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. You can hear this week’s picks below and on Stereogum’s Favorite New Music Spotify playlist, which is updated weekly. (An expanded playlist of our new music picks is available to members on Spotify and Apple Music, updated throughout the week.)


NØ MAN - "Glitter And Spit"

NØ MAN bring together three members of screamo greats Majority Rule with vocalist Maha Shami. Pulling inspiration from a visit to her native Palestine, she sounds ferocious over the band’s bombastic straight-ahead post-hardcore, marshaling intense guttural power under the frayed exterior of her screams, raging against “attempts to shape and define your life” that “often romanticize the idea of an angry woman until you disrupt their status quo.” Eventually, she shifts to singing rather than screaming, as if to make sure we don’t miss the defiant manifesto at the center of the song: “As luck would have it, I’m all glitter and spit/ Nine times to die, I’m all glitter and spit/ Bomb threat, covered in glitter in spit/ Dust to dust, she’s made of glitter and spit.” It’ll have you exclaiming, “Yes, man!” —Chris


Ice Spice - "Think U The Shit (Fart)"

There’s a thing that happens when a new rap star blows up suddenly out of nowhere, especially once the music establishment gets behind them. They tamp their styles down. They start triangulating for brand endorsements and widespread acceptance. Often, they lose the fun, messy qualities that made them fun in the first place. Ice Spice always seems to be teetering on the edge of that route. She’s already got the bad Taylor Swift remix and the genuinely disgusting Dunkin Donuts drink, and she doesn’t have have an album yet. But there’s something beautiful about this young lady, on the brink of what could be a big Grammy night, releasing a ridiculous song called “Think U The Shit (Fart).”

Look, it’s dumb. It’s supposed to be dumb. It’s the good kind of dumb. Ice Spice, sounding deliciously bored as ever, demands 400 bands just to do her lil dance, while RiotUSA, the ony producer that she’s ever had, flips the beat from the disreputable Brooklyn crew 41’s drill anthem “Bent.” Ignorant music might not help build Ice Spice’s brand, but the world will be a slightly better place if she keeps releasing silly headknockers like this one. —Tom


Camera Obscura - "Big Love"

“Big Love” is the first preview of Camera Obscura’s first album in 11 years, Look To The East, Look To The West. It’s a delightful dose of twangy indie pop, Tracyanne Campbell’s vocals as enchanting as ever, especially as she sings the great hook, “Oh honey, don’t go back there/ You know there’s no room for you there.” Campbell said the song is about “not looking back, having faith in the present and future.” It’s a concept that could easily lead to a corny anthem that tries too hard to be inspirational; “Big Love,” though, magically nails this optimism in a sincere, contagious way. —Danielle


John Glacier - "Money Shows" (Feat. Eartheater)

It doesn’t take much. “Money Shows,” the lead single from avant-rapper John Glacier’s first release for label powerhouse Young, feels like an extended bated breath, all tension and no release. A scraping guitar circles like a buzzard; Glacier’s delivery is constant but nonplussed. She’s been building up buzz for a couple years now, mostly by way of her association with cool-guy Vegyn, but “Money Shows” sounds like an introduction. The experimental musician Eartheater is in the mix, wailing far in the background, but the focus is on Glacier, a showcase for her alluring pull. —James


Burial - "Dreamfear"

“Dreamfear” goes hard. This is not that eerie, abstract, barely there Burial who’s been showing up a lot in recent years. Instead, he’s tapping into that Rival Dealer vein, serving up spooky dance tracks that feel like breathlessly speeding through the underworld. There are still ghostly vocal samples and moments of tension-building quiet (“I am the lord of ecstasy”), but the A-side from William Bevan’s first single for XL is defined by that ballistic breakbeat and those laser synths. A full eight minutes in, the track shifts shape, foregrounding soulful growls and the rapped refrain “Back from the dead/ Fucked up your head!” By the end, when Bevan steers us into a haunted house rave full of demonic barking dogs, both the “Dream” part and the “fear” part start to make sense. —Chris

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