Best Songs We Heard This Week: Grimes, That Poppy, Miguel + More
Happy Friday, PopCrush readers.
Just as we do every week, the PopCrush editors have selected their favorite new songs on this #NewMusicFriday for your listening pleasure, ranging from up-and-comers to tried-and-true superstars.
We hope that you all have a happy and safe weekend! And for more playlists, be sure to follow us on Apple Music.
It’s fitting that Miguel’s latest, straight from the The Get Down’s soundtrack, is disco-tinged – the Netflix drama will chronicle the goings-on of The Bronx in the ‘70s. Like a cooler, more relaxed “Uptown Funk,” “Cadillac” fires off mirror ball glint without blinding onlookers as low-toned synth and get-down horns work in perfect harmony. “Heaven’s in the backseat of my Cadillac,” Miguel croons with the type of conviction that’d get the sternest prude to Makeout Point. — Matthew Donnelly
Boards of Canada, “Left Side Drive”
I've never been a huge proponent of electronica, but my familiarity with the genre has been limited to trash pop remixes and video game theme songs. After an insistent recommendation (and near-assurance that an otherwise tightly-shut door to the wonders of electronica would soon be thrust open to me), I reluctantly hit play on “Left Side Drive,” a 2006 track by Scottish electronic duo Boards of Canada. With its mid-tempo, shuffling rhythm and subtle synths and build, the track offers a highly nuanced, deeply engrossing experience that somehow fails to grow tired, despite its length — five minutes and 20 seconds of esoteric electronica sounds exhausting in theory, but there’s plenty of insistent, soft melody and depth here to keep things interesting. Simultaneously urgent and melancholic, “Left Side Drive” suggests as much in feeling as it does in sound, and after a full week of non-stop listening, I’ll admit my preconceptions about the genre may have been a bit rushed. — Ali Szubiak
That Poppy, "Money"
That Poppy wants to know: "If money can't buy happiness then why is it so fabulous?" An unflinching ode to the mighty dolla-dolla bill, the British pop darling celebrates pay day on "Money," an infectious electro-pop bop featuring tongue-in-cheek lyrics, shoujo princess vocals and zippy new-wave production. It's like Allie X meets Gwen Stefani's "Rich Girl," and I'm totally investing in the Bank of Poppy. - Erica Russell
Jeremih, “Impatient” (Leonce Remix)
Atlanta DJ-producer Leonce’s new HEATWAVE mixtape features bounce remixes of both Beyonce’s “Love Drought” and Rihanna’s “Needed Me,” which put a more club-friendly spin on both. But it’s his rework of Jeremih’s “Impatient” that makes sitting still impossible, speeding up the original and marrying its finger snaps to some (ass) clapping drum machine beats. Party perfection. – Samantha Vincenty
Britney Spears, "Private Show"
I've already said my fair share already about Britney's Glory-ously weird, doo wop-y jaunt. It's a return to form that evokes her silliest and most vocally experimental pop moments — from "Soda Pop" to "Mmm Papi." Pull up a seat, work it, twerk it, slide down Miss Spears' pole. — Bradley Stern
Nao, “We Don’t Give A”
Every good festival weekend includes seeing one performance that has you investigating that artist’s catalog on Spotify the following Monday; I walked away from British neo-soul singer Nao and her backing band’s 2016 Pitchfork set a fan. The funky “We Don’t Give A” is one of the songs on her new debut, For All We Know, that comes closes to recreating the sparkle I saw onstage. With a voice that’s high-pitched but strong as a lion’s roar, Nao manages to work in a reference to Stevie Wonder’s “Jungle Fever” (from the Spike Lee film of the same name) in a danceable ode to us vs. them defiance. – Samantha Vincenty
Lolo, “The Courtyard"
While your hangover might come coupled with the spins or splitting headaches, at least one of Tennessee-born Lolo’s mornings-after has acted as a gateway to epiphany. The former Spring Awakening actress wrote her latest while adjusting to the early moments of New Year’s Day in Hollywood, where she observed garbage trucks crawling down city streets and considered the year ahead. “My Hello Kitty heart can’t believe the year is over,” she croons in even, somber tones that are consistent with the story’s sense of exhaustion. Still, there’s hope on the other side of this liquid flu. — Matthew Donnelly
Grimes, "Medieval Warfare"
One of the most anticipated tracks off the Suicide Squad soundtrack, Grimes' "Medieval Warfare" slammed down like a gauntlet this week, rattling everything from the rafters to the floorboards with its foreboding witch's brew of kawaii rave and nu-metal. Sinister and moody in a Dark Ages sort of way, the high-octane banger finds Grimes at her most precociously aggressive, her saccharine vocals weaving between twitching, thrashing beats and primal howls. Whoever said DC could only have one Enchantress anyway? - Erica Russell
Warpaint, “New Song”
Los Angeles-based indie outfit Warpaint opted for something a little more uptempo with their current single “New Song.” While working within the confines of their typical, airy dream-pop, the group also enters far catchier territory than they’ve explored in years past. With its upbeat, electric guitars and synth flourishes, “New Song” is far more urgent and, truthfully, a hell of a lot more fun than any of Warpaint's past releases, without ever betraying their atmospheric lean. — Ali Szubiak
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