Hi everyone. "Nuthany Tunes Tano" here, the internet's busiest music nerd, and it is time for a Weekly Track Roundup.

My thoughts, my feelings on a bunch of songs that have come out over the past week or so, but actually over the past week because we didn't do one of these last week. So there are at least a few tracks in the mix that are a bit older, but still my thoughts on all of them.

Worst tracks of the week.

We have a handful of those and they are as follows. Starting off with can you believe it? Nothing.

And also a brand new track from Nickelback–this new batch of Nickelback tracks. And I know nobody thought Nickelback were going to make it a good new single, but I am a little surprised by how heavy these new tracks are trying to sound. It's like Nickelback going more metal than ever. And I'm not really sure it's all that fitting or complementary. "Leave Me Behind" is the name of this track. And man is the production bricked the hell out to the point where it just sounds like this. Amorphous blob of loud and post-grunge angst. Don't need it. Not necessary.

Moving on. We have The Kid LAROI who cannot seem to stop musically and I guess aesthetically cosplaying as Justin Bieber. Can we just let Justin retire and allow The Kid LAROI to become Justin? Because that's clearly what he wants to do. Has no other plans in life. Clearly at this point can he please stop writing Justin Bieber songs, which he is clearly still doing with this new sleep track.

Moving on. We have Ice Spice teaming up with Lil Yachty, proving that together they both have no new ideas, no new ideas, no new musical ideas. They're falling flat on their faces on "Out My Face." This has to be one of the most uninspired tracks they've both been on in a long time, frankly.

We also have the new Fontaines D.C. track, which is really generic and really average. I just don't know what the band is going for with this. It's a super kind of dreamy, moody, alternative rock music with nothing in terms of like flavor or bite or anything. It's just forgettable as they come.

Moving on. We have Dominic Fike track, who continues to kind of cosplay as a lo-fi artist. When he makes bubblegum Spotify alt-pop that has no memorable hooks to it whatsoever.

Moving on again. And AJJ shockingly are not really at a high point creatively right now with this new batch of singles and this "Beauty and Truth 2" track, which to me is just very insipid, grating, and obnoxious is just yet another show of that, unfortunately. Quite a few tracks I was disappointed in this week. What are you gonna do?

Meh.

Moving on to the songs I was more on the fence with but still worth kind of shouting out. They are as follows. There are a couple. There are a few.

Starting with Wolves in the Throne Room, who are back. The legendary American black metal outfit. This track over here is a little long-winded, and I think the drums could have been kind of blended into the kind of atmospheric tremolo guitars and that very wintry trademark atmosphere the band usually goes for. But with that being said, it finishes a lot stronger than it starts. And it's a track I could definitely see growing on me a little bit. "Ghosts Among the Obelisks" is the title of the track by the way. It's a track I could see growing on me in the context of the record. If it's surrounded by stronger material, we'll just have to see. But it's cool that they're back and making their way toward a new record.

We also have Underscores hitting us with this "Unlimited Love" track, which is okay. Another track that kind of finishes a lot stronger than it starts. Not nearly as punchy or as gripping as most of the material from U, of course, but it's always cool to have new Underscores, so not complaining too much about that.

We also have 2Slimey, who is hitting us with a new track, who I think is also kind of stagnating to a degree. But with that being said, a lot of what kind of worked about his last full-length or his last kind of major project is also kind of what makes this track work. It's just sort of the familiar mix of super distorted hits of bass and insane trap beats and these wild sort of completely out of his mind vocal lines and ad-libs. Again, in a certain context it does its thing, but I will say it's been a while since he's had a track that has really blown my mind, and I do think he is starting to tread a lot of water at this point creatively.

We also have Remi Wolf who once again on this new track–while it is not an acoustic number, like her last single-I do get the sense that instrumentally and aesthetically she is trying to tone her vibe and the production down a little bit for this new album cycle. Personally, I really love it when lyrically and vocally and as far as the beats and the baselines and grooves, her tunes sound a little more kind of fried and colorful and eccentric. It's sort of what made me fall in love with Remi Wolf as a new artist to begin with. This sort of seems like she's trying to make music that's maybe more agreeable for people who aren't looking for a pop artist that has kind of a super alternative flair. Maybe this is just going to be an album cycle I'm not too crazy about for that reason. But the vocals themselves are well performed and for sure there'll probably be some solid and admirable moments on it when the record does come out.

