10 Best New Songs of the Week: Sade, Anderson .Paak, Years & Years, Beach House

Every week Vulture highlights the best new music. If the song is worthy your ears and attention, you will find it here. Read our picks below, share yours in the comments, and subscribe to the Vulture Playlist for a comprehensive guide to the year’s best music.

Anderson .Paak, “‘Til It’s Over”
“Til It’s Over” may very well end up on the next Anderson .Paak album, but for now it’s most recognizable as the song FKA Twigs asks Siri to play in a Spike Jonze–directed commercial for Apple’s HomePod. The fact that it was maybe expressly written for a commercial doesn’t actually take anything from it — instead it speaks to its appeal: The beat, which was produced by Jeff Kleinman and Michael Uzowuru, who has been kicking around since the early days Odd Future, is endlessly warm and bouncy. It uses the Flying Lotus–helmed Los Angeles experimental beat scene as a starting point to bolster .Paak’s vocals, which are beautifully hoarse, and able to scurry between the beat’s pings and shudders with ease. —Sam Hockley-Smith (@shockleysmith)

Sade, “Flower the Universe”
Sade’s first song in seven years comes in two different versions, for two different moods: One for sensory overload, the other for a pleasant, but not excessive, emotional experience. The way Sade leaves us with no notice or expectations for her return makes you wonder if she ever loved us at all. And then she materializes on her own terms, the way it’s always been, and you remember her devotion was never in question. She loves us in her own way, she just loves herself more, and that’s okay. I’m rambling because Sade melts my brain to mush whenever I hear her voice; it’s just so hard to process that it’s real. On the acoustic version “Flower the Universe,” which she made for Ava DuVernay’s A Wrinkle in Time, it comes at you like an old friend reappearing in your life to reach out and hug your heart when you weren’t sure anyone knew it was hurting. “They want to know it’s true, there’s someone in the world, lovely as you” — she could be singing about herself. On the No I.D mix (!), which adds drums, flute, and other bells and whistles, that feeling is intensified. It’s paralyzing catharsis (the overload). Engrave her name on the Oscar now. —Dee Lockett (@Dee_Lockett)