This is the first new song by Dead Man’s Bones — the musical partnership between Zach Shields and actor Ryan Gosling — since 2009, and it’s perfect for this scary season. It’s a post-punk, washed out cinemascape that is haunted, hurting, and sweetly grim. Their 2009 album, recorded with the Silverlake Conservatory Children’s Choir, was a nostalgic favorite of my family so I feel particularly ready for this return. — Tobias Hess

Soul comes in many forms and sometimes it’s in a powerful whisper. Performing on COLORS, Nomi’s voice is tiny in tone but mighty —deep with yearning and capturing everything R&B is meant to be. — Kylah Williams

Fresh off tour with Bikini Kill, English punk rockers Lambrini Girls are gearing up for their sophomore album No Refunds. “Spilt” is a wistful, acoustic number about feeling out of sorts and the perfect complement to their anti-red-pill single “The Basement.” — Vivian Medithi

This swirl of a song from Copenhagen singer Fine’s fantastic album Jazz dreams is sexy, tragic, and uplifting at the same time. Come for Fine’s Mazzy Star-like vocals and then get lost in its hazy, creeping production. — TH

Snoh Aalegra’s bringing out the big guns: new single “I Love You” enlists Nile Rodgers on guitar and Raphael Saadiq on bass. As you might intuit from the song’s title, Snoh’s feeling particularly tender over a soft 80’s groove, singing, “I was wishing and there you were / You'rе the answer to evеry word.” — VM

Brooklyn pop-rapper Sterling Cupid has been dancing across my timeline promoting their simmering internet hit “only one - ghettopop remix” for the better part of 2026. Now, Sterling has an energetic followup in “all the boys” (distributed by FADER Label), which is sleazy, synthy, and catchy as hell. — TH

After watching the UK RAP DAILY CYPHER, Vvsgwen’s verse was the one left ringing in my ears. Floating over a satisfyingly overstimulating Cash-produced beat, her melodic bars carry the optimism of dexterinthenewsagent and the UK grit of Jim Legxacy.. — Kylah Williams

Chlothegod plays by her own rules. Earlier this month she came into The FADER office and — despite her being the one we were interviewing — started interviewing the entire office. She displays that same penchant for plot twists on her new record, which opens with heavy breathing, and spoken word that feels like foreplay. Halfway through the song, the track speeds off in a surprise direction, landing as a heavy-hitting rock record. — KW