And Queens of the Stone Age, who are hitting us with another track that is just kind of okay. I don't really know what is going on with this band at this point. I mean, while it is true, some of their most recent releases have been a little toned down in comparison with classics like Songs For the Deaf, because I mean what band could possibly go that hard for that long? But with that being said their last single being a bit of an acoustic cut and this one having almost like a groovy classic uncle rock kind of flavor to it, almost Dire Straits inspired, I would say. I just don't really think this plays to the band's strengths and I don't get the appeal of this direction for them at all frankly. It's just frankly, very tired, and very passe in my opinion. All right.

Best tracks of the week.

We have a handful of those–let's get into it.

We have vgtbl.pl teaming up with Hypnosis Therapy for "Truck Driver." I mean, absolutely insane, bonkers, post-futurist weirdo pop, whatever you want to call it. It's very odd. It's very European. I fully support it; shout out to these guys. They're still putting out totally freaky mind-bending bangers.

Also shout out to Standing on the Corner, who I honestly at this point, I've kind of given up categorizing these guys. I don't know if it's pop. Is it rock? Is it jazz? It's definitely experimental. "Doesn't Mean a Thing" is one of their latest singles that I would like to point you guys to. And I like it. I'm enjoying it. It's one of the freakiest and noisiest and most difficult to predict tracks I think I've ever heard them put together. But it's hard to sort of encapsulate and define stylistically beyond that; just put it on and get ready for a shit show. A fun shit show.

We have Protomartyr who are hitting us with another single to their forthcoming album. This is gotta be has to be one of the heaviest tracks the band has ever put together. The riffs and guitars are just massive. "Feed the Sewer" is the name of this song. And it's a really cool contrast to their last single, which was like a kind of grandiose and string kissed and really dramatic. They're really showing a huge range between these two cuts. And this is kind of shaping up to be Protomartyr's most ambitious record yet, which is pretty exciting.

We also have a new one from Olivia Rodrigo over here who saw fit to release a new single in the lead-up to her festival–which seemingly went off without a hitch and raised millions of dollars for charity, which is absolutely incredible. This track over here, "Serena Joy," echoes a lot of the post-punk and new wave instrumentation from her latest record, but goes into kind of a political direction with its messaging. Basically a warning of sorts, saying "don't presume that just because you help fascism, the patriarchy, authoritarianism come to power that you're going to sort of have an easy go of living under that system." That's essentially what this song is kind of messaging with a really huge nod thematically to Margaret Atwood's The Handmaid's Tale. Check out the song; super catchy, even if you're not like super into the background of it, in terms of like its inspiration, It's a great track and Olivia and Dan are continuing to drop bangers that's for sure.

We have also Ninajirachi, who's giving us a Madeon remix of "iPod Touch," which is pretty solid and very enjoyable.

Also liking this new one from Gilla Band, maybe one of the most heavy and industrially tinged songs the band has ever put out–which was pretty fantastic. They have a new record on the way. "Placeholder" is the name of this track just so you know.

Also liking this new one from Earth Tongue over here. They are continuing to drop fire as they are out on a tour currently. But this one over here pretty much echoes a lot of the same kind of heavy psych renfair rock, prog garage vibes from their latest LP, which I absolutely love; one of my favorite rock records of this year. "Dimly Lit Cadaver" is the name of this track. So just happy to have more Earth Tongue that's all.

Also happy to have a new one from The Callous Daoboys, which is a complete banger and a half. "Watching Us Kiss" with an absolutely wild music video to it comes attached to it. But look if you like a lot of that 2000s metalcore that got more absurd and experimental and weird as opposed to kind of poppy; thinking about like The Tony Danza Tapdance Extravaganza, thinking of bands like Attack Attack. No, sorry, Horse the Band. More Horse the Band. And also some Dillinger Escape Plan-definitely some crazy ass mathcore shit as well. Definitely give this track a spin. You're going to like this. You're going to like this quite a bit. It's a wild one. It's a wild one.

And finally, shout out to AZ Chike who is teaming up with Tyler, The Creator on this new track over here. Song that is a kind of a kooky left-field West Coast banger that I would say also has slight echoes of some of the cool shit The Cool Kids were doing in the late-2000s with their very bouncy, futuristic forward-thinking production.

But a really solid run of some new singles over here. Those are the ones I'm recommending to you the most highly. And that is going to be the weekly track roundup for this week. Thank you very much for watching. You guys are the best and I will see you in the next review, the next commentary, the next anything. Okay.

All right. Anthony Fantano weekly tracks forever.