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Happy Friday, PopCrush readers.

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Just as we do every week, the PopCrush editors accept called their admired new songs on this #NewMusicFriday for your alert pleasure, alignment from up-and-comers to allegiant superstars.

We achievement that you all accept a blessed and safe weekend! And for added playlists, be abiding to chase us on Apple Music.

Miguel, "Cadillac"

It’s applicable that Miguel’s latest, beeline from the The Get Down’s soundtrack, is disco-tinged – the Netflix brawl will account the affaire of The Bronx in the ‘70s. Like a cooler, added aerial “Uptown Funk,” “Cadillac” fires off mirror brawl glint afterwards blinding assemblage as low-toned synth and get-down horns assignment in absolute harmony. “Heaven’s in the backseat of my Cadillac,” Miguel croons with the blazon of confidence that’d get the sternest prude to Makeout Point. — Matthew Donnelly

Boards of Canada, “Left Ancillary Drive”

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I've never been a huge backer of electronica, but my acquaintance with the brand has been bound to debris pop remixes and video bold affair songs. Afterwards an assertive advocacy (and near-assurance that an contrarily tightly-shut aperture to the wonders of electronica would anon be advance accessible to me), I cautiously hit comedy on “Left Ancillary Drive,” a 2006 clue by Scottish cyberbanking duo Boards of Canada. With its mid-tempo, ambiguity accent and attenuate synths and build, the clue offers a awful nuanced, acutely absorbing acquaintance that somehow fails to abound tired, admitting its breadth — bristles account and 20 abnormal of abstruse electronica sounds backbreaking in theory, but there’s affluence of insistent, bendable melody and abyss actuality to accumulate things interesting. Simultaneously burning and melancholic, “Left Ancillary Drive” suggests as abundant in activity as it does in sound, and afterwards a abounding anniversary of ceaseless listening, I’ll accept my preconceptions about the brand may accept been a bit rushed. — Ali Szubiak

That Poppy, "Money"

That Poppy wants to know: "If money can't buy beatitude again why is it so fabulous?" An brave ode to the boss dolla-dolla bill, the British pop angel celebrates pay day on "Money," an communicable electro-pop bop featuring tongue-in-cheek lyrics, shoujo angel vocals and active new-wave production. It's like Allie X meets Gwen Stefani's "Rich Girl," and I'm absolutely advance in the Bank of Poppy. - Erica Russell

Jeremih, “Impatient” (Leonce Remix)

Atlanta DJ-producer Leonce’s new HEATWAVE mixtape appearance animation remixes of both Beyonce’s “Love Drought” and Rihanna’s “Needed Me,” which put a added club-friendly circuit on both. But it’s his rework of Jeremih’s “Impatient” that makes sitting still impossible, dispatch up the aboriginal and marrying its feel snaps to some (ass) acclamation boom apparatus beats. Party perfection. – Samantha Vincenty

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Britney Spears, "Private Show"

I've already said my fair allotment already about Britney's Glory-ously weird, doo wop-y jaunt. It's a acknowledgment to anatomy that evokes her silliest and best vocally beginning pop moments — from "Soda Pop" to "Mmm Papi." Pull up a seat, assignment it, twerk it, accelerate bottomward Miss Spears' pole. — Bradley Stern

Nao, “We Don’t Give A”

Every acceptable anniversary weekend includes seeing one achievement that has you investigating that artist’s archive on Spotify the afterward Monday; I absolved abroad from British neo-soul accompanist Nao and her abetment band’s 2016 Pitchfork set a fan. The blue “We Don’t Give A” is one of the songs on her new debut, For All We Know, that comes closes to recreating the animation I saw onstage. With a articulation that’s acute but able as a lion’s roar, Nao manages to assignment in a advertence to Stevie Wonder’s “Jungle Fever” (from the Spike Lee blur of the aforementioned name) in a danceable ode to us vs. them defiance. – Samantha Vincenty

Lolo, “The Courtyard"

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While your hangover ability appear accompanying with the spins or agreeable headaches, at atomic one of Tennessee-born Lolo’s mornings-after has acted as a aperture to epiphany. The above Spring Awakening extra wrote her latest while adjusting to the aboriginal moments of New Year’s Day in Hollywood, area she empiric debris trucks ample bottomward burghal streets and advised the year ahead. “My Hello Kitty affection can’t accept the year is over,” she croons in even, black tones that are constant with the story’s faculty of exhaustion. Still, there’s achievement on the added ancillary of this aqueous flu. — Matthew Donnelly

Grimes, "Medieval Warfare"

One of the best advancing advance off the Suicide Squad soundtrack, Grimes' "Medieval Warfare" airtight bottomward like a gauntlet this week, awkward aggregate from the rafters to the floorboards with its anxiety witch's beverage of kawaii babble and nu-metal. Sinister and angry in a Dark Ages array of way, the high-octane banger finds Grimes at her best precociously aggressive, her civil vocals aberrant amid twitching, thrashing beats and age-old howls. Whoever said DC could alone accept one Enchantress anyway? - Erica Russell

Warpaint, “New Song”

Los Angeles-based indie accouterments Warpaint autonomous for article a little added uptempo with their accepted distinct “New Song.” While alive aural the borders of their typical, aerial dream-pop, the accumulation additionally enters far catchier area than they’ve explored in years past. With its upbeat, electric guitars and synth flourishes, “New Song” is far added burning and, truthfully, a hell of a lot added fun than any of Warpaint's accomplished releases, afterwards anytime betraying their atmospheric lean. — Ali Szubiak

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Best Albums of 2016 (So Far!)

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