11 Best Songs of the Week: Swans, Grimes, Death Cab for Cutie, Chelsea Wolfe, and More | Under the Radar Magazine Under the Radar | Music Blog for the Indie Music Magazine
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11 Best Songs of the Week: Swans, Grimes, Death Cab for Cutie, Chelsea Wolfe, and More

Plus Bat For Lashes, Belle and Sebastian, Metronomy, and a Wrap-up of the Week’s Other Notable New Tracks

Sep 06, 2019 Bat For Lashes
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Welcome to another Songs of the Week. It should’ve been a quiet week due to Monday’s Labor Day holiday here in America. And it was quiet at first, but then in the latter half of the week there was a rally of worthy new tracks. We settled on 11 tracks this week (we did only nine last week).

In the last week we also reviewed a bunch of albums, including the latest by Iggy Pop, Ra Ra Riot, Miles Davis !!!, and Ceremony. Plus every week we post reviews of various other things (some weeks including DVDs, Blu-rays, films, concerts, and TV shows).

To help you sort through the multitude of fresh songs released in the last week, we have picked the 11 best the last seven days had to offer, along with highlighting other notable new tracks shared in the last week. Check out the full list below.

1. Swans: “It’s Coming It’s Real”

This week Swans announced a new album, Leaving Meaning, and shared its first single, the seven-minute “It’s Coming It’s Real.” Leaving Meaning is due out October 25 via Young God (and Mute outside of America). Check out the album’s tracklist and cover art, as well as Swans’ upcoming tour dates, here. “It’s Coming It’s Real” is a gorgeous and timeless slow burn of a track that’s held up by the female backing vocals.

Swans are as ever led by Michael Gira, who wrote and produced the album. Leaving Meaning also features a ton of other musicians: Kristof Hahn, Larry Mullins, Yoyo Röhm, The Necks, Anna and Maria von Hausswolff, Ben Frost, Baby Dee, Jeremy Barnes and Heather Trost, Dana Schechter, Jennifer Gira, Cassis Staudt, Norman Westberg, Christopher Pravdica, Phil Puleo, Thor Harris, and Paul Wallfisch. Swans have released a collage image featuring photos of the various contributors.

Gira had this to say about the album in a press release: “Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 - 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I’d like to see the songs I’ve written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They’re all people whose work I admire and whose company I personally enjoy.”

Swans’ fall tour dates will feature Michael Gira on a solo tour with Norman Westberg. Swans will also tour in the spring of 2020.

2. Grimes: “Violence” (Feat. i_o)

This week Grimes (aka Claire Boucher) shared a brand new song, “Violence,” via a self-directed video for the track. The song features i_o, a techno DJ/producer. The video features Grimes and some dancers with swords and starts with her reading The Art of War. Grimes’ new album, Miss_Anthropocene, is due out at some point later this year via 4AD (an exact release date has yet to be announced) and this song is presumably from there. “Violence” seemed to get a mixed response from some online, but we dug it. Personally, we weren’t as into Art Angels as some outlets and this vibe is a bit closer to her previous album, 2012’s Visions.

Last year Grimes shared a brand new song for our future AI overlords, “We Appreciate Power,” via a lyric video for the track, and also stopped by The Tonight Show Starring Jimmy Fallon to perform the song (where she was joined by HANA, who is featured on the song). “We Appreciate Power” was said to be the first track from her forthcoming fifth album, the follow-up to 2015’s Art Angels. In March she shared a new demo, “Pretty Dark,” which she said was not from the new album.

3. Death Cab for Cutie: “Blue Bloods”

Death Cab for Cutie have released a new EP, The Blue EP, today via Atlantic. Now that it’s out, you can stream the whole thing here. Also, the band have shared a video for the EP’s closing track, “Blue Bloods,” which is labeled a studio video since it features footage of them recording the song. The song wasn’t shared previously and we liked it enough to put it on the list. It’s a bit looser than some recent Death Cab songs and the outro is what sealed the deal on this one making the list.

Previously Death Can for Cutie shared the EP’s first single, “Kids in ‘99.” Then they shared another track from it, EP opener “To the Ground,” which is a bit more propulsive than recent Death Cab for Cutie material and was one of our Songs of the Week.

