[Yves Tumor/Jordan Hemingway, Magnolia Park/Jessica Griffith, Softcult/Pearl Cook]

Yves Tumor, Magnolia Park and Softcult are our tracks of the week

Welcome to Sound Station, where we’re highlighting the best new tracks that came out this week. Head into the weekend with songs from Yves Tumor, Magnolia Park and more.

Yves Tumor reinvents pop music made for graveyards

Whether they’re making splintering noise or projecting classic rock through a new lens, Yves Tumor creates spellbinding music with a sinister edge. Now, they return with their first new music of the year, “God Is a Circle.” The single is a rather ghoulish affair, beginning with a shriek right out of a Wes Craven movie. A relentless panting anchors the song as Tumor describes a relationship that’s consuming too much of them. The result is equal parts supernatural, foreboding and deeply replayable from an artist who’s ever-evolving. —Neville Hardman

Magnolia Park aren’t just another “Radio Reject”

Magnolia Park are back with another raucous anthem, “Radio Reject.” The track brims with energy and sweat, highlighting the band’s bright fusion of pop-punk with alt-rock and trap leanings. Magnolia Park call the song an “anthem for following your dreams and never giving up,” and you can see for yourself by listening below. “Radio Reject” appears on their debut album, Baku’s Revenge, out now. —Neville Hardman

Softcult’s “Drain” is a timely shoegaze directive in the fight against climate change

With their latest single “Drain,” shoegaze/dream-pop duo Softcult offer a timely plea for the world to take climate change seriously while critiquing old-world policies that put profit over people and the planet. Vocalist and guitarist Mercedes Arn-Horn, along with twin sibling and drummer Phoenix Arn-Horn, trade off hypnotizing melodies and harmonies set to a backdrop of fuzzed-out guitars and ambient reverb. The track is just another example of Softcult’s lyrical bravery in the face of injustice and will appear on their upcoming EP, see you in the dark, out this spring. —Alessandro DeCaro

Victoria Anthony’s “Should’ve Known” is a pop-punk breakup anthem

With her latest single “Should’ve Known,” Victoria Anthony gives listeners an inside look into a troubling breakup while turning her pain into an unapologetic pop-punk anthem. Set against a backdrop of driving drums, 808s and catchy guitar riffs, Anthony sums up her feelings of resentment toward her ex-partner with confidence and vulnerability. While she’s open about the pain that she experienced in a way that most can relate to, the song takes on another life as well. It positions Anthony in a place where she can have the upper hand and come out of the situation stronger than ever. —Alessandro DeCaro

Light up with YUNGMORPHEUS’ “Figure-Four Leg Lock”

YUNGMORPHEUS doesn’t need to shout to grab your attention. Rather, the Los Angeles MC employs a gentler touch through cool-headed, stream-of-consciousness rapping and buoyant, jazzy production. With “Figure-Four Leg Lock,” YUNGMORPHEUS’ verses unfurl like ribbons of chronic smoke. Through it all, he commands the track with an ease that makes his grave observations (“Pigs probably clap a brother just for a promotion”) all the more compelling. —Neville Hardman

The HIRS Collective and Shirley Manson (Garbage) create stellar powerviolence with “We’re Still Here” 

On the HIRS Collective’s latest single “We’re Still Here,” they’ve enlisted beloved ’90s alternative-rock vocalist Shirley Manson (Garbage) to create yet another anthem that embodies their mission to make the world a safer and more just place for trans and queer individuals. With pummeling blast beats, motivational lyrics, melodic vocals from Manson and earth-shattering breakdowns, the powerviolence-meets-grindcore band are unmatched in terms of energy and aggression. The single follows the announcement of the collective’s upcoming LP, We’re Still Here, arriving March 24, which features a host of high-profile guest vocalists such as Frank Iero (My Chemical Romance), Geoff Rickly (Thursday) and Damon Abraham (Fucked Up), among many others. —Alessandro DeCaro

Ryan Oakes and Loveless’ “HEAVYWEIGHT” is a confident blast of rock 

Rapper-singer Ryan Oakes is continuing his foray into rock ‘n’ roll-inspired music once again with his latest single, “HEAVYWEIGHT.” The track channels the familiarity of early 2000s rap-rock and pushes it further into the future with a massive chorus courtesy of LA duo Loveless, who supply anthemic vocals, heavy guitars and intense rhythmic energy. Oakes wastes no time spitting rapid-fire lyrics that document his rise to fame while taking shots at those who doubted him along the way with a healthy dose of braggadocio. —Alessandro DeCaro

Meg Myers conjures a rallying cry with “SOPHIA <144>” 

Meg Myers is calling for unity with her new single “SOPHIA <144>” featuring Nicole Perretti. At just over a minute long, its accompanying visual is a concise rallying cry that acts as a “call of remembrance,” Myers says. The video is interpolated with news footage of Iranian women demanding for change after recent killings of those who refused to wear a hijab. Listen to the full track here. —Neville Hardman

Fleshwater’s “Closet” is ’90s post-hardcore at its finest

On “Closet,” the second track from Fleshwater’s debut LP, We’re Not Here to Be Loved, the Massachusetts-based post-hardcore/shoegaze collective have captured the spirit of the ‘90s in haunting ways. “Closet” feels like a hybrid between ‘90s space-rock pioneers Hum and the melodic and rhythmic sensibilities of Deftones. Fleshwater, who are composed primarily of members of hardcore act — along with singer-songwriter Mirsy, blend delicate vocals with harsh screams and frantic time signatures to create an unsettlingly beautiful score. —Alessandro DeCaro