Now that she’s recording with young-folks-beloved house producer Kaytranada (and doing big Rolling Stone spreads about the partnership), it’s safe to say PinkPantheress has moved beyond her DIY bedroom-pop origins and transitioned from viral TikTok stardom to more closely controlled avenues of the music industry. Still, laced with fizzy tab-popping sound effects and the kind of gleaming acoustic guitar action that graced so many great Y2K-era R&B tracks, “Do You Miss Me?” maintains the intimate micro-pop scale of the young British singer’s original homemade tracks. The pairing of her soft, sweet voice with brisk, lighter-than-air electronic beats continues to work wonders. —Chris

Bold move using the same song title as a big Morgan Wallen single, but luckily for everyone Andy Shauf’s lead Norm track has nothing else in common with Wallen, musically or otherwise. Now that I have that out of the way, I can compliment “Wasted On You” on its jaunty composition, existential central question (“Was all my love wasted on you?”), and absolutely precious music video where Shauf portrays a Jesus-looking figure and dances around a DIY heaven with (I’m guessing) God. Based on those things, I challenge anyone not to adore Shauf’s “Wasted On You.” —Rachel

The conceit on Fucked Up’s new album One Day is that guitarist and composer Mike Haliechuk wrote and recorded the music within 24 hours. So it’s fitting that the album’s opening track wastes no time rocketing off into full-intensity anthem mode. Three seconds into “Found,” Damian Abraham is already screaming, Jonah Falco’s drums are pounding your cranium, and the band is pulling off that magic trick where they make hardcore feel like epic, melodious classic rock. It’s a conflicted song about how “discovery is actually conquest” and “settlement is always violence,” yet there’s nothing ambivalent about its execution. —Chris

I love a hook-packed dance track; I still look back really fondly on the early ’90s era when Eurodance ruled pop music. We’re talking some Real McCoy shit. On that note, Romy Madley-Croft’s latest team-up with Fred again… blows my mind on multiple levels. First, there’s that magnetic pulsating house beat and stabby synth-work. Also, “Strong” examines something really tangible — grief around parental loss — and channels that pain into clubby catharsis (“The song was a way to connect with these feelings, offer support and ultimately find a sense of release in the euphoria of music,” Madley-Croft said in a statement). That lyrical depth gives “Strong” an especially substantial, well-rounded sensation, and I’m betting loads of fans will rally around it, whether they’re in an Ibiza-type setting or not. —Rachel

“God Turn Me Into A Flower” is Weyes Blood’s song about Narcissus, the mythical figure who fell in love with his own reflection in a pool of water, simply staring at himself until he withered away and died. After Narcissus died, the myth says, the flower that bears his name sprouted in the spot where he’d lain. On “God Turn Me Into A Flower,” Natalie Mering spends six minutes singing — first with precise restraint, then with soulful fire — about the strange lure of that myth: “It’s good to be soft when they push you down/ Oh God, turn me into a flower.” Behind Mering’s lovely multitracked vocals, we hear a choir of organ hums and bird calls, some of which were provided by Oneohtrix Point Never. It’s a crystalline, luxurious, enveloping bed of a song, a seductive ode to the compelling call of your own overwhelming ego. —Tom