In 1999 in Death Cab for Cutie’s hometown of Bellingham, Washington, three people (two 10 year olds and one 18-year-old) were killed in the Bellingham Olympic Pipeline explosion, when a gasoline pipeline ruptured. “Kids in ‘99” was written in tribute to those who lost their lives that day just over 20 years ago.

Gibbard had this to say about the song in a previous press release: “The Olympic Pipeline explosion in 1999 was a tragedy that really affected me while we were living in Bellingham. After all these years I felt it was worthy of its own folk song.”

Death Cab for Cutie’s last album, Thank You For Today, came out last year via Atlantic. Two of the EP’s songs, “To the Ground” and “Before the Bombs,” were recorded during the sessions for that album and were produced by Rich Costey. Peter Katis produced the EP’s “Kids in ‘99” and “Blue Bloods,” and the band produced the remaining track, “Man in Blue.”

Read our 2018 interview with Death Cab for Cutie frontman Ben Gibbard on Thank You For Today.

Also read our 2018 The End interview with Gibbard about endings and death.

4. Chelsea Wolfe: “Deranged for Rock & Roll”

Chelsea Wolfe is releasing a new album, The Birth of Violence, on September 13 via Sargent House. This week she shared another song from the album, the haunting “Deranged for Rock & Roll,” via a video for the track. Gilbert Trejo directed the video, which takes place in a small desert town.

Wolfe had this to say about the song and video in a press release: “‘Deranged for Rock & Roll’ is my love song to music. Every time I ever tried to walk a different path, music always called me back home to it. It’s in my blood; it’s my one source of true peace. I love its chaos and its rough edges, and I love the way it can bring understanding and comfort. I belong to music, and it to me. I feel Gilbert’s video illustrates that unnamed pull towards something so well. My character is destined to sing the same song over and over in this purgatory of a desert bar, while different people come through the town and begin to feel the pull as well, drawing them into this vortex to stay for good.”

Director Trejo (Pixies, DIIV) had this to say: “From the beginning we knew this video took place outside of society. The melody invokes compulsion, a certain type of purgatory, the inability to just buckle down and fly the straight path. Everyone’s purgatory exists side by side, and we affect one another without ever knowing.”

Previously Wolfe shared The Birth of Violence‘s first single, “The Mother Road” (which was one of our Songs of the Week). Then she shared another song from the album, “American Darkness,” via an atmospheric black & white video. Then she shared “Be All Things,” via a video for the track that was partially shot inside Northern California’s Moaning Cavern, 450 feet underground, and partially in Iceland. “Be All Things” was also one of our Songs of the Week.

The Birth of Violence is the follow-up to 2017’s Hiss Spun. It was recorded with longtime musical collaborator Ben Chisholm and features Jess Gowrie (drums) and Ezra Buchla (viola).

Wolfe had this to say about the album in a previous press release: “I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people-an incredible time of learning and growing as a musician and performer. But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.”

The previous press release described the album as such: “Birth of Violence touches upon tradition, but it also exists in the present, addressing modern tragedies such as school shootings and the poisoning of the planet. But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. The songs describe an internal awakening of feminine energy, a connection to the maternal spirit of the Earth, and a defiant stance against the destructive and controlling forces of a greedy and hostile patriarchy. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension. In keeping with the general approach of the album, it thrives by culling from the familiar language of American country and folk music while setting it within longtime musical collaborator Ben Chisholm’s scenic soundscapes.”

The previous press release added: “While it’s tempting to draw a comparison to Wolfe’s acoustic collection Unknown Rooms, Birth of Violence is a far cry from the unplugged nature of that album. Instead, it feels like an exploration of one of Wolfe’s strongest facets-her ties to the American singer/songwriter tradition.”

Read our 2015 The End interview with Wolfe about endings and death.

5. Bat For Lashes: “Vampires”

Bat For Lashes (aka Natasha Khan) released a new album, Lost Girls, today via AWAL Recordings (you can stream it here). All of its pre-release singles made our Songs of the Week list, but now that the album is out we can share one of its album tracks we’ve been digging. “Vampires” is a three-minute long instrumental track at the center of the album and it gives off some strong Cure vibes, mixed with some delicious 1980s saxophone.

