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.

Just listening to "Penetrator," the new song from New York band YHWH Nailgun, is exhausting, so spare a thought for drummer Sam Pickard. It is his relentless percussion, tom-tom beats bouncing throughout, that give the song a playful demeanor. Zack Borzone rides the wave of energy, his shredded vocals rubbing up against the cacophony around him like pins through a bubble. The resulting pop is as satisfying as it is destructive. —David Renshaw

On the final single preceding the release of TRAИƧA — a 45-track Red Hot benefit compilation highlighting many of the world’s greatest trans and non-binary artists of our time, alongside their peers — two of the most expressive vocalists cover “Is it Cold in the Water?” a track from SOPHIE’s magnum opus, Oil of Every Pearl’s Un-Insides. Here, left-field R&B singer Moses Sumney stays relatively true to the original vocal, adding his own sauce to the topline over a lush instrumental that’s subdued until halfway in, when it blooms into a teeming rainforest. ANOHNI, meanwhile, provides subtle, textural backing vocals rendered in whispers and hums before she finally echoes the titular line near the three-minute mark. Despite her minimal presence, she adds a warm glow to the song that feels like a smile from the other side. —Raphael Helfand

CCL’s mix “A Night At The Skull Discotheque” is my favorite of the year, and finally the Berlin-based DJ and producer has come through with some solo music of their own. “The Plot Thickens” from their just-released Plot Twist EP is sleek and boundless club music with pirate radio flare, anchored by D. Tiffany’s icy, sleek monotone. A pair of good headphones is a must. —Jordan Darville

It was only a matter of time before we’d start hearing the Brat effect (read: A. G. Cook and PC Music’s influence) in K-pop. Yves, a former member of LOONA who has now gone solo, is a fitting trailblazer for the sound with her glossy Auto-Tuned vocals finding a home amid the steely clangs and thumping club drums as she declares, “I just need some space.” Pair it with the music video for the full club-girl effect. —Steffanee Wang

Christmas songs in November? Make an exception for this new one from Pleasure Systems. "Merry Christmas" taps into the contemplative time of year, when the calendar comes to an end and self-assessment becomes inevitable. In this bubble of thought, Clarke Sondermann ponders the roles he plays in life and how people change. His vocals are warm and attentive, reflective of the thought in his words, while acoustic guitar toys with a playful synth tone. Christmas might be about big occasions, but save this one for a quiet moment focused on the past. —DR

Jazz musician Shabaka sampled a song from his latest album, Perceive Its Beauty, Acknowledge It’s Grace, to create the beat for "Timepieces." Billy Woods is less interested in looking back, though, using his verses to underline his lack of interest in reminiscing. "20 years is a long time," he says, reflecting on a frayed relationship. "Too long for second guessing or asking those unanswered questions." There is clarity in both Woods’ pen and Shabaka's woodwind-heavy production — forward is the only direction. —DR

Cecile Believe was a close collaborator to SOPHIE and often shared her vision of finding beauty amid the harsh or severe. Her newest single, “Spark,” with Yune Pinku, however, is all soft grooves and glowing vocal lines, her most blatantly beautiful pop release yet. The elegant undulation of her and Pinku’s harmony on the hook’s lyric, “Maybe I’m the center of your unbroken heart,” is enough to bring a tear to my eye. —SW

The lead single from Japanese experimental pop luminary Ichiko Aoba’s newly announced album Luminescent Creatures is a beyond-gorgeous five-minute ballad about bioluminescence, one of the earliest forms of communication. “Inside each of us, there is a place for our stars to sleep,” she sings above quiet piano arpeggios, harp clusters, and strings that swell and recede like the tide, drawing a parallel from the the ocean’s deepest creatures to the twinkling dots scattered across the night sky. —RH

The only track on MIZU’s dance score 4 | 2 | 3 with articulated percussion, “Mob” is a chugging, atonal piece, exclusively featuring sounds drawn from the artist’s cello via extended technique — tapping and pounding on the instruments body, slashing and snapping its strings — that’s then warped into skittering beasts via digital processing. Like much of her new album, it’s as tense as stretched canvas. Here, this anxiety is in your face, front and center. —RH

CINE is a great capstone on a standout year for Cavalier, whose previous April LP, Different Type Time, is one of 2024’s standout rap releases. “Moonlight Crush” contains even more of the endlessly replayable poetry wrapped in sly assonance and velvety flows, thanks to appearances from Quelle Chris and Cavalier’s Backwoodz Studios labelmate Elucid (whose album Revelator is another must-listen). —JD