Sam Rankin / Daily Nexus
Artsweek staff’s favorite songs for the beginning of Fall.
“The Surface” by Alice Phoebe Lou
The last couple years have been saturated with lyric-heavy singer-songwriters who blend confessional storytelling with minimal production. Yet Alice Phoebe Lou stands out as a rarity in this contemporary alternative-folk genre. “The Surface” is the fifth track off Lou’s newest album “Oblivion” and is overwhelming, loving and energetic in every sense. Sonically, Lou has mastered the ability to create both tension and release with only an acoustic guitar melody, and the buildup into the chorus is naturally accompanied by Lou’s tender vocals. Lou’s simple harmonies twirl around one another gracefully into a crescendo, and break out into the lyrics “I’ve opened up / Nothing’s too far from the surface.” Placed halfway through the album, the track is the climax to the overall feelings of longing, the nerves and insecurity that come with new relationships. “The Surface” unveils Lou’s shy vulnerability, but does so powerfully with — as expected — mesmerizing vocals and raw instrumentals that are shrouded in admiration.
Aili Forster, Reporter
“Heavy Light” by Hannah Frances
“Heavy Light,” the final track of Hannah Frances’ third full-length album “Nested in Tangles,” is a reflective instrumental interwoven with poetry. The soundscape of the piece spirals through different musical themes, almost mimicking the expansive tendrils of the old-growth cypress tree featured in the album art. Building on “The Space Between,” a phrase peppered throughout her other record, Frances sonically explores the space between the delicate and the gritty. Opening the track with soft, woody fingerpicking and warm violins, the landscape grows to include warbling cries of an electric guitar, along with layers of saxophones articulating intentionally and clearly — a tapestry of repetitive motifs. Through her poetry, she embraces the ways we change through time and the paradoxical reality that we are simultaneously an amalgamation of all that we once were. She vows to bear the heaviness of the past, and the lightness of accepting oneself at every timepoint.
Martin Panicacci, Reporter
“Kiss” by Claire Rosinkranz
Claire Rosinkranz, best known for her hit “Backyard Boy” from 2021, returns to the music scene with a new single titled “Kiss,” released on Oct. 24. Rosinkranz’s song depicts the infatuation with the one you love in so many words, narrowing it down to a kiss that brings them the closest. The chromatic scale throughout the song makes the chorus build up much more anticipating, compared to more trivializing songs in the indie genre. The track begins with a muted repetitive strum of a guitar, so when the drums come into the chorus, it has a much lighter feel. In the bridge, Rosinkranz adds a vocal glitch effect that expresses her deep need to be kissed, showing a type of despair and falling apart. In this track, Rosinkranz does a great job of displaying emotion and longing through the simplicity of musical choices and structure.
Milla Sgambelluri, Reporter
“TIT FOR TAT” by Tate McRae
Building upon the success of her most recent album “So Close to What,” rising popstar Tate McRae released her newest single “TIT FOR TAT,” written and released during her ongoing Miss Possessive Tour. “TIT FOR TAT” is a response to The Kid LAROI’s “A COLD PLAY,” a song he released following their breakup in July, in which he expressed how much he missed her and wished he could have fixed her when they were together. McRae claps back in “TIT FOR TAT,” calling him out for trying to change the narrative of their breakup, declaring that she is leaving him in the past. This upbeat and empowering post-breakup diss track is another great addition to McRae’s discography; it’s fun, it’s catchy and it’s brutally honest in a playful way. Perfect for the girls going through their October curse.
Ceora Tan, Reporter
“Elizabeth Taylor” by Taylor Swift
Taylor Swift’s latest album “The Life of a Showgirl,” released on Oct. 3, has received a lot of backlash from just about everyone. The album is about Swift’s life “behind the curtain” in regards to her relationship with Travis Kelce and her production of The Eras Tour. In the second track “Elizabeth Taylor,” Swift discusses the hardships of being famous by relating her life to English-American actress Elizabeth Taylor. Despite the heavy topic, the song is upbeat with catchy lyrics and incredible vocals. As she sings, “All my white diamonds and lovers are forever / In the papers, on the screen, and in their minds.” Overall, throughout the album, Swift reflects on what it’s like to constantly be under public scrutiny, specifically regarding her love life.
