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.

Jim Legxacy samples Chip’s 2009 grime banger "Oopsy Daisy" ("You messed up once, I messed up twice") on "aggressive," a deceptively sweet-sounding R&B track about a relationship at its breaking point. Gliding over a lightly-crafted beat, Legxacy dodges explosive words thrown his way and lobs his own ammunition back, questioning how many more times he can feel this way. It's a song fueled by spite and malice, while also capturing the British artist's ability to capture emotional turmoil and render it in technicolor. — David Renshaw

Scowl's clean, catchy, and melodic sound marked them out as likely to cross over as soon as they started to make inroads in the hardcore scene around 2021. This brought the Bay Area band, fronted by the charismatic and ferocious Kat Moss, plenty of attention, some of it unwanted. The band appear to be tapping into that discussion on "Special," with Moss rallying against those who "just want to hear my scream, just to stay alive." An added irony to the meta-textual narrative of the song is that it marks Scowl's arrival on Dead Oceans, making them label mates with artists such as Mitski and Phoebe Bridgers and more removed from hardcore than ever before. At a time when the tension between artists and fans feels more fraught than ever, "Special" comes straight from the red-hot center of the debate. —DR

Ela Minus will release her new album, DIA, in January, and "BROKEN" is the latest single from the Colombian electronic artist. Minus instills the feeling of trying to maintain a positive facade when everything is collapsing into her music through synths that gently pulse and gather pace as the intensity grows. Inevitably, that act can only last so long, and on "BROKEN" the tipping point is made to feel euphoric as Minus drops the pretense and ascends skywards. — DR

From the Mexico City-based, Human Pitch co-founder’s fast-approaching album a pool, a portal comes a new single featuring fellow CDMX scene leader Mabe Fratti, who released an outstanding album of her own earlier this year. “ways of being” sets Fratti’s bioluminescent vocals against popping percussion and synths that belch, yawn, and whir like the wings of a hummingbird. — Raphael Helfand

Cross a Glasswegian Grouper with Elliott Smith on a weird walk through the woods of Perthshire, and you’ve got Kelora. Their new single is haunting, soft spoken, sneakily catchy, and convincingly original, despite the now-London-based duo of Kitty Hall and Benedict Salter’s tendency to wear their influences on their sleeves. — RH

The latest single from Mark Trecka’s forthcoming industrial, dream-pop record, Fool Signals, is a season-appropriate slow burn set to death-march drums, tombstone bass, and a ghastly guitar line. “I step, ginger / I search for mercy / In time for winter / The fear wants me,” Trecka sings in a macabre, double-tracked baritone. As it turns out, what the fear wants is not so sinister: “To dance with abandon / The way that you do / As if you were a witch's hat / Lofted, sacral, guided through.” Later, Midwife’s phantasmal backing vocals and An Heap’s spooky synth mist in through the cracks, ending the song on a note of eerie lightness. — RH

A year after Victoria Monét released her stellar sophomore album, Jaguar II, arrives its deluxe version, which has enough new songs — 10, to be exact — to create a completely new project. Nothing, however, hits as hard as its last, “The Greatest,” a plush, horn-filled R&B anthem that finds her marveling at her life and her career: “I think I made it / I look around and life is what I made it.” She’s referring to her knockout summer, which finally propelled her to the level of front-facing stardom she’s always wanted (and deserved); more than anyone else, she’s earned this moment to luxuriate in a well-earned victory lap. — Steffanee Wang

It’s not often Faye Webster writes a song as simple and pure as “After The First Kiss,” her latest single that blows in with the peace of a warm summer’s breeze. The Atlantan singer-songwriter has built a steadily ballooning fanbase off her layered, and often coy, lyricism, which very rarely settle cleanly on one side of an issue. But “After The First Kiss” leaves no questions around the mindset of its blissed out and contented creator: “She got me callin' her 'wife'/ After the first kiss.” Faye is in love, and we’re all better off for it. — SW

Bricknasty’s new mixtape, XONGZ አስቀያሚ ጡብ, is a fittingly odd introduction to an elusive musical project. The Dublin-based collective make a home in softly psychedelic R&B built mostly around falsetto vocals and an acoustic guitar, but every track ends up stranger than that in the end. Their last single, “boyfriend,” brilliantly split the difference between Mk.gee’s anxious pop-rock and King Krule’s eccentricities, but “pebbles” is softer, drifting closer to folk before falling into jazz and picking itself back up again, a jumble of mumbled vocals and fiddle lines and hushed horns. I’ve no idea where these guys are going, but I’m excited to find out. — Alex Robert Ross

Philadelphia indie label Lame-O Records don’t miss. They picked Vermont singer-songwriter Lily Seabird up after her debut album, Atlas, was released to acclaim (not least from The FADER) in January. They’ll put that album out on vinyl in November, but first there’s the charmingly titled “fuckhead,” a fully acoustic song and a fine showcase for Seabird’s effortless drawl and quietly inventive songwriting. — ARR