{"id":2032426,"date":"2025-09-18T19:07:20","date_gmt":"2025-09-18T19:07:20","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2032426"},"modified":"2025-09-18T19:07:20","modified_gmt":"2025-09-18T19:07:20","slug":"best-new-songs-of-the-week-september-18-2025","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/best-new-songs-of-the-week-september-18-2025\/","title":{"rendered":"Best New Songs of the Week (September 18, 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

Walk with me for a moment. Beneath a sludgy, soupy, disgusting film of noise, I swear to God, \u201cDan\u2019s Love Song\u201d sounds like Pink Floyd\u2019s \u201cOn the Turning Away.\u201d That\u2019s how soothing Dan Meyer\u2019s vocal is\u2026 once you locate it, of course. And the lyrics collapsing out of him and into me are so beautiful. \u201cJust as empty skies are filled, every moment touches all of time\u201d and \u201cMay you see that, even right now, so many years before you, you can be found and I love you\u201d kiss me like perfume. It\u2019s a colossal statement from Agriculture, one that gestures toward real<\/em> shoegaze\u2014a sub-genre I have mostly detested the so-called revival of. But \u201cDan\u2019s Love Song\u201d is much more than my bloody valentine progeny. It\u2019s a spiritual folksong spoken into a strata of pull-apart melody and harsh, atonal, neck-breaking bedlam that shocks but never quite overwhelms. The music blasts ecstatic black metal with numbing intensity until it\u2019s reborn into vibrance. \u2014Matt Mitchell<\/em><\/p>\n

\"\"\"\"If you hear a horse galloping, a heel clicking, or a whistle through the trees, it\u2019s probably just Anastasia Coope<\/a>. The newest song from her upcoming DOT<\/em> EP, \u201cOregon,\u201d pulses and prods, stemming from an intrepid bass drum and aligning in a duet with the vocal line. Coope sings in tight, pinchy harmony with herself, haunting the track with her sighs and exclamations. Plucky guitars sound off, creating an eerie backdrop of twinkling sound. She\u2019s never shied away from experimentation, and \u201cOregon\u201d is the culmination of her past projects\u2014wacky, eccentric, and cryptic\u2014and the potential of her sonic future. Listen to this song on a moonlit walk, a trod through tall grass, or any moment when you want to feel enchanted by a musical experience. \u2014Caroline Nieto<\/em><\/p>\n

\"\"\"\"Avery Tucker has been previewing his post-Girlpool era with a handful of singles from his upcoming debut solo album, Paw<\/em>, but it\u2019s \u201cMy Life Isn\u2019t Leaving You,\u201d co-produced by A.G. Cook, that has stood out to me the most. Throughout its almost 4-minute run, it transforms and grows, almost as a reflection of Tucker\u2019s own artistic journey. It begins with sparse instrumentation, just guitar and Tucker\u2019s husky voice, but morphs into an impassioned pop song. Its catchy chorus (\u201cI wonder sometimes if the feeling\u2019s alarming \/ You look at me like you need a reminding \/ But I can tell my life isn\u2019t leaving you \/ It\u2019s not supposed to\u201d) feels ripe for radio play, a foray that wouldn\u2019t have been fitting for Girlpool. With Tucker\u2019s Girlpool bandmate Harmony Tividad entering the pop realm with her 2024 album Gossip<\/em>, I\u2019m all here for the former duo\u2019s pop domination. \u2014Tatiana Tenreyro<\/em><\/p>\n

\"\"\"\"duendita, through collaborations with MIKE, Wiki, and Jamila Woods, established herself as one of the better feature artists of our time at the dusk of the 2010s. Ever since releasing the spiritual, psychedelic \u201cOpen Eyes\u201d<\/a> in 2021, her long-form work hasn\u2019t quite stuck with me me, though the Queens-based musician\u2019s last album, April\u2019s a strong desire to survive<\/em>, did flash what makes her so great: a balmy, sometimes-towering and spellbound voice that soothes the clashing styles that oft-permeate her work. \u201cbaby teeth\u201d is a great example of a non-negotiable fact: duendita can absolutely wail, with a voice as dramatic as Haley Fohr\u2019s and as seductive as Kali Uchis\u2019. But it\u2019s her range of quiet that becomes an airy, tranquil superpower on her new single, \u201cBig One.\u201d Written after she went \u201cto the club five nights in a row [and] saw the sun rise every single morning,\u201d duendita sings alongside Emily Akpan and Vanessa Camacho over a Noah Becker beat, in a bump of joy and \u201chella gratitude.\u201d You can hear the sheets crinkle. \u201cEvery time we touch, oh, my love, I\u2019m lifted up,\u201d duendita vibrates. \u201cFilled up on your love, spilling from my honey cup. Going, the night is gone.\u201d \u201cBig One\u201d is a gas, cavernously and stars-aligningly so. \u2014Matt Mitchell<\/em><\/p>\n

