11 Songs You Need In Your Life This Week

If there's anything The Social Experiment have rallied around, it's an antithesis to "cool," or at least the echo-chamber internet brand of cool that many of their peers use to coast to notoriety. "Wanna Be Cool" is kind of like a musical number from a Harmony Korine Disney movie: these are kids that truly could care less about being corny, and are admirable for it, even creating room for bigger rap stars to get a little vulnerable as well. Big Sean questions his own cool, venting about buying pink polos that didn't fit him just to fit in, and Kyle raps in a nasal voice that's the musical equivalent of a wedgie. It makes me cringe. Maybe that's the point. — Matthew Trammell

Okay, this one didn't just appear this week; here in the UK, the latest from hip-hop duo Krept & Konan has been drifting out of car windows and shopfronts for a few weeks now. But thanks to a typically infectious chorus from Jeremih and a beat from DJ Mustard, "Freak of the Week" is poised to actually cross over the Atlantic (it hits U.S. radio this week). On-trend collaborations aside, this track—a cheeky, catchy ode to the girl who's got moves like BadGalRiRi and is not shy like Chief Keef—totally deserves it. — Aimee Cliff

It's a fine line between love and addiction. At the end of "High"—the title track off Royal Headache's just-announced, long-awaited sophomore full-length—emotive singer Shogun seems to be afflicted with a bit of both: Come and get me! he pleads. You get me high. The song itself is hinged on the same timeless quality that helped make the Australian garage-punks' first record a total cult favorite; at times, the brisk melody reminds me of sad, soulful ’60s hit "Last Kiss," only sunnier. — Patrick D. McDermott

Shura has become such a master of sweetly, subtly building tension in her productions that her latest doesn't seem anywhere near as long as it is. She fills seven whole minutes with a funk bassline and space-y synth twinklings and, somehow, still leaves you wanting more. — Aimee Cliff

Ryan Hemsworth's new bundle of rare remixed tracks, RYANPACK VOL. 2, showcases the busy producer's mixed bag of sonic inspirations. His bubbly rework of Sicko Mobb's "Maserati," dedicated to the late A$AP Yams, is an immediate standout. A sweeping harp intro seems to signal an impending sitcom dream sequence. Bouncy Super Mario World-sounding synths snap you out of it, weaving seamlessly into Lil Trav and Lil Ceno's infectious brand of Chicago bop. You couldn't ask for a better remix to soundtrack summertime jaunts with friends, whether or not they're in a Maserati. —Juliet Liu

London producer Tazer gave Tink the perfect beat for "Wet Dollars," her brand-new UK single; the uptempo, clap-heavy track is a natural fit for the Chicago MC's agile, party-starting flow. Like, I don't know whether I want to hear it on the treadmill or some dank basement dancefloor. The comparisons to Azealia Banks' club-rap "212" are inevitable but, to be honest, I hear more of Slick Rick's cheeky, UK-accented influence in Tink's storytelling: One shot, two shots, get on my team / He was a married man until he gave me a ring. — Rawiya Kameir

I was a little kid when Yo La Tengo’s first album of covers, Fakebook, came out, so I can’t fully appreciate the full-cycle-ness of their new one, Stuff Like That There. But the band does mean something to me, from getting into them in high school and, more recently, slotting “Last Days of Disco” into the playlist for my wedding. In an interview this week on the Best Show, Yo La Tengo played down how much their latest batch of covers are actually important to them—covering this Special Pillow song isn’t an act of devotion to that band, just an opportunity to record a cool new tune. But, I don’t know, doesn’t it feel like their version is going to mean a lot to someone? — Duncan Cooper

Inglewood's Cam & China are back, this time with a fresh DJ Mustard beat and a left-right punch of anti-fuckboys attitude. Play this loud and proud in your own ride while he's in his friend's: Can't even take me out/ But tryna see what I'm about/ And every time you wanna see me/ Gotta call your friend. — Zara Golden

It's rainy in New York, but last week for a few seconds we caught some sunburned afternoons that felt like August if you squinted just so. Most tropical locales evoke images of endless beaches and expensive leisure, but Chassol's "Dominoes Part III" feels like 80-degree rush hour in an unpaved city, or a hundred-man fete rolling down the road. Field-recorded in Martinique and sampled in Paris, the stray game of dominoes Chassol cuts into a marching drum bed was probably just as sweaty. — Matthew Trammell