{"id":2015303,"date":"2025-09-11T22:39:51","date_gmt":"2025-09-11T22:39:51","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2015303"},"modified":"2025-09-11T22:39:51","modified_gmt":"2025-09-11T22:39:51","slug":"best-new-songs-of-the-week-september-11-2025","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/best-new-songs-of-the-week-september-11-2025\/","title":{"rendered":"Best New Songs of the Week (September 11, 2025)"},"content":{"rendered":"

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At <\/em>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>.)<\/em><\/p>\n

Casey Dienel: \u201cSeventeen\u201d<\/h2>\n

Casey Dienel\u2019s new single, \u201cSeventeen,\u201d bowls me over. Dienel, who once made music under the name White Hinterland, is slowly teasing their new record, My Heart Is an Outlaw<\/em>, and the last single, \u201cYour Girl\u2019s Upstairs,\u201d was very, very good (take our word for it<\/a>). But \u201cSeventeen\u201d is a different bird\u2014one warped by an epic yet patient sprawl. It\u2019s emotional, it\u2019s overjoyed. The great Adam Schatz, of Landlady, plays a synth that wobbles and sways against the current of a four-part string melody, performed by violinists Laurann Angel and Lily Honigberg, violist Marta Honer, and cellist Emily Elkin. But there are too many working parts and small details here that ought to be celebrated, like the harmonies provided by Starr Busby, Nina Moffitt, and Jachary, or the bass guitar played by Spencer Zahn. And Carly Bond\u2019s guitar is faint but aflame in the vibrations of Max Jaffe\u2019s four-on-the-floor percussion. \u201cSeventeen\u201d is seven minutes long and, rather than drop us into the middle of a conversation, Dienel regales its story from the beginning. \u201cCarol was a barfly with a red face,\u201d they sing. \u201cSaw a smile like his once, carved in a Jack-o-Lantern. When he moved, the whole bar swayed with him, like all that could steady him was making conversation with strange girls.\u201d Adapted from real \u201cmemories and revelations\u201d and set at a pub in Galway, Dienel turns a dance song about a charming stranger into a braided essay about infatuation and brevity and boozy ephemera with too many tattooable lines. I especially can\u2019t get this one out of my head: \u201cSome people are like magnets, they really got a shine to them. I guess you had to be there.\u201d Dienel delivers every word with a nonchalance. Yet, there\u2019s an ecstatic hue to every verse. All synapses are firing in the company of captivation: \u201cIt\u2019ll feel like when you\u2019re seventeen, like right before it all fell into place. One more round before the night is over, one last dance before we fade away.\u201d \u2014Matt Mitchell<\/em><\/p>\n

Dove Ellis: \u201cTo the Sandals\u201d<\/h2>\n

\"\"\"\"A debut single hasn\u2019t stuck with me like this since JADE\u2019s \u201cAngel of My Dreams\u201d got dropped on my head last year. But Dove Ellis, who is scheduled to open Geese\u2019s North American tour dates this fall, sounds like he\u2019s been here forever as \u201cTo the Sandals\u201d unravels. The song, which is about \u201creflections on a failing shotgun marriage in Canc\u00fan,\u201d and was mixed by the great Andrew Sarlo (Big Thief, Dijon), summons the ghosts of Radiohead and Black Country, New Road without depending on their styles for relevancy. What I\u2019m trying to say is: Dove Ellis copies the homework but changes the answers. He gravitates toward tonal contrasts; instruments collide until they coalesce. The guitar reminds me of David Gilmour\u2019s on \u201cWot\u2019s\u2026 Uh the Deal?\u201d and Ellis\u2019 vocal isn\u2019t too far away from Thom Yorke\u2019s, his decaying holler never raising itself above Fred Donlon-Mansbridge\u2019s wilted saxophone. With 30 seconds left to spare, the song takes a strident plunge, piecing corroded fragments of woodwind, acoustic guitar, rattling percussion, and Ellis\u2019 now-distant vocal together with scotch tape. In his conclusion, Ellis delivers either a list of destinations or a collapsing salutation: \u201cTo the back teeth, to the front teeth, to the split tyres, to the penthouse, to the milk deal, to the wax seal, to the cracked heel, to the sandals.\u201d Every song could sound like this and I\u2019d still beg for a thousand more. \u2014Matt Mitchell<\/em><\/p>\n

