Surely it can’t be easy to transition from a quartet to a duo, but this doesn’t seem to be a problem for Spanish indie rock band Hinds. Now consisting of Carlotta Cosials and Ana Perrote, Hinds are vibrant and infectious on “Boom Boom Back,” and a feature from Beck only adds to the party. It’s the perfect summer anthem for looking for love, if only to have a fun mission to embark on: “If you wanna fall in love in a bar tonight?/ Do you wanna fall in love with a broken heart?” —Danielle

“Gold River,” the latest from the Korean shoegaze wonder Parannoul, has it all: those signature blasted-out drums, moments of calm transcendent reverie, an intangible sense of gleefully melancholy abandon. It’s propulsive and gorgeous and perfectly chaotic — the feeling that it all might run off the rails is a feature, not a bug. Parannoul sticks out from the rest of this now endlessly replicated genre, and ‘Gold River” is great evidence as to why. Nothing quite sounds like this, like fireworks going off inside your brain. —James

Living up to its title, Sour Widows’ new Revival Of A Friend single “Staring Into Heaven/Shining” is a radiant, transcendent sprawl of indie rock. It can only be expected after the hauntingly brilliant previous single “Cherish” that began with the line: “Fuck everything I did/ To feel good for a moment” (which also made our 5 Best list). Over the course of eight minutes, “Staring Into Heaven/Shining” ascends into a cosmic place as it gradually accepts death, building into a beautiful storm of instrumentation before slowing down into a vulnerable quietness as Susanna Thomson paints an image of safety: “If I lay this still/ We could be falling asleep/ And I’m just your baby/ And you’re holding me,” realizing that imagination can be a kind of comforting reality. After that, the music picks up again, a cathartic celebration of life. —Danielle

It should’ve, could’ve, would’ve been a triumph. Take it from someone who used to keep Drake in constant rotation, who believes Take Care is an Actual Masterpiece, who kept checking for his singles and loosies even when the quality control started to slip, who hasn’t loved anything he’s released since that Lil Durk collab four summers ago with Odell Beckham in the video: “Family Matters” is the best Drake song in ages.

Even without its canny visual accompaniment, the seven-minute epic features the Boy’s most vital rapping in recent memory. Holding court over an oft-morphing track whipped up by a small army including Boi-1da, Tay Keith, and Mark Ronson, he gets in some magnificent jabs at Kendrick Lamar, his peer-turned-rival-turned-sworn enemy. He settles scores with a range of other friends-turned-adversaries, some (laying waste to A$AP Rocky) more successful than others (resorting to gay jokes to clown the Weeknd). He switches up his flows, laces bar after bar with the hooky melodicism that made him a star, and reminds anyone who’s ever liked his music why they became a fan in the first place.

Then, in the end, he unleashes serious allegations about abusive behavior from Kendrick — a bomb that failed to detonate not because of Drake’s apparent hypocrisy (like K.Dot, he keeps company with lots of questionable characters) but because within an hour Mr. Morale was already back with an even meaner, ruder response featuring even more explosive accusations. Before the next sunset, Kung Fu Kenny landed the knockout blow with yet another diss track: a summer anthem that will more than likely debut at #1 next week, that is already #1 on Spotify and elsewhere (scroll down). For a few minutes there, “Family Matters” seemed like a masterstroke; as it stands, the song was good enough to help Drake save face in an otherwise embarrassing week. —Chris

Jesus Christ. With nearly a week of distance, that’s still the only appropriate response. From the moment that the feud first heated up last week, consensus emerged: Kendrick Lamar was stepping all over the Boy. Drake evidently had no idea how many people resent his general presence, both among his peer group and the public in general, and Kendrick Lamar was perfectly positioned to light him up like the Epcot fireworks display. By Saturday night, this thing was in the bag. Kendrick already won definitively. And then he did this.

“Not Like Us” isn’t just an ultra-effective diss track. It’s a hit. It’s a song that people are going to play at parties and barbecues all summer. Even when you get past the vicious allegations and the history lessons, Kendrick went deep in his bag and levitated over DJ Mustard’s artfully chopped-up Monk Higgins sample. Historically, even when he has come out on the losing end of a rap war, as he did with Pusha T six years ago, Drake could fall back on being the guy who makes hits. With “Not Like Us,” Kendrick one-upped him even on that level, and he did it by flexing in classic West Coast motormouth style. Drake will have to stay at home in that big mansion for months. If he goes out anywhere, he might be confronted with the sight of people joyfully singing along to a track that calls him a pedophile and a colonizer. Nobody wants that.

TLDR wop wop wop wop wop Dot fuck ’em up. —Tom