Previously Khan shared Lost Girls’ first single, “Kids in the Dark” (which was one of our Songs of the Week). Then she shared a video for the track. Khan directed it herself and starred as the album’s main character Nikki Pink, in this case as a vampire stalking a lover, backed by a gang of female vampires. Then she shared the album’s second single, “Feel For You,” which has a strong ‘80s vibe and was #1 on our Songs of the Week list. Then she shared another song from it, “The Hunger,” via a self-directed video for the track (it was one of our Songs of the Week). Which was followed by another Lost Girls song, “Jasmine” (it was also one of our Songs of the Week). Then she shared another song from it, “Desert Man.”

Bat For Lashes has also been sharing some intriguing teaser videos on Instagram that tie into the album and the “Kids in the Dark” video. You can watch some of them here.

Lost Girls is the follow-up to 2016’s concept album The Bride, which came out via Parlophone/Warner Bros. Although in 2018 Khan scored the BBC/Netflix show Requiem, for which she picked up an Ivor Norvello Award.

A previous press release set the scene for Lost Girls this way: “If her last album, The Bride, was melancholy and mournful, a tone poem of loss and regret, Lost Girls is her mischievous younger sister, widescreen in scope and bursting with Technicolour intensity. It’s an album for driving in the dark; holding hands at sunset; jumping off bridges with vampires; riding your bike across the moon…. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow. The women of Lost Girls are parallel to one of Khan’s previous female protagonists, the tough, darkness-driven Pearl, from her 2009 lauded album Two Suns. Within the women of Lost Girls and the character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.”

6. Belle and Sebastian: “This Letter”

It was announced last year that Scotland’s Belle and Sebastian would be providing the score for the indie film Days of the Bagnold Summer and the soundtrack is due out September 13 via Matador. This week they shared another song from it, “This Letter.”

Previously the band shared the album’s first single, “Sister Buddha,” via a video for the track. It was one of our Songs of the Week.

The film is the directorial debut of Simon Bird, an actor and comedian known for his role as Will McKenzie in The Inbetweeners TV and movie series. The movie is based on a 2012 graphic novel of the same name by Joff Winterhart and is due out in 2020.

A previous press release described the plot of Days of the Bagnold Summer as such: “It’s a tender, touching and acutely observed coming-of-age story, which tells of a heavy-metal-loving teenager’s holiday plans falling through at the last minute, leading to him having to spend the summer with the person who annoys him most in the world: his mum.”

Nick Cave’s teenage son, Earl Cave (The End of the F***ing World), stars as the teenager in the film. Monica Dolan (Eye in the Sky) plays the mum (who’s a librarian) and the film also stars Rob Brydon (The Trip), Tamsin Greig (Second Best Marigold Hotel), Alice Lowe (Prevenge), and Elliot Speller-Gillot (Uncle).

In the previous press release Murdoch admitted that he wasn’t aware of the original graphic novel before Bird approached the band to soundtrack the movie version. “But its style and its atmosphere set me off straight away,” he said. “I read it on a Friday, and by Monday I pretty much had all my ideas lined up. What was great was that Simon hadn’t shot anything then. You want to get in early, because that way you can start having late night conversations with the director about The Graduate, or whatever. We all have fantasies about those great movies of the ‘60s and the ‘70s. If you going to get involved with a project like this, you want to do it right.”

The soundtrack features re-recorded versions of two previous Belle and Sebastian songs: “Get Me Away From Here I’m Dying” (from 1996’s sophomore album If You’re Feeling Sinister) and “I Know Where The Summer Goes” (from the 1998 EP This is Just a Modern Rock Song). “Simon was adamant he wanted to use it. He’s a proper fan of the group,” said Murdoch about “Get Me Away From Here I’m Dying.”

The origins of one of the tracks, “Safety Valve,” date back even further. “That one’s ancient,” said Murdoch. “It predates the band; it’s maybe 25 years old. The only time I can remember ever playing it was in a coffee shop with a friend of mine, and people scratching their heads. There was only a verse and a chorus, so I went back to it, and revised the words. It’s a simple song about being over-reliant on a particular person - probably my girlfriend at the time. But it seems to work okay here, too.”

In terms of releasing a soundtrack vs. a regular album, Murdoch commented: “Everything we do that becomes an album is a big deal for us. We’re quietly pleased with how the collaboration went, but the truth is that you don’t know what’s going to happen when it goes out into the world, and people hear it.”

The band’s Sarah Martin added: “It’s more consistent, probably, than most of our albums. Soundtracks are a deeper cut. They’re not a big pop statement.”

