{"id":2103969,"date":"2025-10-20T17:25:31","date_gmt":"2025-10-20T17:25:31","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2103969"},"modified":"2025-10-20T17:25:31","modified_gmt":"2025-10-20T17:25:31","slug":"best-new-songs-of-the-week-september-4-2025","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/best-new-songs-of-the-week-september-4-2025\/","title":{"rendered":"Best New Songs of the Week (September 4, 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

Blue Bendy: \u201cPoke\u201d<\/h2>\n

I think I have something of a love-hate relationship with \u201cPoke,\u201d Blue Bendy\u2019s first release since their debut record last year (in other words, our first glance at Blue Bendy post-internal-drama and post-lineup-change). Sonically, it\u2019s wonderful: frontman Arthur Nolan\u2019s vocals are as captivatingly unpredictable as ever, all the more so when surrounded by those beautifully dissonant piano stabs and bursts of quiet harmony, that tingling synth and insistent percussion. But man, is it hard to hear lines like \u201cExtra long, you can call me bae \/ Pookie doubled down on the hospital stays\u201d without instinctively cringing. Yes, I know that it\u2019s trying to make fun of social media and its terminology (see: the title, which refers to the lost art of Facebook poking), but apparently hearing \u201cbae\u201d and \u201cpookie\u201d in the wild still triggers a mild fight or flight response in me\u2014but I think that, too, is kind of the point. The song opens on Nolan groaning in frustration that someone on the internet spread a rumor that he\u2019d \u201cgone insane,\u201d which\u2026 Well, perhaps the statement Nolan wrote to accompany the single tells it best: \u201c\u2018Who started the rumour of my insanity, and is a Facebook poke still hot 10 years on?\u2019 This pretty much sums up our last 18 months perfectly. Maybe with a pinch of salt.\u201d As a result, there\u2019s a genuine frustration to \u201cPoke\u201d that belies the satire of it: is it a parodic send-up of the melodrama of the terminally online, or a self-aware externalization of it? After I first heard the track, I wrestled with that question for a solid ten minutes\u2014but then I realized that even asking it kind of misses the point. After all, isn\u2019t a song that blurs a line infinitely more interesting than a song maintaining it? \u2014Casey Epstein-Gross<\/em><\/p>\n

Cate Le Bon: \u201cAbout Time\u201d<\/h2>\n

\"\"\"\"\u201cI get a little upset \/ I just can\u2019t take it yet.\u201d The third single from Cate Le Bon\u2019s forthcoming LP, Michelangelo Dying<\/em>, is an unsettling track affixed with guitar reverb, pulsing synths, and crisp vocals at the front of the mix. The song feels like it exists inside a hollow, empty room, with nothing but four walls for the sounds to bounce off of. There\u2019s the occasional self-harmony and backing moves, like on the hook \u201cI\u2019m not lying \/ In a bed you made,\u201d that add a church-like punch to certain lines. \u201cAbout Time\u201d doesn\u2019t build so much as it persists, slowly and sneakily growing with more droning synths, layered vocals, and resonant bass tones as it continues. When the synth blares into oblivion a deep reevaluation of relationships and expectations arises and ends with a \u201cCollect yourself \/ Rigid collapse\u201d loop. Le Bon\u2019s vocals slowly overtaken by all the echo, and the cyclical nature of the closing refrains feels like a ritual, as if life is just alternating between those two things: falling apart and then picking up the pieces. \u2014Cassidy Sollazzo<\/em><\/p>\n

Cut Copy ft. Kate Bollinger: \u201cBelong to You\u201d<\/h2>\n

\"\"\"\"While I was already familiar with Kate Bollinger<\/a>, the psych-pop song \u201cBelong to You\u201d is, admittedly, my first taste of the veteran synth-pop band Cut Copy. The new single, about a man who is so obsessed with his past mistakes that he can\u2019t enjoy the present moment, feels all too relatable. \u201cAll that you want is already here,\u201d vocalist Dan Whitford sings, echoed by Bollinger: \u201cRoads that point to nowhere led me back to your heart.\u201d It\u2019s a wistful back and forth, a reminder that this mysterious world often ends up shepherding you towards the path you\u2019re meant to follow. The rousing message of \u201cBelong to You,\u201d boosted by vibrant synthesizers, airy pedal steel, and stacked harmonies, is an important one\u2014necessary in an age where content and trends are fighting to steal our attention away from the important, fleeting things unfolding right in front of us. \u2014Camryn Teder<\/em><\/p>\n

Fine: \u201cPortal\u201d<\/h2>\n

\"\"\"\"For me, Fine\u2019s last album, 2024\u2019s Rocky Top Ballads<\/em>, signaled the start of a summer of sunset drives and late nights basking in the moody lamp lights in my bedroom. On tracks like \u201cBig Muzzy\u201d and \u201cDays Incomplete\u201d especially, I felt myself sinking into another one-sided love affair with a Copenhagen musician, much like my previous brushes with ML Buch and Smerz. When I saw Fine released another single this week, at the conclusion of summer, I was elated. \u201cPortal\u201d came just in time for me. The song features a minimal soundscape, one of Fine\u2019s sparest yet, with nothing more than her singular vocal line, a guitar, and subtle percussive flourishes filling out the spaces in-between and beneath her. It\u2019s a song that feels truly intimate as she croons, \u201cYou keep on feeling lost \/ You keep your fingers crossed \/ Maybe it\u2019s all we got, but it\u2019s not enough.\u201d \u2014Camryn Teder<\/em><\/p>\n

Hatchie: \u201cLose It Again\u201d<\/h2>\n

\"\"\"\"I\u2019ve been a big Hatchie fan since 2020 and became particularly attached to her 2018 EP, Sugar & Spice<\/em>. While I\u2019ve loved all of her releases since, to me, nothing topped that record. But after hearing her first single off her upcoming album, Liquorice<\/em>, I\u2019m convinced we\u2019re going to get Hatchie\u2019s best album yet. \u201cLose It Again\u201d sounds like if Cocteau Twins and Oasis shagged and made a gorgeous song-child. Hatchie\u2019s music has always felt intimate to me, ripe for listening in solitude while daydreaming, rather than in a large, crowded room. But \u201cLose It Again\u201d begs for an arena moment. With its commanding, hazy guitars and sing-along chorus, it\u2019s the expansive sound that will surely take Hatchie to the next level. \u2014Tatiana Tenreyro<\/em><\/p>\n