Flume and Toro y Moi team up for a tasty slice of electropop on "The Difference". For its brevity, this track has a lot to say.
"Twinkle Twinkle" sounds like the kind of song you blast on your drive through the Mojave – fuzzy guitars playing edgy psychedelia against Margo Price at her most devil-may-care.
"On the Floor" is the Perfume Genius we've been wanting: heartfelt songwriting delivered through sunny, sumptuous pop-craft.
"Gaslighter" works as an enthusiastic anthem to mark Dixie Chicks' return. The song is full of infectious pop hooks delivered loudly with a smile and a sneer.
On "Fell Into the Ocean", Baltimore electropop producer Dan Deacon teaches us that you can make anything a fortune cookie if you try hard enough.
Marvin Gaye and Tammi Terrell re-imagined for 2020. SZA does most of the heavy lifting here, while Justin Timberlake busts a selection of moves in a charmingly self-deprecating way.
Phoebe Bridgers' "Garden Song" is a travelogue of memories and dreams, woven together gracefully and delivered with perfect effortlessness.
Every listen to How to Dress Well's "Vacant Boat" reveals not just something new, but a new way of hearing it as a complete package.
"Come Get Me" sounds a little like early-period Shins with its herky-jerky vocal melody that Stephen Malkmus isn't afraid to run into the ground, not to mention an arrangement that just barely exists on the good side of modern indie cliché.
Everything about "Mind's Eye" seems designed to draw you in gently, and then there is Jordan Rakei's remarkable voice.
Here we have two artists sticking closely to their strengths, Cardi B being supremely confident and hilariously vulgar while Bruno Mars sings a hook designed to get stuck in your head for days.
Teenage Fanclub create an impeccably boss Velvet Underground groove with "Everything Is Falling Apart".
The Dream Syndicate lures us in with that twangy guitar and mischievous keyboard line, but the purposefully off-tempo vocals on "Black Light" derail the dream.
GAIKA's "Seven Churches For St Jude" is rich and layered, with an Eastern-sounding vocal riff serving as the song's musical centerpiece and lots of synths and programming swirling around everything.
"Harmony Hall" is about as likable as Vampire Weekend has ever been, from the super-clean ascending guitar lick right on through the piano breakdown that could only have been more baroque if it had been played on a harpsichord.
With the help of Loyle Carner's laid-back rapping and some well-placed horns and handclaps, Tom Misch brings us the chill-out track we need to make it through the end of winter.
A Place to Bury Strangers buzzes and growls through "Never Coming Back" with no regard for noise ordinances, and it is, as is so often the case, a love-it-or-hate-it kind of situation.
Newcomers to Self Esteem will find a singer who can command in front of the camera as well as in the studio.