Kent Loon and Skrilla’s “Sleepwalking” and the best new songs out now

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.

This time last week I probably wouldn’t have expected an electroclash-ified take on The Pussycat Dolls’ brand of pop music to land for me, but then again, underestimating underscores is a fool’s errand. She never sounded out of her depth at any point when shifting between moods and sonics on her 2023 project Wallsocket; it follows that on her collaboration with NYC DJ/producer umru, a cybernetic ballroom banger, she sounds every bit the cold fusion-powered diva. —Jordan Darville

Lua Viana’s second album of experimental samba music (and first under the moniker of Antropoceno) is bigger, bolder, and more confident than its predecessor. Take the standout “Naturexa Morta,” a song that in its climatic moments pours Deafheaven-style black metal over its foundational genre, its melodies a luminescent tidal pool. It’s a cure for the glut of vibey shoegaze-inspired music, but still easy to get lost in. —JD

HITGS is a new K-pop girl group under the label H Music Entertainment, not a big 4 company in the South Korea entertainment landscape but their song “Sourpatch” sounds like it is. A zippy Jersey club bop that’s so immediately catchy, it feels like it was focus grouped to perfection. If TikTok trends have tired you out of the genre already, this song will convince you the sound’s still got some legs. —Steffanee Wang

“Crashing out from Florida,” Tampa MC Kent Loon signs off over a swampy beat on “Sleepwalking, rapping like a blunted demon. Moments later, Philly phenom Skrilla brings a deranged aura to the same instrumental. “Whole lotta crashouts,” he raps, “But I’m a crashout, we the crashout crew.” Crashing out has never sounded so fun. —Raphael Helfand

Recession pop is back and so is dubstep madness, thanks to Skrillex’s latest record. “U WON’T!,” the new single from Los Angeles-via-Istanbul dance pop artist INJI is a head-spinning fusing of both of these things, made for walloping loser situationships right in the face. It could go off in the ring or in the clubs. —SW

On “Freedom,” the second single from the forthcoming album From Where You Came, Kara-Lis Coverdale assembles a collage of soft textures that slowly bubble over into a lush sea of soft noise, each radiating its own light in the lovely swarm. —RH

Experimental composers Eli Greenhoe and Hans Bilger explore their acoustic pop inclinations on their new album Orchids. Its opening track, “Nail,” elegantly fuses both worlds. Slow guitar arpeggios, muted drums and upright bass, and subtly dissonant violin provide a deceptively simple backdrop for Greenhoe’s raw vocals. “Headaches from hammering all of my problems away,” he sings. “What can I say?” —RH

U.K. band Loathe merge the boundaries between metal and shoegaze, creating a muscular yet soulful sound. In the five years since they last released an album, however, a lot of similarly-minded bands have emerged into what is now a crowded field. “Gifted Every Strength” suggests that Loathe remain a step ahead of the curve, though. From Kadeem France’s haunting vocals to a brutal beat switch around the half-way mark, everything about the track feels like a step up. —David Renshaw

“Mermaid,” a collaboration between Helsinki duo Pearly Drops and Australian group Cub Sport, is an addictive slice of playful electronic pop. Visions of existential dread and poisoned night caps skate across a song that gets to the heart of chasing something only to be disappointed when it appears. The solution to such dismay is simple. “I need to be weird for the next few years,” they sing as they wriggle through the grasp of mundanity. —DR

Cold Court are a Philadelphia-based band that’s previously opened for groups like Geese and black midi. Listening to “Nina,” it makes sense why people would want to get to the venue early to check them out. Brothers Mini and Jojo ride riffs and wurlitzer synths as they slalom through a frantic assault course of classic rock history. The result feels as close to launching skywards as it does melting down entirely. —DR