Clockwise from top left: Choir! Choir! Choir!, Peach Tree Rascals, Aubrie Sellers, Trentemøller, Deb Never and Grandma.

Every week, there’s a plethora of new music at our fingertips.

Artists on platforms like Spotify and Bandcamp are plentiful, and the radio offers a steady deluge of new singles, but who has time to sort through all that? RIFF does!

We pooled our resources to find some of the best new singles from all genres and backgrounds, so you can find your newest earworm without all the drama. Enjoy this week’s hidden gems.

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Aubrie Sellers, “My Love Will Not Change” — I predict this will be the only bluegrass-esque song that I won’t hate with a passion. Why? She still rocks hard within the context. In fact, the song’s strongest connection to the style is the primitive stomp from the percussion. The rest of it remains true to Aubrie Sellers‘ “garage country.” This is exactly the kind of artist country needs to save it from its current trend toward ripping off ’00s R&B. Her brash, groovy and riff-happy approach reaches beyond tropes, headset on chunky rhythm and larynx-shredding vocals.

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Trentemøller featuring jennylee, “Try A Little” — This Danish indie electronica producer has more to offer than weird textures and ’80s nostalgia. Together with singer-songwriter jennylee, he presents “Try A Little” as a fleshed-out song through the filter of trippy production. The song’s narrative centers on unrequited love and its vast atmosphere reflects the whirlwind of emotions generated by such a situation. Dynamic and melodic, yet immersive and hypnotic, this song could work both in a rave club or at a fancy coffee shop—a hard balance to strike.

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Choir! Choir! Choir!, “Bad Guy” (Billie Eilish cover) — What Nobu Adilman and Daveed Goldman present here differs depending on who shows up to their concerts. The duo works with the audience itself to arrange and perform a choir piece based on whichever songs everyone present happens to like the most. In this rendition of Billie Eilish’s chart-topper “Bad Guy,” the communal nature of choir as a cultural practice is on full display. The cover’s cohesion is impressive enough, but the inherent wholesomeness of showing up to a venue and generating this kind of confidence and chemistry is nothing short of heart-warming.

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Peach Tree Rascals, “Mariposa” — This Bay Area quintet’s genre-blending approach could take it in a plethora of directions, and this time the band ended up with a pop number. With a lo-fi four-on-the-floor drum loop and lackadaisical singing, you might not realize the band has any connection to hop-hop—if not for the sticky flow at play about a quarter of the way in. Catchy guitar and piano licks round off the song’s full but unfiltered sound. Considering how awful most the results have been when hip-hop groups give indie pop a try, it’s awesome to hear Peach Tree Rascals pull it off so naturally.

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Deb Never, “Swimming” — With roots in the depressive rockers of the ’90s, Deb Never’s punk-rap downer jams earned her a stint as BROCKHAMPTON’s first female feature. On “Swimming,” her deadpan honesty about heartbreak and fickle love hits as hard as the beat. While sparse and raw, her attention to timbre is clear as she augments a skeletal trap beat with echoing vocal samples. With most trap-rappers going for overblown production to win over pop artists, it’s up to artists like Deb Never to keep cloud rap in its unique space between bumping beats and forlorn melody.

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Grandma, “Downtown Life” — In a compelling combination of goth, dance rock and funk, this guy certainly doesn’t sound like his namesake. With a propulsive ’80s pop beat and reverb-driven guitar lines, topped off by his melancholy baritone voice, this song is at once flamboyant and saddening. It embodies Grandma’s message of trying to help the broken.

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Max’s Pick: Whether it’s the DIY weirdness of the video or how the song proves the group’s musical diversity, I found myself returning to “Mariposa” the most this week. I’m always interested when hip-hop and indie pop or rock combine, as the results can be so polarizing. But this song doesn’t wear its genre amalgamation on its sleeve. It’s really a solid pop song at its core, and that’s what makes it so special. Instead of assuming everyone will be impressed because they’re trying a different style, these guys made sure their crossover worked really, really well.

Follow editor Max Heilman at Twitter.com/madmaxx1995 and Instagram.com/maxlikessound.