{"id":2079837,"date":"2025-10-09T16:37:21","date_gmt":"2025-10-09T16:37:21","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2079837"},"modified":"2025-10-09T16:37:21","modified_gmt":"2025-10-09T16:37:21","slug":"best-new-songs-you-need-to-hear-this-week-october-9-2025","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/best-new-songs-you-need-to-hear-this-week-october-9-2025\/","title":{"rendered":"Best New Songs You Need to Hear This Week (October 9, 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

\u201cOnly One Laughing\u201d is a gratifying return to form for Australian artist Hatchie, who debuted with 2019\u2019s Keepsake<\/em>, a collection of exciting psych-pop tunes. Her newest single features layers of the dreamy guitars Harriette Pilbeam has established as her signature sound, yet they feel as fresh as they did six years ago. Hatchie has come into her own not only sonically, but her lyricism shows a broadened sense of maturity\u2014in the second verse of \u201cOnly One Laughing,\u201d she sings, \u201cWhat once excited me wasn\u2019t meant to be,\u201d a realization that can only come from trial and error. While \u201cOnly One Laughing\u201d parses through the discomfort of social alienation, it\u2019s also a call to action to let go of the idea of what\u2019s \u201cmeant to be\u201d and giggle through it anyway. \u2014Caroline Nieto<\/em>
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\"\"\"\"A lot of good records are getting released on Halloween this year. Hilary Taper\u2019s Night CRI\u00da<\/em> is shaping up to be the best out of all of them. The Irish musician sings like Trish Keenan, from poppy vantages dimmed by spine-numbing, off-kilter folk-pop. \u201cTaper,\u201d her newest single, is captivating yet ominous. The song begins with Woods performing a folky s\u00e9ance. \u201cIn the great unknown, leave the light on,\u201d she beckons in the first verse, before a tangled synth-guitar hums and \u201cTaper\u201d turns into this fucked-up outtake from the Charlie Brown Christmas<\/em> soundtrack. A children\u2019s choir, provided by the Hangleton Brass Band, sings as much as Woods does, filling out a love song \u201cbraided in the wake of what has flown.\u201d Gabriel Ferrandini\u2019s percussion clanks like a metronome or a household trinket; the kids sing: \u201cIn the blue wide, wide open, summer moves the frozen air. I can see the paths unchosen moving through your golden hair.\u201d \u201cTaper\u201d recedes instead of capstoning, leaving nothing behind but this mist of unusual wonder. \u2014Matt Mitchell<\/em>
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\"\"\"\"Jay Som is joined by Paramore vocalist Hayley Williams<\/a> on her new single, \u201cPast Lives,\u201d a moody indie-rock track exploring the process of \u201cspiraling\u201d and \u201cfalling apart.\u201d The song is the fourth single from Jay Som\u2019s upcoming album, Belong<\/em>, which will come out this Friday. Each single thus far has marked the growth of Melina Duterte\u2019s artistry since she debuted in 2016, and \u201cPast Lives\u201d refuses the bells and whistles of overwrought lyricism and champions simple, clean songwriting. The song is carried by the wispy vocals shared between Duterte and Williams; \u201cPast Lives\u201d proves to be an anthem for those who find solace in dwelling on the past. It\u2019s also one of Jay Som\u2019s strongest works of late. \u2014Caroline Nieto<\/em>
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\"\"\"\"When FKA twigs, the queen of avant-R&B interviewed Oklou, France\u2019s rising artist in the genre, for her Highsnobiety<\/a><\/em> cover story, she teased that Oklou, whose album choke enough<\/em> is still among our favorites<\/a> of the year, had sent her a song to sing on and asked the musician what the song was about to her. The answer was \u201ctummy aches\u201d (specifically the kind that come with anxiety), which they bonded over sharing the misfortune of having. The result is \u201cviscus,\u201d with Oklou\u2019s breathy, dulcet vocals and twig\u2019s whispery, nymph-like voice filtered over vocoders, that act as centering breaths in the aftermath of a panic attack. It\u2019s everything you\u2019d want from one of the best music team-ups of the year. \u2014Tatiana Tenreyro<\/em>
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\"\"\"\"I really dug the last Ragana album, Desolation\u2019s Flower<\/a><\/em>. Those songs\u2014sludgy, fever-dream masses\u2014still rock two years later. Now, Maria and N.D.K.G. are teaming up with noise-pop and drone connoisseur Drowse on Ash Souvenir<\/em>. The title track does not sound like a Ragana song\u2014not at the beginning, at least. The two artists toy with a slowcore build-up, letting cymbal rolls and drowsy guitar plucks ache into this colossal, towering acme of feedback and mutilated vocals. But Maria turns the swell into a meditation, repeating \u201cthere is nothing to lose\u201d again and again until it\u2019s written within her. I\u2019ve never heard Ragana make music like this, but now I can\u2019t imagine hearing them in any context but. Each second is a blister; every note a gathering. The only flaw in \u201cAsh Souvenir\u201d is that it doesn\u2019t go on forever. \u2014Matt Mitchell<\/em>
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