{"id":2049714,"date":"2025-09-25T18:04:13","date_gmt":"2025-09-25T18:04:13","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2049714"},"modified":"2025-09-25T18:04:13","modified_gmt":"2025-09-25T18:04:13","slug":"best-new-songs-of-the-week-september-25-2025","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/best-new-songs-of-the-week-september-25-2025\/","title":{"rendered":"Best New Songs of the Week (September 25, 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

Chuwi: \u201cFalta Algo\u201d<\/h2>\n

As a native Puerto Rican, I get excited when I see young, emerging artists from my island receive attention, even more so when it\u2019s through bringing our folkloric music to a global audience in a modernized lens. Like most of their new fans, I found out about Chewi\u2014a band made up of siblings Willy, Lor\u00e9n, and Wester Aldarondo, with their friend Adri\u00e1n L\u00f3pez\u2014after hearing their feature on \u201cWELTiTA\u201d from Bad Bunny\u2019s DeBI TiRAR M\u00e1S FOToS<\/em> (which is one of our favorite albums of the year), so I\u2019d been waiting to see what they have coming up next. Their latest single, \u201cFalta Algo,\u201d reimagines bomba with experimental, droney elements. Vocalist Loren sings about having learned life\u2019s lessons and having everything she ever needed, but still finds that something is missing. While it\u2019s a massive win for us boricuas that Benito has become one of the biggest artists in the world, it\u2019s vital that we pay attention to others who are doing really cool stuff beyond Bad Bunny and make it last beyond Hispanic Heritage Month. \u2014Tatiana Tenreyro<\/em><\/p>\n

Hannah Frances: \u201cLife\u2019s Work\u201d<\/h2>\n

\"\"\"\"The first four seconds of \u201cLife\u2019s Work\u201d feel like you\u2019ve stumbled into the wrong movie theater, a horror score leaking through the walls, before the finger-picked guitar seamlessly transforms into a delicate, twangy backdrop to Hannah Frances\u2019 melodic gymnastics. Everything tilts, and tilts again: polyrhythms skitter, brass flares, and that central mantra\u2014\u201clearning to trust in spite of it is life\u2019s work\u201d\u2014tightens like wire around the song\u2019s spine. The melody slips sideways, the arrangement keeps layering more claws and teeth, until the whole thing feels like grief dressed up in vaudeville clothes: brutal, theatrical, a little absurd, melancholic in spite of itself. You can hear Grizzly Bear\u2019s Daniel Rossen\u2019s collaboration in the architecture\u2014careful, tensile layers rather than ornament\u2014yet nothing blunts Frances\u2019 voice, which cuts clear as glass through the din. There\u2019s a mischief twining through the song, the melody unpredictable and cheeky, the words sitting light on her tongue, but no matter where the track turns, it can\u2019t outrun the melancholy that seeps in\u2014which is, of course, the point. Resilience isn\u2019t stoicism; it\u2019s motion, breath, re-entry. \u201cLife\u2019s Work\u201d turns trust into labor, ritual, a spidery lattice, a grin stretching tight even as it trembles. \u2014Casey Epstein-Gross<\/em><\/p>\n

Lael Neale: \u201cSome Bright Morning\u201d<\/h2>\n

\"\"\"\"Lael Neale has summoned the likes of Cate Le Bon and Margo Guryan on her newest single, \u201cSome Bright Morning,\u201d a charming folk-pop track that chases a glimmer of optimism. A quick turnaround after her latest album, Altogether Stranger<\/em>, which came out in May, Neale\u2019s new song carries on many of the merits of her past work, particularly her effervescent production. As a sweeping snare and tambourine establish the pace of the song, a bright synthesizer floats to the surface, and a tinny guitar wails in a solo that pans from left to right. Neale questions in the verses whether the dawn she dreams of will ever come, and if it does, \u201cWill I ever see the light?\u201d But she\u2019s steadfast in her resolution to \u201cget it right some bright morning,\u201d and her hope is galvanizing. She brushes off her woes with a series of \u201cdoo doo doo\u201ds as the song rounds out, and if you listen carefully, you may just hear the twinkle of the sun rising. \u2014Caroline Nieto<\/em><\/p>\n

Liam Kazar: \u201cDay Off\u201d<\/h2>\n

\"\"\"\"\u201cLosers two, losers toodaloo\u201d goes the chorus of Liam Kazar\u2019s achingly perfect new song, \u201cDay Off.\u201d I\u2019m not shocked that it bowled me over immediately. I loved the Tom Petty choogle of Kazar\u2019s last Pilot Light<\/em> single, \u201cThe Word The War,\u201d<\/a> but \u201cDay Off\u201d saunters more than it boogies, its front-porch symphony lapping at the creek bed of my wincing heart. With the weekend\u2019s barrel begging for me to look down it, Kazar\u2019s words on \u201cDay Off\u201d\u2014\u201cWould it be such a bad day if we take the whole day off?\u201d\u2014taunt with the riches of skipping work to do nothing much at all. \u201cWe could play Monopoly if you got a year to burn, or brush up on our Urdu,\u201d he speaks into the garden of Michael Prince Coleman\u2019s Wurlitzer. \u201cTakes the same time to learn! Just look at it this way: It\u2019s another no good dead-end job, and playing hooky is only taking money from the man or the mob.\u201d I have to highlight Dorian Gehring\u2019s fiddle, as it sings like a fourth voice alongside Kazar, Hannah Cohen, and Sima Cunningham\u2019s. \u201cDay Off\u201d rumbles in the halfway between a snoozed alarm and a parlor guitar\u2019s serenade. Music this sincere and homey ought to come by the bale. \u2014Matt Mitchell<\/em><\/p>\n

Pansy: \u201cMercy, Kill Me\u201d<\/h2>\n

\"\"\"\"Pansy, the Seattle band led by singer\/guitarist Vivian McCall, worship at the altars of Big Star, the Clean, and Teenage Fanclub, which always gets me barking like Pavlov\u2019s dog. A new EP, Skin Graft<\/em>, is on the way, and lead single \u201cMercy, Kill Me\u201d is one of the best successors to \u201cSparky\u2019s Dream\u201d I\u2019ve encountered recently. But \u201cMercy, Kill Me\u201d isn\u2019t just excellent pop-rock, it\u2019s a lyrical balm for trans folks looking for a story like their own. \u201cTransition is like molting,\u201d McCall explains. \u201cOnce that period of rawness is over, and you\u2019ve cobbled together a new exoskeleton, you\u2019re in a position to tests its strength against the day to day stuff like heartbreak, anxiety, disappointment, failure; and truly intense experiences like transmisogyny and sexual violence.\u201d The song feasts on a hook you\u2019d need a lobotomy to forget, and, a week after first hearing it, I am thinking of the third verse even still. \u201cCut my hair and drove real far,\u201d McCall sings. \u201cFelt the miles, tight like a wire, snap in the wind of a waning fire.\u201d Pansy make music so catchy and necessary I might start rooting for the Mariners. \u2014Matt Mitchell<\/em><\/p>\n