The Best Songs of the Week You Might Have Missed

2023 may be winding down, but there are still great new songs from this week that deserve some praise. In addition to new tracks that we loved from IDLES, The Killers, and Adrianne Lenker, here are a few tunes you may have missed that the Consequence staff enjoyed the most this week.


Cosmo’s Midnight — “Borrowed Time” feat. Forest Claudette

Cosmo’s Midnight have teamed up with Forest Claudette on new track “Borrowed Time,” and it’s an infectious slice of disco-addled dance pop. Cosmo’s Midnight have always demonstrated an ear for restraint; their songs never escalate towards turbo explosions, and their vibe-forward production never feels too stylized or anonymous. “Borrowed Time” is no different, and the Australian duo channel Off the Wall-era Michael Jackson and Chaka Khan while also leaning into the kind of modern, club-centric stylings of Disclosure and Friendly Fires. Also, Forest Claudette’s falsetto — a major feature of “Borrowed Time” — is utterly refreshing and downright impressive. — Paolo Ragusa

Fred Again.. and Baby Keem — “leavemealone”

Fred again.. sampled two Baby Keem tracks, “South Africa” and “Bullies,” for this frenetic track that belongs deep in an underground club. Although his vocals are chopped from previously released songs, Baby Keem still stands out and sets the stage in this track. Fred again.. treats his voice as another instrument in his wide pallet to pick and choose from, weaving in and out of the murky bassline and echoing through any slivers of empty space that are scattered through the song. The days getting shorter means longer nights and more time to party, but this dark new club banger is certain to help the dusk go by a hell of a lot faster. — Aidan Sharp-Moses

The Knocks and SOFI TUKKER – “One on One”

Duo SOFI TUKKER have reunited with The Knocks for “One on One,” an absurdly well-calibrated disco-pop track. Accompanied by a music video that conjures the heyday of Studio 54, “One on One” is the kind of song you just never want to end. This is the third time SOFI TUKKER have joined forces with The Knocks, and they’re all clearly moving to the same rhythm — as the latest in that string of collabs, “One on One” is extraordinarily catchy and holds clear replay value. — Mary Siroky

Meatbodies — “Hole”

The story of Meatbodies’ upcoming project couldn’t be more fantastically dramatic. Studio beefs and the terrifying development that frontman Chad Ubovich’s house of eight years was, in fact, uninhabitable kept the record collecting dust on the shelf. The house even landed Ubovich in the hospital, where he wondered if we would ever play guitar (or walk!) again. And yet, here he is, triumphantly returning with Flora Ocean Tiger Bloom and its grand lead single “Hole.” Massive and absolutely fuzzed-out to the max, the track should be played — at a minimum — at ear-splittingly loud volumes. So, crank up that stereo and let the swirling guitar tones and psychedelic vocals lead you into a plane of existence where nothing but beautiful, gnarly distortion matters. — Jonah Krueger

Teens in Trouble — “You Don’t Want to Mess with Me”

Teens in Trouble have been sharpening their pop-punk/power-pop songwriting chops with each subsequent release, and now, with a little help from PUP’s Stefan Babcock, the North Carolina act might have just come through with their most rewarding tune yet. “You Don’t Want to Mess with Me” matches sweet melodies with charged guitar stabs and hard-hitting drums, culminating in a climax that finds Babcock and frontwoman Lizzie Killian defiantly crying out the song’s title. With a runtime of just under three minutes, it’s an irresistible, energized, bite-sized track that’s damn near guaranteed to get your blood pumping. — J. Krueger

Wishy — “Spinning”

Wishy have released three singles off their upcoming EP Paradise, and each of them have been dreamy, hook-heavy, and wildly enjoyable. “Spinning,” the latest offering, might be their brightest track yet. While the last two tracks were shrouded in shoegaze-y fuzz, “Spinning” is rooted in a percussive acoustic guitar, giving the track a ’90s, Madchester-esque hue. Nina Pitchkites takes the mic this time, and her vocal prowess really emerges in the final chorus; the song swells to a passionate, crystalline climax, with each tambourine shake and gentle wail from Pitchkites a harbinger of warmth and satisfaction. — P. Ragusa

Song of the Week Single Artwork:

Author: Michael

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