Katie Gavigan, Reporter
“Mind Reader” by Alice Phoebe Lou
Full of heartache and whimsy, “Mind Reader” tells the story of two lovers whose connection is not as strong as it once was. Lou wonderfully captures the desire to stay in love despite the relationship’s difficulties and frustration with her partner’s lack of effort, while maintaining the dreamlike and ethereal sound that she’s known for. In lines like “I can only try, but trying takes two,” Lou soulfully begs her lover to match her attempt to restore their love. With tragic lyrics, soft acoustic guitar instrumentals and desperate vocals, this track of her sixth studio album “Oblivion” is perfect for late-night fall yearning.
Abigail Yee, Reporter
“CRANK” by Slayyyter
From a childhood in the Midwest to being featured on Kesha’s “ATTENTION!”, Slayyyter ties her upbringing to stardom in the visuals in her latest single “CRANK.” As she walks around a baseball field in high heels or stands above water holding a bedazzled fish, Slayyyter brings a glamorous approach to areas that are not known for being glamorous. On the screen entirely on her own for “CRANK’s” music video, Slayyyter proves she doesn’t need anyone else to hold the spotlight when she’s the star of the show. It’s not always about what is said but how it makes you feel. Life gets messy and doesn’t always make sense, but the freedom of being able to scream into a mic lays a foundation for finding different layers of yourself.
Michael Romero, Reporter
“Illegal + SEVENTEEN” by PinkPantheress
British artist PinkPantheress released her third remix album “Fancy Some More?” on Oct. 10. The album features remixed versions of her songs from her album “Fancy That,” released back in May. One of the songs remixed was “Illegal + SEVENTEEN,” which went viral on TikTok last month. Seventeen is one of the best selling Korean pop (K-pop) boy bands. Three of the members — Vernon, Mingyu and The8 — were featured on this remix, with Vernon writing his own verses. Vernon, Mingyu and The8 added a fresh sound to the song as well as a new language by integrating Korean lyrics like: “널 다시 제자리로 옮겨놓지.” PinkPantheress has explained via TikTok that she is a fan of the band and this collaboration was extremely exciting. This collaboration has helped bridge the gap between Eastern and Western Pop, introducing many new fans to the sound of K-pop.
Carly Rattner, Reporter
“Dracula” by Tame Impala
“Dracula,” the third song from his new album “Deadbeat,” brings Tame Impala back on hit records. “Dracula” is a more upbeat, acoustic song, great for grooving or dancing around the kitchen. Though Tame Impala usually sings of long lasting love and finding “the one,” the focus of this song is just on the music. For example, lyrics such as “I just wanna be right where you are” and “In the end, I hope it’s you and me” are drowned out by a heavy bass and drum set. This song is great for a lively background occasion — something to liven the mood while another activity is going on.
Elia Nagel, Reporter
“Tennis” by Lily Allen
Seasoned pop star Lily Allen released her fifth studio album “West End Girl” on Oct. 24. The album — her first in seven years — chronicles the destruction of her marriage, with lyrics revealing deeply personal details from its final years over campy pop beats and hypnotic melodies. The 40-year-old mother of two had a messy public separation from actor David Harbour last December after his alleged infidelity, which serves as a narrative throughline across the album. The fourth track “Tennis” recounts the day she read her then-husband’s texts and found out about the other woman, who is dubbed “Madeline.” Though Allen and Harbour had agreed to open their marriage, the personal relationship he developed with this woman — the fact that they played tennis together — broke the boundaries of their arrangement and caused her to spiral. For any Gauchos who’ve been cheated on, “West End Girl” offers a cathartic listen from a woman who’s been through the same thing and comes out stronger and more self-assured.
