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.

Ilham is a singer from Queens, New York City, who’s been making slow and sultry R&B since at least 2018, though she recently took a two-year break from the grind. The time off appears to have coincided with a stylistic reset as she’s returned with a hungry vengeance and a completely revitalized sound; “games,” the second release of her newly independent era, is a dismissive to the players of love, sung with such sweet, acerbic sting, the second the music stops you can imagine she’s already walked away. —Steffanee Wang

Our May Gen F stars, Wishy, are back with “Planet Popstar,” a track that embraces the emo-inspired maximalism found on Triple Seven tracks “Sick Sweet” and “Spit.” The Indiana-based indie rockers have always been experts in weaving the philosophies of jangle pop, blown-out shoegaze, and scuzzy alt rock, but “Planet Popstar” is more on the lawless noise side of the guitar spectrum. Wishy keep clocking in, and rocking out. —Cady Siregar

Pink Siifu’s first new solo track since the release of GUMBO’!’s deluxe edition in 2022 is a characteristically slippery saga that sees him switching modes from street preacher to swaggering “big dog” over rhythmically busy but harmonically sparse production. He snaps into the latter mode about 120 seconds into the six-minute track and stays there for the duration. But even in this superficially straight-ahead zone, he remains inscrutable, rapping stoically as if from far away. —Raphael Helfand

Copenhagen-based composer Clarissa Connelly only released her latest album, World of Work, in April but is already back with new material. "Give It Back" is a song about being more open and loving with the world. Connelly sings of her decision to stop shutting herself away over a bed of flutes, drums, oboes, strings, and piano, but it is her voice that stands out the most. Leaping from low to high, Connelly makes giving her heart away sound transformational. —David Renshaw

The lead single from LUCY’s ninth Cooper B. Handy album finds everyone’s favorite hip-hop-influenced singer-producer playing to his strengths. The Massachusetts-native sing-songs loosely within an airtight pop structure carved by punchy drum-machine hits and a repeated synth arpeggio that sounds like a nightmare version of the one he used back in 2017 for his “Beauty and the Beast” cover. Unimpeachable stuff. —RH

Just two singles in, ganavya has flexed features from Vijay Iyer, Immanuel Wilkins, and now Shabaka Hutchings for her forthcoming album, Daughter of a Temple. A look the tracklist reveals even more titanic figures — Esperanza Spalding on the opener, Charles Overton and Ganesan Doraiswamy on a mid-album cut, and Wadada Leo Smith, Peter Sellars, and IONE on the album’s quadruple closer, “A Love Supreme” (parts one, two, and four, respectively). On “Prema Muditha,” though, Shabaka plays the role of respectful guest, adding tasteful flourishes of jaguar whistle, clarinet, and occasional backing vocals. Meanwhile, ganavya sings the devotional track with a soaring, patient grace above a bed of plucked harp, lute, and sitar strings. —RH

Virgin Orchestra come from Reykjavík, Iceland, and pack their post-punk songs with a cinematic sweep. On "Banger," vocalist Stefanía Pálsdóttir rises to match the dramatic guitars and rich cello that surrounds her as she sings passionately, sounding as if she's about to take flight. —DR

"I think my brain is rotting from you," Ariana Mamnoon sings on her band Untitled (Halo)'s "blunt subconscious," a song built for dancing alone. It's almost quaint to hear someone referring to that feeling in a romantic context and not through too much screen time but a lot about the band — from their boy/girl vocals to their Sonic Youth-style guitars — have one foot in the past. Mamnoon is backed by her bandmates Jack Dione and Jay Are, who chip in with their own stories of rejection and miscommunication. The path to true love is never easy to navigate, but Untitled (Halo) have each other's backs. —DR

On the first single from his 2025 album End of the Middle, Newcastle-upon-Tyne alt-folk sage Richard Dawson recounts his experiences in the “allotment” (which, guessing by the setting of the song’s extremely cute music video, translates to American English as “community garden”) that has become his “happy place.” Mostly, he recounts his daily chores there like “mucking out the chickens” (cue chicken bawk) and “repairing a puncture in the polytunnel” (also known as a hoop greenhouse). —RH

On “Corners,” the ghastly single that arrived alongside the announcement of LEYA’s forthcoming mini-album, I Forget Everything, harpist Marilu Donovan and vocalist-violinist Adam Markiewicz are perfect foils; the former is slow and methodical while the latter is prone to flights of operatic fancy, but they never stray too far from the track’s roots. —RH

If you’re a fan of the smooth, elegant dance music in the vein of Kaytranada or Jessie Ware, then Michi’s “there’s no heaven” will be a no-brainer. Her latest single, an alluring blend of sparkling house, sunset R&B, and a lot of soul, is all about turning the initial sparks of love into something more permanent: “What would I do without you? / Fall to my knees & vow to be bound to you.” Its arrival is perfectly timed for cuffing season, but it really deserves year-round playbacks. —SW