#spotify-playlist

#spotify-playlist

Each Monday, with our Pitchfork Selects playlist, we're sharing what our writers are playing obsessively and highlighting some of the Pitchfork staff's favorite new music.

And, make no mistake, they will be five songs you're really into right now, because that's how many of these services work-and it's not because everyone else has the same taste in music as you. For instance, any Spotify playlist that says "created for" in the header is catered to the individual user, based on their listening history. There's nothing wrong with that, necessarily-it can be nice to know you're going to hear songs you like. But there are downsides.

Spotify's "Smart Reorder" option, announced on Wednesday, is available now in the Spotify app for Premium subscribers. To try it out, open a playlist and tap the "Mix" button then "Edit." The "Smart Reorder" button should be at the bottom of the editing screen.

The only song here that really matters. Written just hours after the murder of Alex Pretti in Minneapolis and released a few days later, Springsteen names names (looking at you, Stephen Miller and Kristi Noem) and speaks bold, specific truth. With a title that recalls his own impactful Streets of Philadelphia, a melody reminiscent of Bob Dylan, and an urgency not felt since Neil Young's Ohio, it may not be groundbreaking musically, but Streets of Minneapolis is exactly what we need right now.

The staff of Pitchfork listens to a lot of new music. A lot of it. On any given day our writers, editors, and contributors go through an imposing number of new releases, giving recommendations to each other and discovering new favorites along the way. Each Monday, with our Pitchfork Selects playlist, we're sharing what our writers are playing obsessively and highlighting some of the Pitchfork staff's favorite new music.

Not only does the track show off Anjimile's lush, patient vocals, it's got a pretty fascinating rhythmic structure; his drummer offsets the groove when they arrive at the chorus, almost like the song gets caught between moving too fast and too slow. That momentum really ramps up in the final refrain, complete with some guitar shredding and open hi-hat smashing. It's a great demonstration of Anjimile's tasteful ear and his ability to match a song's subject with its instrumentation.