In late 2017 and early 2018 Belle and Sebastian released three interconnected EPs via Matador, all titled How to Solve Your Human Problems. How to Solve Your Human Problems Part 1 came out in December 2017, Part 2 came out in January 2018, and Part 3 came out in February 2018. Then all three EPs were collected in a vinyl box set and CD compilation that also came out in February 2018.

Read our interview with Belle and Sebastian’s Stuart Murdoch on How to Solve Your Human Problems.

7. Metronomy: “Wedding Bells”

Metronomy are releasing a new album, Metronomy Forever, on September 13 via Because Music. This week they shared another song from the album, “Wedding Bells,” via a lyric video for the track that features the lyrics written on a wedding program.

Metronomy Forever includes “Lately,” a new song the British band shared via a video in May (it was #1 on our Songs of the Week list). When the album was announced in June they shared a video for another new song from it, “Salted Caramel Ice Cream” (which was also one of our Songs of the Week). Then they shared the album’s “Walking in the Dark,” via a video for the track (it was also one of our Songs of the Week).

Metronomy Forever is the follow-up to 2016’s Summer 08. Since then Mount did production work on Robyn‘s Honey (Robyn appeared on Summer 08). Mount also moved from Paris to the English countryside, which influenced the album.

Mount had this to say about Metronomy Forever in a previous press release: “What happens is when you’re making music and you enter a world where you have achieved some sort of celebrity no matter how large or small you start to think about yourself in terms of legacy and what you’re going to leave behind and then you realize that’s limited to the interest people have in you. In the end I feel completely comfortable with it. The less importance you place in any art the more interesting it can become in a way…I’m making music, I’m going to do some concerts, I need to feed my children.”

Read our 2016 interview with Metronomy.

8. Devendra Banhart: “Taking a Page”

Devendra Banhart is releasing a new album, Ma, on September 13 via Nonesuch. Now he has shared another song from the album, “Taking a Page,” which is inspired by Carole King and references the classic singer/songwriter.

“Taking a Page” features a melody and line from King’s 1971 song “So Far Away,” for which Banhart sought permission from King. Banhart had this to say in a press release: “I’m not sure what ‘Taking a Page’ is about, at least I’m not sure of how to synthesize it into something pithy. I definitely know it’s about how much I can’t stand car chases and those long drawn-out guitar solos (though I’ve certainly been guilty of plenty of ‘em!). I do remember the night Trump won-the shock and fear. I instinctively reached for a Carole King album. I knew it would help. I knew it would come in handy ... and it did. Still does. I’m so glad Carole got to hear it. It’s really just a song about my entire life. I can’t explain it much beyond that.”

Previously he shared a video for Ma‘s first single, “Kantori Ongaku” (which was one of our Songs of the Week). Then he shared another song from the album, “Abre Las Manos,” which was in Spanish and accompanied by a visual showcasing images of Caracas and El Avila National Park in Venezuela. Then he shared another song from the album, “Memorial.”

Banhart’s last album was 2016’s Ape in Pink Marble. Since then he’s stayed busy. In April he released two books: Vanishing Wave (a book of his ink drawings inspired by a trip to Japan) and Weeping Gang, Bliss Void, Yab Yum (his first book of poetry). Plus in March he released Fragments du Monde Flottant, a collection of various musicians’ demos that he curated.

Ma began when Banhart and frequent collaborator Noah Georgeson were invited to record in an old temple in Kyoto, Japan, after an Asian tour. The album was then recorded in California at 64 Sound and Sea Horse Studios in Los Angeles and Anderson Canyon in Big Sur. Cate Le Bon contributes background vocals on “Now All Gone” and previous collaborator Vashti Bunyan duets with Banhart on “Will I See You Tonight.”

“Vashti is the archetype of the mother, one of the most important people in my life. It was so beautiful to sing this duet with her,” says Banhart in a press release.

This is how the press release describes the themes of Ma: “Banhart doesn’t approach the album’s maternal theme in a literal way; rather, by contemplating it, alluding to it, regarding the concept of motherhood from different angles, he has fashioned an album of multiple, intertwining narratives. Its concerns are both personal and global, with subtly autobiographical looks at life and death and ruminations about the precarious state of the world. The many lighthearted moments of Ma are balanced by deeply melancholic, even somber ones.”

