Every week Vulture highlights the best new music. If the song is worthy of 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.

Brockhampton, “1999 Wildfire”
“1999 Wildfire” feels like a departure for Brockhampton, which is a weird thing to type, since the art collective/rap crew that has pitched itself as a boy band has been all over the map since its inception. Unlike most of the group’s previous singles, “1999 Wildfire” is largely subdued, and less joyfully manic. It also features an extended verse from Joba — the Brockhampton member who sounds like he has been listening to Bone Thugs-n-Harmony nonstop since he was born — about a village, magic, and shillings. In other words, he makes old-timey rap (previously the domain of Canadian underground rappers) a ble thing, which is no small feat. Sam Hockley-Smith (@shockleysmith)

Years & Years, “All for You”
Justin Timberlake is out here dropping loosies in a play for song of summer, but if you’re not listening to the new Years & Years album Palo Santo, do you even love summer at all? After leading with the outstanding pair of “Sanctify” and “If You’re Over Me,” it seems clear that the next thumping single from Olly Alexander and company needs to be “All for You.” It’s a song that you’ll hit replay on a few seconds before it can even end, a song you’ll dance to during hot sticky vacation days and cool rooftop nights. Can we just keep #20GayTeen running clear until 2020? — Jordan Crucchiola (@jorcru)

Interpol, “The Rover”
If you, like me, are familiar with the actor Ebon Moss-Bachrach because of Desi Harperin, the man-child masquerading as a True Artist he played on Girls, it will be impossible to imagine that his role in this video for Interpol’s new single “The Rover” is not a spiritual continuation of that character’s arc. Sonically, “The Rover” is a logical evolution for a band like Interpol — it’s undeniably them, but they’ve beefed up their sound in a way that makes it sound like it’s designed for stadiums (not that Interpol have not always had their sights set on stadiums — it’s just that, before, their music ended up in them; now that they’re in them, they’re playing to them). The video follows twin narratives: The band heads to a press conference in Mexico City, and Moss-Bachrach essentially parties as much as humanly possible in the same amount of time. You will not be surprised to learn that their narratives converge in an embarrassingly public spectacle that feels very “Desi.” –SH-S

JPEGMAFIA, “Millennium Freestyle”
JPEGMAFIA is a fountain of eloquence, in his jarring music and in interviews. (“Appropriation is a strong tool. White people have used it to excellent effect.”) But the noise rapper also thrives on revamping the melody and language of others, like on “Millennium Freestyle,” where he struts on an Auto-Tuned version of the Backstreet Boys’ “I Want It That Way.” Earlier in the song, he reworks Ghost Town DJ’s “My Boo,” turning a chorus of flirtation and viral challenge into something a little harder: “Girl you should know that I got a pound on me / time on probation so they gonna violate me.” “Millennium Freestyle” feels at first like JPEG flipping through some of his favorite pages of the late-’90s karaoke book, but then we catch an ugly soundbite butting its head in: “The answer is you’re not black, so drop the racism crap.” It’s Ann Coulter, telling a young man from Honduras that the experience of Central American migrants doesn’t clear her definition of oppression. That proximity of entertainment and racism is a mission statement of JPEGMAFIA’s work — that in America, it won’t take long for a moment of joy to get its legs cut out by some nasty extract of white supremacy. —Matt Stieb (@MatthewStieb)

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