Favorite Songs of the Week \

SPIN’s 7 Favorite Songs of the Week: Porches, Loretta Lynn, 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 post-punk brawlers, country legends, and more.


2 Chainz, “MF’N Right” (Self-Released)
Steam-emitting synthesizers, pan flutes, and Mike WiLL Made-It and Zaytoven’s trap-lite production come together in this jazzy new Felt Like Cappin cut. 2 Chainz is consistently best when not burdened with heavy production; his slow and pronounced flow dribbling expertly over the stripped-back arrangement of “MF’N Right.” It’s plinking, it’s almost too simple, and it’s exactly what I want to be turning up to every weekend until winter thaws out. — BRENNAN CARLEY


Blancmange, “Last Night (I Dreamt I Had a Job)” (Blanc Check)
Underappreciated ’80s new-wavers Blancmange call back to the monochromatic, near-militaristic synth-pop of early Human League and the Normal on their amusingly surreal — and gratifyingly mundane — new single, barking “Last night I dreamt I had a job / Eating through a haze of many-hued prescription drugs.” (Benefits for that?) As unsympathetic as the song’s harsh synths and relentless beat are, the gentle bass seems to offer much-needed moral support, a fellow layabout by comparison. — ANDREW UNTERBERGER


Charles Bradley, “Change For the World” (Daptone)
Age is meaningless for the 68-year-old Screaming Eagle of Soul. A fierce supporter of social justice, Bradley has returned with “Change For The World,” the stirring lead single from his third studio album, Changes (out April 1). Shifting between spoken-word blues and his signature hair-raising howl, Bradley’s cry for compassion and communication amongst a nation enveloped with violence is urgent. Charles is down but not out as he cries, “Change for the better, for your soul.” — JEFFREY SILVERSTEIN


Eagulls, “Lemontrees” (Partisan)
It’s been a couple of years since we last heard from this Leeds quintet, and time certainly has smoothed over their sound — where Eagulls’ used to favor a brash tone and gloomily dissonant melodies with only a touch of guitar haze, “Lemontrees” is remarkably calmer. Relying on a foundation of heady post-punk and gauzy shoegaze, lead singer George Mitchell brays in the high register of Robert Smith about dancing beneath the titular vegetation. A title this sour never sounded so sweet. — RACHEL BRODSKY


Loretta Lynn, “Who’s Gonna Miss Me?” (Legacy Recordings)
“Who’s gonna follow / In my footsteps maybe?” asks the 83-year-old country institution on the inaugural offering from the upcoming Full Circle, her first album since Jack White co-helmed her barn-burning Van Lear Rose in 2004. No one, obviously, but this pretty, gospel-inflected tune has us extra on edge following the losses of David Bowie, Lemmy Kilmister, Glenn Frey, etc. Lynn ain’t ready to go yet, not by a long shot. — DAN WEISS


Porches, “Car” (Domino)
The feeling of displacement is something that follows Porches’ Aaron Maine throughout his music. “Car” begins with the Westchester native lo-fi crooning like Morrissey at his most lovelorn and depressed — it’s all doom and gloom in the beginning, but that’s the point. The track shows the progression of Maine finding his contentment, which peaks at its interlude with cinematic beauty. For Maine, “Car” is about arriving at that moment of elation that shifts your perspective. It’s an a-ha moment he gets and delivers.  — ILANA KAPLAN


Prins Thomas, “A2″ (Smalltown Supersound)
Prins Thomas has followed up last year’s burbling slow-banger “B” with another categorically named exercise in understatement: “A2,” also off of his forthcoming interstellar ambiance voyage, Principe Del Norte. On the track’s SoundCloud page, a user named Monster Groove has provided the only comment: “Minimal bliss,” an accurate description of the intensely meditational patience at which its eight minutes unfurl, as if possessed by the inimitable ghost of Edgar Froese while mainlining benzodiazepines. — HARLEY BROWN