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Song of the Week: Drake, Future and Young Thug’s “Way 2 Sexy” Is Here to Soundtrack Labor Day Weekend

Wet, FPA and UPSAHL also dropped essential tracks

Drake Way 2 Sexy
Young Thug, photo by Jen Vesp/Drake, photo courtesy of the artist/Future, photo by Philip Cosores
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    Song of the Week breaks down and talks about the song we just can’t get out of our head each week. Find these songs and more on our Spotify Top Songs playlist. For our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, Drake’s Certified Lover Boy brings a wildcard banger.


    In a welcome reunion with Future and Young Thug, Drake gets weird with “Way 2 Sexy,” a playful romp sampling Right Said Fred’s 1991 classic, “I’m Too Sexy.” Egged on by Hendrix and Thugger, our Certified Lover Boy makes a slight departure from his sad boi vibes for a collaboration sure to ring out at Labor Day weekend cookouts.

    Future sets the tone with the chorus, which will probably go viral on TikTok. Stating the obvious, Hendrix tells listeners that not only is too sexy for your girl, but he’s too sexy for the world, his fame, and his chain. Who’s to argue? For his part, Drake does his best to keep up, with a responsible line about safe sex before questioning a “thotty” about her motives. It’s fine, but thankfully he passes the baton back to Future, who drops toxic rhymes about ghosting women before tossing the mic to Thugger to close out the track.

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    Thug takes a different approach, boasting about spending on lavish jewelry and handbags for his girl. While it strays away from the theme, the YSL boss’ sex appeal hardly needs to be stated, which why he was the only choice to close out this track from Drizzy’s just-released album.

    — Eddie Fu
    New Music Editor


    Honorable Mentions:

    FPA – “Baby” 

    “You came and hurricaned me” is the opening line of “Baby” by the Minneapolis artist FPA, and throughout the rest of the song, you can see exactly why. There’s a tension that permeates through the song, from the opening drone of bass to the ethereal, almost angelic way she sings “baby” in the chorus. She outlines all the ways in which she can’t move on from a relationship and the feelings involved with that separation, repeating three times at the end of the second verse that “If I weep tonight then Ima fucking kill you.”

    All the while, there’s a patient, expressive wash of sound that ebbs and flows, providing a perfect home for FPA’s excellent vocals. It’s a song that feels almost confusing in its expression of torment, painting a complicated portrait of a relationship ending with both anger and ease. — Paolo Ragusa

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    The World Is a Beautiful Place & I Am No Longer Afraid to Die – “Queen Sophie for President”

    At the end of 2020, Katie Dvorak of The World Is a Beautiful Place and I Am No Longer Afraid to Die sustained an injury that barred her from using her voice for weeks. With her recording schedule thwarted, the vocalist instead channeled her experience into song: “Queen Sophie for President,” TWIABP’s latest single, is her catharsis.

    Sonically, “Queen Sophie for President” is one of the most multifaceted tracks TWIABP have ever put to tape, expanding from their grandiose emo roots by introducing poppy synths that juxtapose heavy-hitting bass drum kicks and face-melting guitar riffs; it bursts with ferocity without ever teetering over the top. “It’s like cooking with the oven off,” Dvorak sings, her imagery hitting closer to home than ever before. — Abby Jones

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    Wet – “Clementine”

    Wet’s sound spans from deeply intimate to beautifully expressive, and on their new song “Clementine,” they’ve found the perfect balance. Rooted more in R&B than their previous single “Lara Bar,” “Clementine” finds Wet bringing colorful elements like skittering hi-hats, a harp-inspired guitar line, and a buoyant melody that places vocalist Kelly Zutrau at her most infectious.

    It’s always special when Wet find moments to drive songs forward as opposed to letting them play out in a loose and open way, and “Clementine” is an excellent example of what can happen when they root themselves firmly in a sound. With their third studio album, Letter Blue, set to drop next month, “Clementine” demonstrates the potential for it to be their best LP yet. — P.R.

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    BROODS – “Piece Of My Mind”

    BROODS’ first track in two years starts out with Georgia Nott nonchalantly tossing off lyrics over a chilly beat, before the chorus takes off on the back of spaced-out synths rocketing towards an escape from the inner workings of the singer’s thoughts. Appropriately, the song serves as a first taste of the sibling duo’s upcoming (and appropriately-titled) concept album Space Island, which is set to land on Earth in 2022. — Glenn Rowley

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    UPSAHL – “Lunatic”

    If this new release from UPSAHL communicates anything, it’s the power of reclamation. Throw whatever words you want at her — liar, lunatic, and bitch are some of her choices — and she’ll make a fun pop song out of it. Throughout the bouncy track, UPSAHL eviscerates the mystery man trying to undercut her with some blunt turns of phrase, maintaining a smile over the beat. It’s never been so fun to be unhinged. — Mary Siroky

    BabyJake – “My Anxiety”

    BabyJake’s got a lot on his mind. On “My Anxiety” — a highlight from his just-released debut album The Sun Wakes Up Earlier Now — the newcomer spills it all in a spiral over, among other things, his building anxiety, his newfound notoriety, and tests of his sobriety. “I wanna get high/ Do it quietly, do it privately/ I don’t wanna die,” he growls over a slinking beat on the track’s chorus. His intoxicating freshman LP indicates that the 6’6’’ rocker is thankfully here to stay. — G.R.

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    Dear Laika – “Black Moon, Lilith”

    Trans women like Dear Laika’s Isabelle Thorn are making some of the most cutting-edge electronic music out there. The UK-based musician’s new single “Black Moon, Lillith,” off of her upcoming label debut Pluperfect Mind, is an arrestingly beautiful record about queer desire and the oft-murky space between gender identity and sexual attraction. Thorn’s powerful vocal melodies, vaguely reminiscent of Bjork’s Utopia, dazzle atop jazz-inflected, tape-warbled piano chords. The song slowly builds and builds before erupting into a shrieking, Tim Hecker-esque finale. — Curtis Sun


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