Three of the album’s tracks are sung in Spanish and one is in Portuguese. Banhart spent his childhood in Venezuela and a press release says his decision to sing in Spanish was because he “has been profoundly affected by the poverty and despair he’s witnessed there.”

“My brother is in Venezuela, my cousins, my aunts and uncles. They are just holding their breath, in gridlock standstill,” Banhart elaborates. “There’s this helplessness. This place that has been a mother to you, that you’re a mother to as well, and it’s suffering so much. There is nothing you can do but send out love and remain in that sorrowful state.”

9. M83: “Temple of Sorrow”

M83 (aka Anthony Gonzalez) is releasing a new album, DSVII, on September 20 via Mute. This week he shared its first single, “Temple of Sorrow,” via a video for the track that is also the first part of Extazus, which is a three-part short film inspired by the music of DSVII that was directed by Bertrand Mandico (a French experimental director). The other two parts will be released weekly. Watch “Temple of Sorrow” (aka part 1 of Extazus) below, but also below is simply the audio of the song if you want to check it out without the dialogue and sound effects.

DSVII is the sequel to 2007’s ambient music album Digital Shades Vol. 1 and is inspired by early video game soundtracks, the music from ‘80s sci-fi/fantasy films, and the work of Brian Eno, Suzanne Ciani, Mort Garson, and John Carpenter. DSVII was recorded using only analog equipment in the fall of 2017 and spring of 2018. It was put together at both Gonzalez’s Los Angeles studio and the Glendale, California studio of Justin Meldal-Johnsen (Nine Inch Nails, Beck).

Gonzalez had this to say about the album in a previous press release: “During the summer of 2017, I spent five months in Cap d’Antibes, France. I mainly spent my time swimming in the Mediterranean Sea, reading, watching films and playing ‘80s video games. The inspiration behind this record is mainly video game music. It felt so refreshing to play all of these old school games again. There is something so naive and touching about them. It’s simple and imperfect. And this is exactly what I tried to achieve with DSVII.”

M83’s last full-on studio album was Junk, which was our fourth favorite album of 2016. We posted two reviews of Junk, one mixed and one rave. Also read our 2016 in-depth cover story on M83.

Although back in March M83 released the soundtrack for the film Knife + Heart, a movie directed by Gonzalez’s brother, Yann Gonzalez. Knife + Heart found Anthony Gonzalez collaborating with original M83 member Nicolas Fromageau for the first time since M83’s first two full-length releases, 2001’s self-titled studio and 2003’s Dead Cities, Red Seas & Lost Ghosts.

10. Editors: “Black Gold”

This week British five-piece Editors announced a new best of compilation, Black Gold, and has shared one of its new songs, title track “Black Gold.” Check out the album’s tracklist and cover art, as well as the band’s upcoming tour dates, here.

Black Gold features 13 tracks from across their career and three new songs: “Black Gold,” “Upside Down,” and “Frankenstein.” “Frankenstein” was already shared back in June via a video for the track (it was one of our Songs of the Week). Previous collaborator Garrett “Jacknife” Lee (U2, Snow Patrol, REM, The Killers) produced the new songs.

Frontman Tom Smith had this to say about the album in a press release: “Conversations about a Best Of… had been going on for the past three or four years, but it never felt like the right moment. We were always cracking on with a new album.”

Now that they’ve made three albums with the original line up of Smith, Russell Leetch (bass, synths), Ed Lay (drums, percussion), and Chris Urbanowicz (former guitarist) and three with newer members Justin Lockey (guitar) and Elliott Williams (guitars, keyboards) replacing Urbanowicz, Smith said “it felt like a good time to do it.”

Smith also had this to say in the press release: “To still be doing this is something I’m very proud of. These days longevity might not be seen as cool, but I think it is. We’ve solidified what this new version of the band is, and I think the new songs show that the band are hungry. We’ve always felt like outsiders, but wanted to write songs that connect with people emotionally, and resonate in a deeper way. That can sound pretentious and contrived, but there are people out there that our band mean a lot to. That’s what I always wanted.”

Editors’ last regular album, Violence, was released back in March 2018 via Play It Again Sam. Although this April (on Record Store Day) they released The Blanck Mass Sessions, a new, more electronic, version of Violence featuring the original production work on the songs done by Blanck Mass (aka Benjamin John Power of Fuck Buttons). We previously posted its first single, the new song “Barricades,” via a video for the track.