\"\"\"\"Helado Negro recently announced that after years of being under 4AD, he\u2019s signed to Ninja Tune subsidiary Big Dada. It\u2019s a more fitting label home for him and marks a fresh beginning for an artist who has consistently put out fantastic music for nearly two decades. Hearing \u201cMore,\u201d his first preview from his upcoming EP The Last Sound on Earth<\/em>, the song lives up to its title\u2014I need more. It calls back to the heyday of \u201990s electronica with a psychedelic funk beat, tinged with acid house. It\u2019s a shame that the song arrived at the tail end of summer, as I can easily imagine this being a DJ fixture at any rooftop party. \u2014Tatiana Tenreyro<\/em><\/p>\n

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Jeff Tweedy: \u201cLou Reed Was My Babysitter\u201d<\/h2>\n

\"\"\"\"Early in the pandemic, Jeff Tweedy realized<\/a> he even missed the things he used to hate about concerts: sticky carpets, spilled drinks, strangers blowing smoke in his face. On \u201cLou Reed Was My Babysitter\u201d (Tweedy\u2019s final single prior to the release of his upcoming triple LP, Twilight Override<\/em>), he reframes that grime as a kind of sacred inheritance. Reed\u2019s music, Tweedy has said, was his truest early mentor, and you can hear that devotion in the way he chants rock\u2019s resurrection\u2014\u201drock and roll is dead, but the dead don\u2019t die\u201d\u2014like a sequel to \u201cRock \u2018N\u2019 Roll\u201d itself. Acoustic strums lilt toward alt-country, only to rupture into noisy bursts of guitar and clashing drums that pulse beneath the headbanging mantra of \u201cthe dead don\u2019t die.\u201d The title isn\u2019t a gag so much as an autobiography: Reed\u2019s music was Tweedy\u2019s truest early mentor, a voice equal parts joy and darkness, cynicism and salvation. That \u201cbeautiful conflict,\u201d as Tweedy called it in a statement, runs through the song, which celebrates not comfort but contradiction\u2014the way rock\u2019s mess, menace, and noise can still feel like the most reliable caretaker. \u2014Casey Epstein-Gross<\/em><\/p>\n

Jenny On Holiday: \u201cEvery Ounce of Me\u201d<\/h2>\n

\"\"\"\"Here\u2019s a perfect pop song for you, courtesy of one-half of the great and deeply missed band Let\u2019s Eat Grandma. Jenny Hollingsworth, whose short discography with Rosa Walton has floored me for almost ten years, is stepping out on her own now, and her debut single, \u201cEvery Ounce of Me,\u201d released under the name Jenny On Holiday, is remarkably catchy. The song is ecstatic, pilled by \u201880s FM radio synth voicings and box-office rhythms. The chugging, skittering programming briefly reminds me of that in Kenny Loggins\u2019 \u201cPlaying With the Boys,\u201d and Holliingsworth\u2019s vocal inflection drips from the ribs of Debbie Gibson and Pat Benatar. \u201cEvery Ounce of Me\u201d flashes and fascinates at every note. And that burst of stadium-melting electric guitar that barrels into view as the track concludes? Wowza. I suppose I could<\/em> wait a lifetime for the next Let\u2019s Eat Grandma album, especially if that means getting a hundred more songs like \u201cEvery Ounce of Me\u201d first. \u2014Matt Mitchell<\/em><\/p>\n

