The 5 Best Songs Of The Week

The 5 Best Songs Of The Week

Every week the Stereogum staff chooses the five best new songs of the week (the eligibility period begins and ends Thursdays right before midnight). This week’s countdown is below, and you can listen to a playlist of all our 5 Best Songs on Spotify.

Pretty weird week to be blogging about pop music, but here we are! The five best songs of the week are below.


Just Mustard have always had a particular synthesis at work in their music. If you see them live, they are noisy and abrasive, but in the studio they rein that in to a tightly controlled chaos, a sound that is eerie and foreboding. Underneath that though, there’s also the band’s fascination with dance music: “Still,” their new single, was deliberately written as something people could dance to. True to its purpose, “Still” has a tense but insistent rhythm, giving new haunting shape to the amorphous sheets of warped guitar the band has always favored. It still has the seasick, uneasy qualities that have long defined Just Mustard’s music, but the discomfiting pulse of “Still” makes it one of the band’s most transfixing songs yet. —Ryan


NorCal punks Spice — led by Ceremony’s Ross Farrar — let it rip once again on “Any Day Now,” which goes really hard and is an exciting indicator of what’s coming on the forthcoming album Viv. Ostensibly about forgetting to write someone back (or possibly just procrastinating), “Any Day Now” scratches every modern punk-rock itch: shout-along chorus, thundering drums, distorted-to-hell guitar, a sticky, pop-minded melody, and an on-brand attitude that pinballs between depressive and apathetic (“Someday I’ll sit down and write you back… Or I won’t”). —Rachel


Enumclaw make music that fits into the lineage of your favorite Pacific Northwest rock bands without being too beholden to the past — despite what their song titles might have you believe. “2002,” the Tacoma, Washington quartet’s first new song since last year’s promising Jimbo Demo, pairs frontman Aramis Johnson’s lackadaisical vocals with deceptively sharp pop melodies, the fuzzy slacker affect belying the real craftsmanship and ambition that goes into their work. “As soon as I open my eyes/ And the sun starts to shine on my face/ I think of all the ways that I/ Can be bad today,” Johnson drawls sarcastically. If being bad is the goal, well, better luck next time. This is the good shit. —Peter


While Denzel Curry’s been talking about Melt My Eyez See Your Future for years, some aspects of the album — a release date, an official tracklist — remain shrouded in mystery. But two songs in, it now seems like a safe bet this album is going to be a ride. Its lead single “Walkin” was already a dizzying hybrid, Curry dexterously moving above an old-school boom-bap beat and then an intense trap beat. Now he’s once more on to something entirely different. “Zatoichi” finds Curry teaming up with slowthai, and it’s a wild, alluring rush of a song. Curry, as ever, goes in furiously — this time over airy verses that give way to frantic drum-and-bass-inspired breakbeats in the chorus. Between this and “Walkin,” it seems safe to say Melt My Eyez is going to melt some minds too. —Ryan


Porridge Radio are not exactly subtle. The Brighton band’s breakthrough album, Every Bad, was filled with songs that crashed from quiet to loud and back again and usually climaxed with a howled-out refrain from leader Dana Margolin. They’re up to their old tricks on “Back To The Radio,” the lead single from their upcoming third album. The song builds and builds and then eventually breaks, but before that Margolin delivers one of her most impassioned pleas yet, forcing herself through knots of miscommunication and fighting past an emotional distance.

There’s so much going on in the background — that descending synth line, those furiously pounded drums — but Margolin demands full attention as she repeats the song’s central hook with a quiver: “Lock all the windows and shut all the doors and get into the house and lie down on the cold, hard floor/ Talk back to the radio, think loud in the car, I miss everything now, we’re worth nothing at all.” It’s high drama and well-earned, and it’s a welcome re-introduction to what makes this band feel so epic in scope. —James

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