Louis Dworkin, Reporter
“Tie you down” by HAIM, featuring Bon Iver
After releasing their album “I Quit” this June, the band HAIM dropped “Tie you down” featuring Bon Iver this October — a new single for the deluxe version of their album. Straying from their typical high-energy rock sound, the collaboration with indie folk band Bon Iver is a calm, mellow track focusing on and consisting more of an alternative/folky acoustic sound. Showcasing HAIM lead singer Danielle Haim and Justin Vernon of Bon Iver’s soft, affectionate vocals, this track features poignant instrumentals and lyrics that reflect on the emotional pain of longing for a relationship with someone while also feeling afraid of holding them back, singing “I want you here / But I don’t know how / Not to tie you down.” The song is a heart-wrenching duet between Haim and Vernon, expressing the conflicted feelings they both have about each other and their relationships.
Taylor Vandergriff, Reporter
“Ensenada” (Acoustic) by Sublime
Aside from a 2021 remixed album, the band Sublime hasn’t released music under the Sublime label since lead singer Bradley Nowell’s tragic death in 1996. In July, Sublime released its first new single since the 1990s with Bradley Nowell’s son Jakob Nowell fronting the group. On Oct. 10, they dropped the acoustic version. The original “Ensenada” was already a quintessential Sublime track: fun, irreverent and a little unfinished. In the new version however, Jakob Nowell sounds strikingly like his father and nails the band’s classic Ska sound. His speak-singing style is fresh and easy to sing along with, reminiscent of classics like “Doin’ Time” and “Caress Me Down.” With acoustic guitar, raw vocals and tongue-in-cheek lyrics dreaming of an Ensenada escape, the acoustic version of “Ensenada” is like listening to one’s favorite garage band rehearse on a hot summer day.
Ava Boyd, Reporter
“OMG” by The Neighbourhood
After an almost four-year long hiatus, The Neighbourhood returns with three tracks to tease their upcoming album “(((((ultraSOUND))))).” Counting down the days until its release, “OMG” promises to stay true to the band’s iconic indie alt-rock sound while confidently entering their new era. This song is a greeting to new fans and long-time listeners alike, as it quite literally kicks off with a “Hello” and dives straight into an upbeat, fuzzy-yet-distinct rhythm that gives you a swing in your step. Fitting for a grand return, the lyrics nod to some of their old classics including “You Get Me So High” and “No Grey,” with a beat reminiscent of “Cry Baby.” Just in time for “Sweater Weather” in Santa Barbara, “OMG” and the other tracks from the teaser EP evoke all the nostalgic feelings of fall — old favorite songs, a crisp breeze and a taste for some new variety as the leaves are changing colors.
Megan Rodriguez, Reporter
“Copycats” by Danny Brown, featuring Underscores
On Oct. 16, Detroit rapper Danny Brown released the second single off of his upcoming album “Stardust.” The song features a pulsing industrial-pop beat and an earworm hook from hyperpop artist underscores. After a series of collaborations with various artists in the hyperpop underground (notably Frost Children, Fentanyl and Jane Remover), “Copycats” marks Brown’s full incorporation of the style into his own music. Though the transition may seem idiosyncratic for such an established rapper, Brown’s vocals and beat choices have always pushed convention, something which aligns nicely with the overarching ethos of hyperpop. And, as he proves on “Copycats,” his vocals may be his trademark, but Brown’s true strength lies in his versatility. He flows effortlessly over glitching bass and dissonant plucks — something that should come as no surprise to anyone familiar with the numerous, much stranger instrumentals he’s rapped on. Really, there’s something of an irony in calling out your copycats, when nobody imitating you can even keep up.
Evan Ruiz, Reporter
“Tell Me” by Summer Salt
Summer Salt’s single, “Tell Me” is funky, calm and ephemerally easy-breezy. The synth and melodic falsetto asks for nothing in return, it simply gives and gives. The perfect surfer-dad archetype, Summer Salt’s new EP “Spells,” released Oct. 17, continues their effortless charm with a sincere twist. Their root in the live music capital of the world (Austin, Texas), is clear with their vivid knowledge of blended vocals and rhythm. They pull back the strings and synth, leaving behind a raw and groovy backing track. It’s experimental, earnest and evidently no frills. “Tell Me” is a prelude to an Isla Vista fall, a song to listen to on your bike to class, surfing at Dev’s and anything in between.