keiyaA: \u201ctake it\u201d<\/h2>\n

\"\"\"\"keiyaA\u2019s debut record, Forever, Ya Girl<\/em>, came out five years ago and is still one of this young decade\u2019s very best<\/a>. Now on XL\u2019s roster, alongside Fabiana Palladino<\/a>, Burial, Nourished by Time<\/a>, and Fontaines D.C.<\/a>, her great lo-fi post-R&B is in even greater company. The Chicago-bred, New York-based instrumentalist\/producer\u2019s second LP, hooke\u2019s law<\/em>, will unfurl on Halloween, and keiyaA says it\u2019s an \u201calbum about the journey of self love, from an angle that isn\u2019t all affirmations and capitalistic self-care. It\u2019s not a linear story with a moral at the end. It\u2019s more of a cycle, a spiral.\u201d New single \u201ctake it\u201d blurs and shadows. After a mutated \u201cbring that one back from the top\u201d sample makes a slit in the curtain, keiyaA\u2019s deconstructions come spilling out, in a blend of broken glass, jazz drumming, and organ. Harmonies feather into hers until the melody snares into fits of DnB while she repeats \u201ctake it\u201d forty-two times. Desire teems in a disembodied vocal. \u201cLet me come without my mask,\u201d it beckons. \u201cLet me come, naked, dark. Let me come, let me lay beside you.\u201d \u201ctake it\u201d is richly adrift. \u2014Matt Mitchell<\/em><\/p>\n

Rocket: \u201cAnother Second Chance\u201d<\/h2>\n

\"\"\"\"Ahead of their upcoming album, R is for Rocket<\/em>, Rocket<\/a> has released a slate of fresh, punchy tracks that recall the triumphs of 2023\u2019s Versions of You<\/em> EP. Their newest single, \u201cAnother Second Chance,\u201d draws from their typical well of inspiration, employing the rousing percussive style and fuzzy guitars of \u201890s rock bands. What sets Rocket apart from their predecessors are the sticky-sweet melodies from singer\/bassist Alithea Tuttle, who cuts the friction of the band with her voice. She paints the song with pent up passion, asking every bit of the chorus\u2019s central question: \u201cWhat if you open me up and decide it\u2019s never enough for you?\u201d It\u2019s a song that begs you to sing along, to roll down your windows and savor in the retreating days of a languid summer. That tightly crafted refrain unwinds into a dreamy post-chorus, unspooling the instrumentation one by one and building it back up again. Drummer Cooper Ladomade comes in with a calculated, syncopated series of snare hits, and Tuttle sings in rounds of whirling echoes. Harmonies stream as she declares, \u201cI wanna be the one that makes it out of your dreams.\u201d \u2014Caroline Nieto<\/em><\/p>\n

Wicca Phase Springs Eternal ft. Ethel Cain: \u201cMeet Me Anywhere\u201d<\/h2>\n

\"\"\"\"After being introduced to Ethel Cain\u2019s music in 2020 by a Twitter friend, one of the first tracks I heard of hers besides \u201cCrush\u201d (which I raved about while working at The A.V. Club<\/em>) that clued me in on Cain becoming the next big thing in pop music was \u201cGod\u2019s Country,\u201d featuring Wicca Phase Springs Eternal. It was the perfect marriage between Cain\u2019s ethereal, Florence + the Machine-inspired approach and SoundCloud emo rap. Now that Hayden Anhed\u00f6nia\u2019s work under the Ethel Cain moniker has turned her into a household name\u2014one who even Fox News pundits have tried to (unsuccessfully) take down\u2014it\u2019s a wonderful full-circle moment for her to collaborate with Wicca Phase again. This time, it\u2019s Cain being featured in Wicca Phase\u2019s EP, with \u201cMeet Me Anywhere\u201d being a departure from the type of Americana alt-pop Anhed\u00f6nia is known for. Instead, Wicca Phase is entering his country crooner era, with a breathtaking duet that combines Cain\u2019s breathy, haunting vocals with the former Tigers Jaw member\u2019s gravelly twang. \u2014Tatiana Tenreyro<\/em><\/p>\n

Other Notable Songs This Week:<\/strong> Anna von Hausswolff: \u201cFacing Atlas\u201d; Cardinals: \u201cMasquerade\u201d; Carly Rae Jepsen: \u201cGuardian Angel\u201d; claire rousay: \u201csomewhat burdensome\u201d; Courtney Marie Andrews: \u201cCons and Clowns\u201d; Flock of Dimes: \u201cDefeat\u201d; Good Flying Birds: \u201cI Care For You\u201d; Hannah Frances: \u201cLife\u2019s Work\u201d; ira glass: \u201cfd&c red 40\u201d; Liz Cooper: \u201cNew Day\u201d; Nick Shoulders: \u201cBored Fightin\u2019\u201d; Peel Dream Magazine: \u201cVenus in Nadir\u201d; PONY: \u201cSuperglue\u201d; Snooper: \u201cPom Pom\u201d<\/p>\n

Check out a playlist of this week\u2019s best new songs below. <\/strong><\/p>\n