{"id":1985125,"date":"2025-08-28T18:18:46","date_gmt":"2025-08-28T18:18:46","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=1985125"},"modified":"2025-08-28T18:18:46","modified_gmt":"2025-08-28T18:18:46","slug":"best-new-songs-of-the-week-august-28-2025","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/best-new-songs-of-the-week-august-28-2025\/","title":{"rendered":"Best New Songs of the Week (August 28, 2025)"},"content":{"rendered":"

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At <\/i>Paste Music, we\u2019re listening to so many new tunes on any given day, we barely have any time to listen to each other. Nevertheless, every week we can swing it, we take stock of the previous seven days\u2019 best new songs, delivering a weekly playlist of our favorites. Check out this week\u2019s material, in alphabetical order. (You can check out an ongoing playlist of every best new songs pick of 2025 here<\/a>.)<\/i><\/p>\n

Amanda Shires: \u201cPiece of Mind\u201d<\/h2>\n

There are few genres more tailor-made for angry breakup songs than woman-led country rock (\u201cBefore He Cheats,\u201d anyone?), so when the news broke last year that Amanda Shires\u2019 12-year marriage to Jason Isbell<\/a> had come to an end, it was clear we were going to be in for a doozy of a post-divorce record. And based on \u201cPiece of Mind\u201d\u2014the video for which opens on Shires dressed to kill in a rose-colored silk slip as she growls, \u201cIf you think I could ever hate you, you\u2019re wrong \/ But that was a real fucked up way to leave\u201d\u2014it seems that estimation was not at all far off. But despite the anger in Shires\u2019 crisp, rasping vocals, this is no song about keying cars or slashing tires. On the contrary, it\u2019s a refreshingly well-measured breakup anthem that\u2019s less about sending a house up in flames than chronicling its lonely aftermath and trying to build something from the ashes. \u201cGot a new dining room table \/ Re-painted the walls, got rid of any evidence \/ That you were ever here,\u201d Shires sings, rapidly, atop grinding guitar. \u201cNow I can finally eat and breathe again.\u201d Yet the song never stifles its fury in favor of moving on, either; that anger is very much intact, but kept at a simmer, the fire of it licking at the seams. You can\u2019t heal from rage alone, nor can you heal by repressing it. After all, the moment you watch your fist break the glass of your ex\u2019s headlights has got to be satisfying. But then comes the moment after<\/em>\u2014the moment \u201dBefore He Cheats\u201d ends, and you\u2019re left standing in all that shattered glass, dreading the return to your newly empty home. That\u2019s where \u201cPiece of Mind\u201d comes in: to accompany you as you pick up the pieces. \u2014Casey Epstein-Gross<\/em><\/p>\n

Bright Eyes ft. Hurray for the Riff Raff: \u201cDyslexic Palindrome\u201d<\/h2>\n

\"\"\"\"Finding out that Bright Eyes and Hurray for the Riff Raff\u2014two bands I\u2019ve loved for over a decade now\u2014have teamed up in the former\u2019s upcoming EP Kids Table<\/em> is one of the best surprises of the week for me. It was an even better discovery that it\u2019s the best track Bright Eyes has put out since their 2020 album, Down in the Weeds, Where the World Once Was<\/em>. From the moment \u201cDyslexic Palindrome\u201d opens with dreamy pedal steel, you\u2019re enthralled. Conor Oberst<\/a> and Alynda Segarra<\/a>\u2018s vocals blend stunningly together for a duet that carries the duality of melancholy and beauty of I\u2019m Wide Awake, It\u2019s Morning<\/em>. Considering how Bright Eyes\u2019 other single, \u201c1st World Blues,\u201d for Kids Table<\/em> is a ska-inspired track (essentially the polar opposite sound of \u201cDyslexic Palindrome\u201d), this makes me even more excited to see what the rest of the EP sounds like. \u2014Tatiana Tenreyro<\/em><\/p>\n

