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Paste Magazine Names War on Drugs "Whos That" Song of the Week
Paste Magazine’s weekly roundup once again crowns an indie‑rock gem as Song of the Week, spotlighting The War on Drugs’ opening single, “Who’s That.” In its latest issue, the staff and contributors selected five tracks they consider the best of the week, and the editors awarded the title to the War on Drugs’ new single.
The War on Drugs, fronted by guitarist and songwriter Adam Granduciel, have long been known for dense, atmospheric soundscapes that blend rock, folk, and synth textures. Granduciel’s recent work on Craig Finn’s Always Been and Sam Fender’s People Watching (both released in 2025) has further cemented his reputation as a producer who can shape a band’s sonic identity. In the Paste review, Matt Mitchell notes that “Who’s That” feels like a “pure rock and roll horsepower” track that also “takes an exceptional detour” from the band’s usual formula, with synths and flanging guitars that create a five‑minute epic. Mitchell also points out that Granduciel reportedly wrote the song in ten minutes, a detail that underscores the immediacy of the band’s creative process.
Josh Johnson’s “Reece” takes the roundup in a different direction. The saxophonist and composer, known for his work with Jeff Parker’s ETA IVtet and the jazz supergroup SML, leads the track as the lead single from his upcoming album Animative. Casey Epstein‑Gross describes the song as “smooth as silk” and notes its “minimalist surface” that belies the “endless layers” beneath.
Pop artist Slayyyter’s “crank 2” rounds out the selection with a darker tone. The track appears on her forthcoming companion album WOR$T MAN IN AMERICA, slated for release later this year. Abby Jones comments that the song “dials down the braggadocious ‘CRANK’ into a dizzying, ominous threat” and frames it as a “revenge anthem” that reflects the artist’s personal experience of heartbreak. The track is positioned as a counterpoint to the abrasive, trash‑filled aesthetic of Slayyyter’s earlier album WOR$T GIRL IN AMERICA.
In the hardcore punk sphere, Soul Glo’s “February Theory” is highlighted as a “teeth‑gnashing, ass‑shaking fit of hardcore music and psychic collapse.” Matt Mitchell notes the aggressive riffing and “spasmodic percussion blasts” that characterize the song, which is part of the band’s January 2026 release NA I’M GON GRAB ALLAT. The review situates the track within Soul Glo’s broader discography, citing the band’s breakout LP Diaspora Problems as a “tectonic shift” in hardcore punk.
Finally, the roundup mentions Twisted Teens’ “When We First Met,” a new single from the New Orleans duo that has already released two albums this year. Casey Epstein‑Gross describes the track as a “scattershot drum” opener that “rips” and showcases the duo’s signature soulful vocal style. The review anticipates a third release from the band later in the year, noting that the group’s prolific output could pose a challenge for editors compiling year‑end lists.
The Paste roundup underscores the diversity of contemporary music, from the expansive indie‑rock of The War on Drugs to the experimental jazz of Josh Johnson, the provocative pop of Slayyyter, the ferocious hardcore of Soul Glo, and the soulful punk of Twisted Teens. The selected tracks reflect a range of production styles and lyrical themes that resonate with listeners across genres. As the music industry continues to evolve, weekly compilations like Paste’s offer a snapshot of the most compelling releases and emerging trends in the global music landscape.
The War on Drugs, fronted by guitarist and songwriter Adam Granduciel, have long been known for dense, atmospheric soundscapes that blend rock, folk, and synth textures. Granduciel’s recent work on Craig Finn’s Always Been and Sam Fender’s People Watching (both released in 2025) has further cemented his reputation as a producer who can shape a band’s sonic identity. In the Paste review, Matt Mitchell notes that “Who’s That” feels like a “pure rock and roll horsepower” track that also “takes an exceptional detour” from the band’s usual formula, with synths and flanging guitars that create a five‑minute epic. Mitchell also points out that Granduciel reportedly wrote the song in ten minutes, a detail that underscores the immediacy of the band’s creative process.
Josh Johnson’s “Reece” takes the roundup in a different direction. The saxophonist and composer, known for his work with Jeff Parker’s ETA IVtet and the jazz supergroup SML, leads the track as the lead single from his upcoming album Animative. Casey Epstein‑Gross describes the song as “smooth as silk” and notes its “minimalist surface” that belies the “endless layers” beneath.
Pop artist Slayyyter’s “crank 2” rounds out the selection with a darker tone. The track appears on her forthcoming companion album WOR$T MAN IN AMERICA, slated for release later this year. Abby Jones comments that the song “dials down the braggadocious ‘CRANK’ into a dizzying, ominous threat” and frames it as a “revenge anthem” that reflects the artist’s personal experience of heartbreak. The track is positioned as a counterpoint to the abrasive, trash‑filled aesthetic of Slayyyter’s earlier album WOR$T GIRL IN AMERICA.
In the hardcore punk sphere, Soul Glo’s “February Theory” is highlighted as a “teeth‑gnashing, ass‑shaking fit of hardcore music and psychic collapse.” Matt Mitchell notes the aggressive riffing and “spasmodic percussion blasts” that characterize the song, which is part of the band’s January 2026 release NA I’M GON GRAB ALLAT. The review situates the track within Soul Glo’s broader discography, citing the band’s breakout LP Diaspora Problems as a “tectonic shift” in hardcore punk.
Finally, the roundup mentions Twisted Teens’ “When We First Met,” a new single from the New Orleans duo that has already released two albums this year. Casey Epstein‑Gross describes the track as a “scattershot drum” opener that “rips” and showcases the duo’s signature soulful vocal style. The review anticipates a third release from the band later in the year, noting that the group’s prolific output could pose a challenge for editors compiling year‑end lists.
The Paste roundup underscores the diversity of contemporary music, from the expansive indie‑rock of The War on Drugs to the experimental jazz of Josh Johnson, the provocative pop of Slayyyter, the ferocious hardcore of Soul Glo, and the soulful punk of Twisted Teens. The selected tracks reflect a range of production styles and lyrical themes that resonate with listeners across genres. As the music industry continues to evolve, weekly compilations like Paste’s offer a snapshot of the most compelling releases and emerging trends in the global music landscape.