dust: \u201cAlastair\u201d<\/h2>\n

\"\"\"\"One night last year, a man twice my age collapsed onto my shoulder in a bar, sobbing about how his three-year-old daughter would grow up to hate him. If I wrote a song about that encounter, it might sound like dust\u2019s \u201cAlastair,\u201d born when Justin Teale and Gabriel Stove met a similarly unburdening stranger at the Mullumbimby Motel. Within minutes, he\u2019d poured out his life story, then vanished. That mix of intimacy, unease, and mild humor\u2014being conscripted into someone else\u2019s crisis, unsure whether to comfort, recoil, or laugh\u2014sits at the song\u2019s core. The instrumentation and production linger in that uneasy warmth too: guitars circle but don\u2019t resolve, horns press down like weather, a refrain (\u201cHe walks so the other ones don\u2019t\u201d) looping like a monotone mantra. The punchline comes at the end: \u201cTo think of all what we\u2019ve been through,\u201d Teale sings, before muttering right as the song cuts off entirely, \u201cIt\u2019s only been five minutes.\u201d \u2014Casey Epstein-Gross<\/em><\/p>\n

h. pruz: \u201cArrival\u201d<\/h2>\n

\"\"\"\"Whether it\u2019s a song by h. pruz or Sister., I am a card-carrying fan of Hannah Pruzinsky\u2019s music. Their debut album, No Glory<\/a><\/em>, was a favorite of mine last year, as Pruzinsky established themselves as a bucolic, if not surreal, roving, and emphatic lyricist. See: the one-two of \u201cHurting\u201d and \u201cReturn Retreat.\u201d But Pruzinsky\u2019s next LP, Red sky at morning<\/em>, named after a 2,000-year-old proverb in the New Testament, grapples with \u201cthe calm after the torrent, the future it may represent, and the past it may unearth.\u201d Lead single \u201cArrival\u201d is gentle, in the way an h. pruz song often is, with lyrics that reveal a fear trespassing within domesticity. \u201cPromises start in the house, board up the doors,\u201d Pruzinsky sings. \u201cParadise is found. There is no point where we give out. Sure of arriving, sure to stay awhile.\u201d Even in the song\u2019s stillness, Pruzinsky is anything but. Elijah Wolf\u2019s harmonies are rending, while Florist\u2019s Emily Sprague patches of modulated synth murmurs buzz around Felix Walworth\u2019s snare-drum scrim like a glaring and Pruzinsky\u2019s finger-picked roulades bask in the calm. \u201cArrival\u201d reckons with cycles of leaving yet exits without ever raising its voice, as two conversations orbit each other for five minutes. \u2014Matt Mitchell<\/em><\/p>\n

Kali Uchis ft. Ravyn Lenae: \u201cCry about it!\u201d<\/h2>\n

\"\"\"\"In 2024, we named Ravyn Lenae\u2019s \u201cLove Me Not\u201d<\/a> one of the best songs of the year, and she\u2019s been blowing up steadily since releasing Bird\u2019s Eye<\/em> last August. Lenae clearly has an affection for the high-class sugar-rush of Motown girl groups, and it\u2019s at full volume on \u201cCry about it!,\u201d her new collaboration with the ever-splendid Kali Uchis, who is clearly still buzzing after releasing Sincerely,<\/a><\/em> in May. We loved that album and I love this song. Spencer Stewart, a frequent collaborator of Laufey, co-wrote \u201cCry about it!,\u201d which makes sense. It\u2019s silky and vintage, tapping into both Uchis\u2019 bilingual singing and Lenae\u2019s doo-wop fixations. \u201cToo bad, so sad, you should cry about it,\u201d Uchis sings, before flipping the track into Spanish: \u201cLlora llora hasta que, ya te deje de doler.\u201d Lenae swoops in on a crest of velvet, singing, \u201cBaby girl, take it easy. Losing sleep over envy, through you I can see clearly and I know why you\u2019re hurt.\u201d This is my favorite duet of 2025 so far, a song so luxurious I\u2019m vibrating just writing about it. \u2014Matt Mitchell<\/em><\/p>\n