Saying the new Burial song is great feels like saying water is wet, but still, it’s not every day you get a 12-minute ambient trance trip as wholly satisfying as this. “Comafields,” the A-side of a new single the enigmatic producer shared late last week, is classic Burial in its understated atmosphere, propelled by simple percussion and hypnotic, arpeggiated synths. That delightful daze is interrupted only by two clever samples: a demo of Sinéad O’Connor’s 2003 song “You Put Your Arms Around Me” and Jens Lekman’s 2007 indie pop number that almost has the same title. With that, “Comafields” accomplishes something special in forging a sense of warm companionship, in spite of Burial’s notorious solitude. —Abby

Did you know that our internal dialogue clocks in at about 4,000 words per minute? Our inner voice is moving so quickly that we rarely can parse out what it’s saying most of the time. On dust’s latest single “Drawbacks,” Justin Teale might not be singing that fast, but his near stream-of-consciousness delivery captures that same breakneck spiral. “Drawbacks” sounds like we’re subway-surfing through Teale’s mind. It’s thrilling and slightly overwhelming. Kye Cherry’s relentless drumming is softened by Adam Ridgway’s gauzy saxophone coos, creating a textured brass-punk that transforms inner chaos into euphoric freneticism. It feels good to barely keep up. —Margaret

The singles from Wombo’s new album Danger In Fives have all existed in the same murky, lush realm, the immersive atmosphere thickening with each new release. “S.T. Titled” flickers with the excitement of jagged guitar work slicing through the eerie ambiance, introducing a rewarding element of chaos to an already hypnotic sound. It’s reminiscent of their biggest (and best) song, 2021’s “Dreamsickle,” and a reminder that they can really shred when they want to. —Danielle

Sometimes, you just need to hear someone trilling operatically over a scraping, droning violin figure, letting the tension build and build until nobody can handle it anymore. And then you need that tension to break, leaving you with a wave of blissful melody that hits like you’re walking out of a dense forest and seeing the sunlight for the first time in hours. And then you need the drums to drop in, turning that blissout moment into a titanic rock song, replete with ragged guitar solo and even more operatic trilling. Sometimes, you might not even know that you need all those things until you encounter them, and then you might find yourself wondering how you went so long without those things. When you’re having that type of day, “System” is right there for you. —Tom

Algernon Cadwallader broke up in 2012 and therefore did not get to cash in on the so-called “emo revival” they helped to spark. In the intervening years, countless bands have attempted to jack their swagger, most of them coming up with lesser imitations. Now they’ve returned to show the children how it’s done. “Hawk,” the opening track from Algernon’s heavily anticipated reunion album, has all the hallmarks of twinkly emo: the tangle of gorgeously spiraling guitar riffs; the undercurrent of punk-rock grit; the yearning, deeply personal lyrics; the impassioned-bordering-on-whiny vocals, readymade for shout-alongs. It’s a sound that has been beaten to death several times over by this point, but Algernon make it sound not just fresh and alive but refreshing and vital. “How much of our lives should we spend kicking out the jams?” Peter Helmis wonders aloud. Please devote as much time to it as you can afford, brother. —Chris