Each week, Consequence’s Songs of the Week roundup spotlights quality new tracks from the last seven days and analyzes notable releases. Find our new favorites and more on our Top Songs playlist, and for other great songs from emerging artists, check out our New Sounds playlist. This week, we discuss new singles from Perfume Genius, Lucy Dacus, and Japanese Breakfast, all of which were produced with Blake Mills.
When pop stars want to level up their sound these days, they call Jack Antonoff. For indie bands and artists, however, there isn’t an artist so ubiquitous in the production field. John Congleton, Shawn Everett, Marta Sologni, and James Ford are up there, but based on the last few years, it’s time to give Blake Mills his flowers. The Los Angeles producer, singer, songwriter, composer, folk-rock connoisseur, Joni Mitchell confidant, and all around creative stalwart, has been on an incredible run.
This week, two artists made big returns with excellent singles produced by or with Blake Mills: Perfume Genius’ “It’s a Mirror,” and Lucy Dacus’ “Ankles.” Plus, Japanese Breakfast kicked off a new era last week with her song “Orlando in Love,” also produced by Mills. Of course, it doesn’t stop there: in the last few years, Mills worked on records by Marcus Mumford, Feist, and Bruce Hornsby, plus the fictional period album Aurora from the 2023 TV adaptation of Daisy Jones & the Six and his solo LP from that year, Jelly Road.
Many artists look to Mills for collaboration because of his multi-genre prowess and, of course, his studied, expressive musicianship. His versatility as a producer is highlighted through his collaborations with Perfume Genius, with whom he’s crafted four albums: No Shape, Set My Heart on Fire Immediately, Ugly Season, and now, this year’s upcoming Glory.
“It’s a Mirror,” the album’s first offering, flirts with a more naturalistic presentation of Mike Hadreas’ revelatory music, but like much of his catalogue, a messiness creeps in. The fraught terror of Hadreas’ lyrics are bound against the song’s warm production and open-road freedom, creating catharsis out of subtle juxtaposition. Already, it’s one of his most inspired and intriguing songs (certainly the sun-streaked Americana of its video helps), and it’s a testament to Mills being able to shapeshift behind the boards.
Lucy Dacus’ “Ankles” similarly leads with a feather-light acoustic guitar, the notes of steady folk covered with bright accents: the syncopated string section, the thwack of a snare, the summery guitar and keyboard touches, Dacus’ irresistible vocal harmonies. Often, Dacus’ music can be visceral and devastating; when it was first announced, a title like “Ankles” called “Thumbs” to mind, which might one of the most painful and affecting songs of the decade so far. And yet, “Ankles” even with its passionate yearn and unmet desire, is totally joyous, the softness of her approach and evocative visions of intimacy providing comfort like plush blankets on skin.
Meanwhile, Japanese Breakfast is gearing up for a big new era, and her upcoming album For Melancholy Brunettes (& sad women) was produced by Mills. She resurfaced last week for “Orlando in Love,” which — surprise, surprise — is rooted in an acoustic guitar. Though it feels more like an album teaser than, say, what “Be Sweet” was to Jubilee, “Orlando in Love” showcases the new album’s lush, spacious air; her lilting soprano is bathed in atmosphere, and the song’s orchestrations provide a classic, romantic aura. These sonic touch points are all in Mills’ wheelhouse, and “Orlando in Love” sets up the rest of the album to be a similarly enchanting affair.
Between his collaborations Perfume Genius, Dacus, and Japanese Breakfast, Mills is in store for a busy 2025, and his flowers are certainly due. As these artists push their creative boundaries, it’s clear that Mills’ fingerprints are shaping some of the most resonant music of this era, proving that his golden touch is anything but fleeting.
— Paolo Ragusa
Associate Editor
Babe Rainbow — “Like cleopatra”
Byron Bay band Babe Rainbow has made their 2025 return to sprinkle a bit of Australian summer onto our wintery woes. “Like cleopatra” kicks off with a bouncy guitar solo that soon serves as the radiant backdrop to lead singer Angus Dowling’s buttery-smooth voice. The band’s ability to cultivate an illuminating ’60s-esque psych-rock atmosphere preps the listener for a sonic journey to eternal enlightenment. The track debuts as the lead single from the band’s forthcoming album, Slipper Imp and Shakaerator, arriving April 4 via p(doom) Records. — Nicolle Periola
Carriers — “Blurry Eyes”
Carriers’ “Blurry Eyes” will initially bring you in with its head-turning list of personnel (including Bryan Devendorf [The National], Dave Hartley [The War on Drugs], and Ben Lanz [Beirut, The National, Sufjan Stevens]), but will keep you coming back for more thanks to its delicate songwriting. Warm, light, and trotting along at the pace of a skip, the folk rock tune is one of the best Curt Kiser has come through with thus far. — Jonah Krueger
Chloe Moriondo — “shoreline”
Chloe Moriondo kicked off a new era this week with “shoreline,” and it’s a worthy return from the Michigan singer-songwriter. The synth-laden track seems to blend both of Moriondo’s previous pivots together; it boasts the forward-thinking production and auto-tuned reverie of 2022’s SUCKERPUNCH while reprising the intimate, solemn songwriting found in her 2021 debut Blood Bunny. Produced by Chloe Kraemer, who lent her expertise to The Japanese House’s last album, “shoreline” is a bold and affecting turn from Moriondo, who seems to sharpen her songwriting with every release. — P. Ragusa
The Convenience — “I Got Exactly What I Wanted”
There’s a familiarity to The Conveniences’ “I Got Exactly What I Wanted” that feels reminiscent of the early 2000s post-punk revival, with its tight guitar riffs and punchy basslines. The dynamic interplay between instruments takes center stage, offering a garage rock energy with a polish that brings to mind the stylings of Franz Ferdinand. There’s a nostalgia to the way it captures the spirit of the past, yet still feels refreshingly current. — N. Periola