Chat Pile & Hayden Pedigo: \u201cRadioactive Dreams\u201d<\/h2>\n

\"\"\"\"After months of teasing a mysterious collab album with Chat Pile, Hayden Pedigo and the noise-doctors have finally let us in on it all the way. In the Earth Again<\/em> will be out, fittingly, on Halloween, and it finds two Oklahoma-based artists relishing each other\u2019s company\u2014almost to a scary degree. On paper, Chat Pile\u2019s rancid, pressure-cooker sound and Pedigo\u2019s fingerstyle guitar playing don\u2019t gel so immediately. In practice, their sojourn on \u201cRadioactive Dreams\u201d is one of the most moving, environmental blends I\u2019ve heard all year. Perhaps I\u2019m biased, because I am a longtime enjoyer of Pedigo\u2019s work<\/a>, but I have never been quite sold on Chat Pile<\/a>\u2019s music, so maybe that will even out my expectations on In the Earth Again<\/em> as a whole. But, \u201cRadioactive Dreams,\u201d which I hope is inspired by Albert Pyun\u2019s 1985 film of the same name, sounds like a band and a picker at the top of their respective games. The lush prism of Pedigo\u2019s phrases often skyscrape into Chat Pile\u2019s distinctively woozy and harsh equations of atonal, crunch-rock. It\u2019s sobering how paranormal the song gets, as electric guitar phrases provide brief, gentle shelter amidst the doomy tar. \u2014Matt Mitchell<\/em><\/p>\n

Die Spitz: \u201cPunishers\u201d<\/h2>\n

\"\"\"\"If you told me \u201cPunishrs\u201d was a deep-cut from the mid-\u201990s Olympia, WA scene, I wouldn\u2019t question it. Die Spitz\u2019s latest single rips with Cobain-esque guitar riffs, cymbal-splintering breaks reminiscent of Mudhoney\u2019s Superfuzz Bigmuff<\/em>, and faraway, indifferent vocals akin to Babes In Toyland\u2019s Kat Bjelland. The Austin quartet leans hard into its influences on the third track from their forthcoming debut album, fusing the rawest edges of punk with a psychedelic haze. That foundation of reverence collides with blistering emotion on \u201cPunishers,\u201d a song that channels the volatility of toxic relationships into combustion. The opening verses bristle with contradiction: \u201cSky is clear, but I still hear the sound of rain \/ Talk is cheap, but I\u2019ll keep spending all my money.\u201d It\u2019s the kind of track you can imagine spinning into a distorted free-fall in a live setting, Eleanor Livingston swinging from the rafters as the instrumentation spirals out with equal force. Flanging guitars lay a queasy foundation before being swallowed by blown-out riffs and thick basslines. Pulsing echoes crawl through your chest until the mantra-like repetition of \u201cI know\u201d pushes the song to the brink. By the time the chorus finally erupts, it\u2019s nothing but feedback and the pure rush of internal anarchy. \u2014Cassidy Sollazzo<\/em><\/p>\n

Elias R\u00f8nnenfelt: \u201cUSA Baby\u201d<\/h2>\n

\"\"\"\"It\u2019s shaping up to be a massive year for Iceage frontman Elias R\u00f8nnenfelt. From his collaborations with Dean Blunt and Yung Lean, to his single from May, \u201cCarry-On Bag,\u201d we\u2019re seeing a new side of him, one that has the same reverence for SoundCloud rap and experimental music as he does for the country sound he explored in last year\u2019s debut solo album, Heavy Glory<\/em>. His latest single, a preview of his upcoming sophomore solo album, Speak Daggers<\/em>, feels like a continuation of lucre<\/em>, his collaborative LP with Blunt. Over a hypnotic beat heavy on auxiliary percussion, R\u00f8nnenfelt comments on the country\u2019s political state, explicitly calling out how his \u201cbaby\u201d is being screwed over: \u201cOh my baby\u2019s known better days \/ They cut her off, that\u2019s how they play \/ Oh my baby she doesn\u2019t care \/ In the USA they rip and tear \/ Hold for famine, gotta get a grip on my soul \/ There I\u2019ll open damn near every open-able hole.\u201d \u2014Tatiana Tenreyro<\/em><\/p>\n