Maya Schwartz, Reporter
“Second Sleep” by Magdalena Bay
Coming off their highly acclaimed sophomore release, “Imaginal Disk,” “Second Sleep” by Magdalena Bay is a genre-bending single of epic proportions. After the success of their previous album, this single is one in a series of two-song EPs from the group, both of which were dropped without any promotion prior to their release. The track itself is incredible in all regards, such as its production, which is full of tight fills and mesmerising synth work. Along with that, the vocals from lead-singer Mica Tenenbaum are stunning, as she transitions from soft and pristine lullabies to burgeoning and powerful belts with ease. The track feels so immersive, consistently building up and exploding till it eventually winds back down, showcasing a perfect balance of chaos and tranquility. It seemed almost impossible for Magdalena Bay to surpass anything close to their work on “Imaginal Disk,” but they’ve truly done it again.
Tyler Small, Reporter
“Fidelio” by fakemink
UK rapper fakemink, also known as “London’s Saviour,” brought his high-octane energy straight to UCSB on Oct. 16 — just one day before dropping his ferocious new single “Fidelio.” The track, produced with underground heavyweight Wraith9 comes out swinging with industrial kicks and eerie, cinematic strings, with a sound that feels halfway between a club basement and a horror film. Over the chaos, fakemink exactingly delivers bars about ambition, paranoia and self-perception: “She call me a hero, but I’m feelin’ like the villain.” Live at the University Center Hub, the song hit even harder. The track’s restless momentum shows exactly why the young rapper has quickly become one of the most talked-about voices in London’s underground hip-hop scene. Coming off a year of steady co-signs and viral tracks, “Fidelio” is the torchbearer of a defining turn: bigger, bolder and unmistakably his own.
Kaavya Saini, DEI Chair
“Au pays du cocaine” by Geese
In the wake of Cameron Winter’s 2024 album “Heavy Metal,” Geese (with Winter as vocals, keys and guitar) is only gaining listeners. The Brooklyn cult favorite released his third album, “Getting Killed” in Sep. 2025, a strong contender for the “Best New Album” Academy Award. “Au pays du cocaine,” part of the album’s second half, is on the slower side of Geese’s sound. With the title translating to “In the land of cocaine,” the song is a pleading, beautiful track. The lyrics repeat over and over again, a begging sentiment to the listener: “You can change / you can change,” “You can stay with me” and “You can be free.” This rhythmic, slow, emotional song nestles itself in with some slightly quicker ones such as “Cobra” and “100 Horses.” Most songs thematically return to some of the echoes of “Au pays du cocaine,” begging to stay and whispering of lost love. If you’re feeling sad or really missing someone, this song’s for you. It will hit you in the gut.
Stella Mullin, Artsweek Editor and Bridget Keon, Reporter
“Shades” by Ray and Paul
Currently on their nationwide tour, brothers Ray and Paul have dropped their new single “Shades,” the band’s first track to feature drummer Paul Holmberg stepping into the lead vocal role. “Shades” is a shimmering prototype of new-age psychedelia, a revival of good noise that subverts the artistic assumptions and boundaries of traditional indie-rock. Ray Holmberg and guitarist Aidan Reese weave together textured melodies throughout the piece, and bassist Mac Bihn does more than keep time as he warps and guides like a current under the song. Lyrically, “Shades” is rooted in the modern experience of love and relationships. “[Shades] is about a girl,” Paul said. “It’s about beating yourself up over mistakes, and at the same time, not knowing what you did wrong.” Holmberg delivers the lyrics with self-assurance, a confident drummer confessing he’s losing his grip. It’s a fun song about losing your sunglasses—and maybe yourself along the way.
Shak Saidjanov, Reporter
