a busy metropolis can soon start to feel small if you confine yourself to the same few locations, a repetitive cycle of work and home broken up by the occasional trip to the store. Big city life, the new album from Norwegian duo Smerz, rings out like an alarm bell to those in a landlocked stupor. Their message is less "touch grass" and more "go to the club and enjoy life." "Dreams" is my current standout, a windswept techno ballad on which Henriette Motzfeldt asks “Baby, do you know how hearts collide?” The answer comes soon after, "Not in my daily moves from bed to bathroom.” The simplicity is enough to make that scheduled Zoom call even more irrelevant. —David Renshaw

London-based band World News have a jangly and romantic side that calls to mind artists like The Jesus and Mary Chain or The Durutti Column (for a more recent name try the criminally underrated Merchandise). On "Don't Want To Know," frontman Alex Evans pursues isolation as melodic guitars color in his grey mood. Evans croons his way though the song but lets it rip when frustration gets the better of him, practically scratching a line like "Don't want to know your name!" into the firmament. — DR

Currently on tour with Wet Leg in their native U.K., mary in the junkyard step off the stage and into the bowels of London's sewage system on their explosive new single. Wipe away the scum and dirt, though, and "drains" is a heavy souled paean to friendship, the kind that picks you up off the floor and back toward the light. —DR

Lucrecia Dalt’s songs are always slightly warped. On “divina,” she leans poppier than she has before, but the result still feels extraterrestrial. Relying on a once-a-measure snap as her only percussion, Dalt’s sleek melodrama denatures into weird dissonances and faintly sinister rumblings as the track progresses. By the song’s end, we’re swimming in the deep end of a pool whose floor is obscured in murk. “A ritualised fire / A plume of desire / Hugging and burning / Flesh blended dying as ‘you,’” Dalt sings, followed by a minute of strange sounds bubbling in an arrhythmic ether. —Raphael Helfand

Making heavy use of a space-age arpeggiator and an arsenal of other kitschy synths, “Electrified Teenybop!” is the most turbocharged track on Stereolab’s new album, Instant Holograms On Metal Film. The instrumental cut is full of ecstatic peaks with very few valleys between them, maintaining its manic energy from start to finish. —RH

Flint, Michigan’s own Greet Death have a spectral take on shoegaze that’s unnerving. On “Motherfucker,” they subtly thread together a massive melodic tapestry. “It's not so much the sinking feeling / That's got me bumming under moonlit skies,” Harper Boyhtari warbles on the hook, floating over guitars that simmer with potential energy. “It's subtle darkness when I do anything / It's killing me to stay alive.” — RH

In July 2024, the indie pop band Why Bonnie put out “Fake Out,” a sublime and quietly defiant guitar anthem that felt like it was written in response to the people who love to tell women how to act. Now the band has released a bedroom version of the song which turns her screams, “It’s not my face / I imitate,” into quietly belted pleas. Despite the delicate shift the song still keeps all of its bite. —Steffanee Wang

Riding the viral wave of her penned song "Gnarly," Alice Longyu Gao is seizing the moment to show more of what she does best: create utter, glamorous chaos. Her surprise double-single of "Let The Music Talk" and "LSFG 2025" is her at the decks at her most manic, the latter an unruly tangle of dub step, speaker-breaking distortion, and her off-the-cuff chirps: "The bass sets, my list is closed / The drum sets, who do you know, here? / And my voice goes, "Can I bump a smoke?" It is, as most of her music is, illogically bumping. —SW