Read our interview with Editors’ Tom Smith on Violence.

11. One True Pairing: “Dawn At the Factory”

One True Pairing (aka former Wild Beasts member Tom Fleming) is releasing his self-titled debut album under that name on September 20 via Domino. This week the British musician shared another song from it, “Dawn At the Factory,” which, as its title suggests, is partly about factories in the UK.

Fleming had this to say about the song in a press release: “2019’s satanic mills - zero hours, suicide nets, universal credit, cheap labor. The blue-white glow of the factories out on the gyratory and the plastic clad office blocks of the town center. I wanted to strip the romance back and look at what makes this country run, what makes it tick. The factories are hungry and it’s you they want. I wanted it to sound like the open road but there’s just too much barbed wire around it. The same every night. You do what you have to do. Knackered synths and a Floyd rose. Hope you enjoy it, OTP 2019 x”

Previously when the One True Pairing project was announced, Fleming shared a video for its first song, also titled “One True Pairing” (it was one of our Songs of the Week). Then when the album was announced he shared a video for its second single, “I’m Not Afraid” (which was also one of our Songs of the Week).

Fleming wrote and played everything on the album and then got Ben Hillier (Blur, Elbow, Doves) on board for mixing and production duties. A previous press release said Fleming was inspired by Bruce Springsteen, Don Henley, Tom Petty, Depeche Mode, and Swans.

Fleming had this to say about the album in the previous press release: “I wanted to write about the real world, I didn’t want it to be an artistic, poised, tasteful record, it’s neo-heartland rock. One True Pairing is a name taken from internet fan fiction, where you write the perfect relationship you always wished existed. The idea of Prince Charming and Helpless Princess living happily after is no fun at all.”

The previous press release said “One True Pairing is an album shaped by class frustration and self-despair and there is a continuation of the exploration of masculinity that made Wild Beasts so unique. As well as being deeply personal, OTP has a wider political resonance.”

Fleming elaborated, commenting on the United Kingdom: “This country is going through a terrible moment and if you listen to the art nobody seems to give a shit.”

Of the song “One True Pairing,” Fleming had this to say in a previous press release: “I wanted to write about the real world. This is a song about hope, about getting beaten down and getting up again, more wide-eyed and full of wonder than you ever were before. It’s about doing wrong and then seeing things for what they really are. It’s a love song, or as close as I’ll ever want to get to one. The name of the whole project is something of a savage joke, but this time I mean it 100% sincerely. Wear the scars proudly, wave ‘em in the faces of people who don’t, will never understand what they mean. One True Pairing, 2019, hope you enjoy it.”

Honorable Mentions:

These 6 songs almost made the Top 10.

Mikal Cronin: “Shelter”

Hovvdy: “Ruin (my ride)”

Jack Peñate: “Prayer”

Spielbergs: “Running All the Way Home”

Tegan and Sara: “Hey, I’m Just Like You”

Patrick Watson: “Dream For Dreaming”

Other notable new tracks in the last week include:

Bethlehem Steel: “Govt Cheese”

Björk: “Features Creatures” (Fever Ray Remix) and “Features Creatures” (The Knife Remix)

Danny Brown: “Dirty Laundry”

Camila Cabello: “Liar” and “Shameless”

Cashmere Cat: “For Your Eyes Only”

Jenn Champion: “Undone - The Sweater Song” (Weezer Cover)

Charli XCX: “February 2017” (Feat. Clairo and Yaeji)

Chastity Belt: “Drown”

The Comet Is Coming: “Lifeforce Part II”

Dead Soft: “I Believe You”

Ex Hex: “It’s Real” and “What Kind Of Monster Are You?” (Slant 6 Cover)

Fever Ray: “This Country Makes It Hard to Fuck” (Björk Remix)

Francis and the Lights - “Take Me to the Light” (Feat. Bon Iver & Kanye West)

Frankie Cosmos: “41st”

Sean Henry: “Rain, Rain”

Illuminati Hotties: “I Wanna Dance With Somebody” (Whitney Houston Cover)

The Messthetics: “Touch Earth Touch Sky”

Bob Mould: “I Don’t Mind” (Buzzcocks Cover)

R.E.M.: “What’s the Frequency, Kenneth? (Remix)”

Spoon: “Shake It Off”

Tove Lo: “Really Don’t Like U” (Feat. Kylie Minogue)

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