Ela Minus – “I WANT TO BE BETTER”
Columbian artist Ela Minus dropped a deeply interesting album today titled DÍA. The best way to enter her all-encompassing pop-electronica world is by streaming the project in full, but there are plenty of standout moments on the collection, and “I WANT TO BE BETTER” is numbered among them. This song grabs the listener by the neck and refuses to let go; while the beat demands a dance floor, the lyrics reveal a tender vulnerability, and the contrast is intoxicating. — Mary Siroky
Florist — “Have Heaven”
Florist advances their album rollout with “Have Heaven,” a single that diverges from the more somber “This Was a Gift,” which earned a spot on our Best Songs of 2024 list. While still tinged with melancholic hues highlighted by Emily Sprague’s soft lament, “Can’t you see, it’s winter and the garden’s dying?” a subtle warmth emerges as she repeats “I could have a heaven.” This leads to the song’s conclusion, culminating in a poignant shift to, “We could have a heaven,” as the song arrives to its final bow. Jellywish is out April 4 via Double Double Whammy. — N. Periola
John Splithoff – “Tangled”
To characterize the latest single from vocalist John Splithoff as smooth would be a near-criminal understatement. “Tangled” balances the warm, bouncy harmonies of the track against dreamy, island-adjacent percussion and guitar and bass contributions just this side of funk, creating a track to which it’s impossibly easy to surrender. Splithoff is gearing up for the release of a new album, Far From Here, and this song is more than enough to tide us over to the release date of March 21st. — M. Siroky
MIKE — “Bear Trap”
The latest single (and opening cut) from his upcoming album Showbiz!, “Bear Trap” sees MIKE sitting so deep in the pocket that he might permanently leave a mark. Over a hazy, jazz-tinged beat, he manages to rap with urgency without the need for theatrics. Fans of projects like Earl Sweatshirt’s Some Rap Songs should take notice, though hopefully they already have. — J. Krueger
Moreish Idols – “Dream Pixel”
Ahead of their forthcoming album All In the Game, slated for release on March 7th, British rockers Moreish Idols have shared “Dream Pixel,” a slippery third single that refuses to be pinned down. The song is both confident and skittish, featuring strong instrumentals darting and weaving around one another, and as soon as the listener thinks they have the band in their grasp, they pivot again and slip away like sand. Despite what the name suggests, the song builds to a point where it’s less of a dream and more of an overwhelming nightmare. — M. Siroky
nate sib — “take it slow”
It’s hard not to immediately clock the Bieber influence on nate sib’s boy band-esque vocals, but underneath his croons are some gigantic, undeniable beats. Such is the case on “take it slow,” which, funnily enough, moves quicker than you’d expect. The incessant punch of the bass drum mirrors an overactive heartbeat, while the song’s relentless synth line dominates the mix in a tasteful-yet-abrasive way. He’s part of a new class of stars that are re-contextualizing musical movements of the past 15 years to create a new type of pop collage, and it’s a treat to hear the young singer and producer approach “take it slow” with so much joy. — P. Ragusa
OK GO – “A Stone Only Rolls Downhill”
Come for the song, stay for the wildly ambitious music video. With “A Stone Only Rolls Downhill,” OK GO stepped into unprecedented territory, utilizing over 60 phones to create an interweaving visual journey. Just imagining the storyboards is enough to get a headache. In contrast with the bonkers video, there’s a comfort to the simplicity of the track itself, which surrenders to the inevitability of life: “A stone only rolls downhill, and these things, they’ll be what they will.”. — M. Siroky
Porridge Radio — “Don’t Want to Dance”
Porridge Radio have sadly announced their impending breakup, but the Dana Margolin-fronted indie rock act has one more EP on the way before they say goodbye, The Machine Starts to Sing. Recorded during the same sessions as their 2024 LP Clouds in the Sky They Will Always Be There for Me, “Don’t Want to Dance” arrives as the first taste of the band’s swan song. Fittingly, it’s a melancholic, almost nostalgic tune that grows in both intensity and catharsis. — J. Krueger
Trousdale – “Growing Pains”
Trousdale’s sophomore album is on the way (due out April 11th), and the trio have shared the title track to kick off their next chapter. These three absolutely excel when it comes to their harmonies, and “Growing Pains” offers plenty of space for them to shine; with rollicking electric guitar and a ’90s country tone to the chorus, the difficulty of the transitional phases of life has never sounded quite so sweet. — M. Siroky
Vundabar — “Spades”
Taken from their soon-to-be-released project Surgery and Pleasure, “Spades” presents Vundabar as an indie rock live wire. Swinging between flurries of manic but controlled freakouts and stunted, almost march-like verses, the track is a dynamic, intensely engaging piece of micro-genre-melding guitar music. — J. Krueger
Yola – “My Way”
Surrender to the sheer power of Yola’s voice by indulging in her new EP, My Way. The title track is yet another hurricane-level vocal showcase for the artist, who consistently manages to the blend the depths of soul music with catchy pop melodies and a certain, almost theatrical flair. “My Way” specifically recalls power anthems of the ’80s; the open drums and grounding energy rise to the challenge of meeting Yola’s delivery, and the effect is transportive. — M. Siroky
youbet — “Deny”
According to youbet bandleader Nick Llobet, the band penned “Deny” after listening to “a ton of Polvo, Autolux, and Boris” — and it shows. The song is fuzzed to the max, bordering on the hooky, noise-pop-leaning indie rock of contemporaries like Feeble Little Horse. Even with its increased heaviness, “Deny” is an instantly enjoyable, catchy, fun as hell two and a half minutes. — J. Krueger