SPIN’s 7 Favorite Songs of the Week: FKA twigs, the Coathangers, and More
SPIN staffers select their must-hear tracks to wrap up your week
Welcome to our weekly roundup of the SPIN staff’s favorite new songs. Below, sample the best from British art-pop seraphs, cheeky punk trios, and more.
The Coathangers, “Nosebleed Weekend” (Suicide Squeeze)
With one of the best live shows you’ve ever seen, this clattering Atlanta trio has grown from a devilish-humored dance-punk curio into the country’s most reliable purveyors of three-chord, meat-and-potatoes indie rock. The transformation began on 2014’s stately Suck My Shirt and now continues with the upcoming Nosebleed Weekend, whose title track is chant-along garage rock minus the noxious fumes. Are they forewarning of a coke binge or a fight? The guitars are ready for either, or both. — DAN WEISS
Day Wave, “Stuck” (Grand Jury)
A clear acolyte of haze honchos Real Estate and Best Coast, Oakland’s Jackson Phillips (a.k.a. Day Wave) is busy prepping his forthcoming sophomore EP, Hard to Read (out on March 4). And much like last year’s sunny singles “Drag” and “Come Home Now,” album highlight “Stuck” comes packed with summer-ready synths that steadily reveal shades of emotional instability. A track about getting in the way of yourself, “Stuck” functions as a cautionary tale — create emotional distance in the interest of avoiding personal collapse. “I don’t want to let you in / When I’m sinking to the ground for nothing.” Though, a warning: You might end up coming back for more. — ILANA KAPLAN
deadmau5, “gg” (mau5trap)
Some might say deadmau5’s Joel Zimmerman gets more press for his Twitter persona — and dropping #expensivestep, trolling snippets like “three pound chicken wing” — than for his actual tracks. But all is forgiven with a fully fleshed-out opus like “gg,” a spellbinding nine minutes that recall the grandiose melodic swells and steady pulse of his 2008 breakthrough, Random Album Title. Chugging ahead with FX blasts and and dripping cascades of synthesizers, “gg” is a sleek exercise in classic progressive house. — HARLEY BROWN
et aliae feat. DAWN, “Sober” (Cascine)
Composer and producer et aliae’s “Sober” is the metaphorical negative of Tove Lo’s “Stay High.” The Singapore-born Bach admirer has found her own fan in guest R&B futurist DAWN, who wistfully compares a lover’s affections to intoxicants over punchy bubbles and twinkling minor chords. If “Not Above That” — the singer’s first taste of her forthcoming album, RED*emption — blows up the club with the fierceness of infatuation, “Sober” is a splash of cool water after the hungover walk of shame. — H.B.
FKA twigs, “Good to Love” (XL)
Last we heard Tahliah Barnett, a.k.a. provocative dark-pop performer FKA twigs, she’d released the M3LL155X EP, which followed her extremely well-received 2014 debut, LP1. Now the undulating singer-dancer is back with a considerably more upbeat (for her, anyway) number: “Good to Love.” Aching with sensuality, Barnett opens herself up to passion’s intertwining pain and pleasure as she sings, “Make my body come alive, I’ve got a right to hurt inside.” Whatever the outcome, she knows what she’s entering into. — RACHEL BRODSKY
Jake Bugg, “On My One” (Mercury Records)
It’s been three years since British nasal-rock youngster Jake Bugg released Shangri La, his Rick Rubin-produced sophomore album. With “On My One,” he’s slowed things down a bit and shrouded his simple guitar picking with a hazy sense of mystery. “Oh, I’m so lonesome on my one,” he wails in his love-it-or-hate-it sinewy whine. It’s the ideal lead single for whatever’s next. — BRENNAN CARLEY
Japanese Breakfast, “Everybody Wants to Love You” (Yellow K Records)
Michelle Zauner, a.k.a. Japanese Breakfast, initially earned her stripes with Philadelphia punk project Little Big League. But now, after releasing a few bedroom-pop tapes, Zauner is formally setting out on her own as Japanese Breakfast and dropping her debut LP, Psychopomp, on April 1. The latest sample from that venture is the swirling “Everybody Wants to Love You,” which showcases the singer’s ear for off-kilter melodies. But appealing as the object of her affection is, she still has to know, “Will you love me too?” — R.B.