Lil Silva and Charlotte Day Wilson's summer jam, and 4 more songs you need to hear this week

Here at CBC Music, we're always on high alert for new songs by Canadian artists.

This week, we're listening to new tracks from:

• DVBBS featuring Brandyn Burnette.
• Lil Silva featuring Charlotte Day Wilson.
• Daphni.
• Sean Nicholas Savage.
• Faiza.

Scroll down to find out why you need to listen.

What new Canadian tunes are you currently obsessed with? Share them with us on Twitter @CBCMusic.

To hear more about these standout songs, tune in to CBC Music Mornings every Thursday and Toronto's Here and Now every Wednesday afternoon, both available via CBC Listen.

'Summer Nights,' DVBBS feat. Brandyn Burnette

If there's a road trip in your future, this new pop song from DVBBS and Brandyn Burnette deserves pride of place on your playlist. Its guitar-forward production and four-to-the-floor tempo evoke cloudless days, surf, sand and summer romance — a feeling you just want to last forever. "There's no place I'd rather be with you," Burnette sings, "Let's get high on memories/ Wake up tomorrow, hit repeat." The chorus arrives with a satisfying drop, which is Burnette's cue to launch into his falsetto for an infectious refrain, "Summer nights with you," with that final word stretched out like an inviting, sepia-toned vista. — Robert Rowat

'Leave It,' Lil Silva feat. Charlotte Day Wilson

Electronic producer Lil Silva has shared two promising new cuts off his forthcoming debut album, Yesterday is Heavy — showcasing the beatmaker's impressive evolution from his UK funky origins, as well as his partiality to Canadian rising stars. The sinister, grime-laced first single "What If?" enlists Montreal rapper Skiifall, while neo-soul crooner Charlotte Day Wilson hops on "Leave it," the more sonically unexpected — and blissful — of the pair. On "Leave It," a bed of retro guitar flickers beneath Day Wilson's layered vocals, dripping in golden hour glitter the way the best Durutti Column instrumentals did. While it starts slow, the song blossoms into a full throttle jam with mixed percussion and dueling vocals, begging to be bumped while you cement this year's summer memories in time. — Jess Huddleston

'Cloudy,' Daphni

Composer and producer Dan Snaith goes by many monikers: Daphni, Caribou and formerly Manitoba. All of his projects have had their own distinct flair, allowing Snaith to explore many different aspects of electronic music. He told the Guardian in 2012 when he first introduced listeners to Daphni that "[the] tracks are rough and spontaneous … They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night." This frenetic energy is still the foreground of the Daphni sound 10 years later. 

"Cloudy," the second single off Snaith's upcoming album, Cherry, out Oct. 7, doesn't spare any time getting its point across. It hits immediately, bubbling over with buoyant keyboard melodies, steady percussive synths, and a vocal sample that works as a breakbeat. There's a lot of layering going on but Snaith keeps things light enough to not be overwhelming. You'll be shocked by how much a song called "Cloudy" makes you want to dance, a sentiment Snaith himself echoed in a press release: "The essence of this one is keeping it aloft — like occasionally nudging a balloon that's only just heavier than air to keep it afloat. For something so buoyant, I'm surprised how much it bangs in a club." — Kelsey Adams

'Ain't What it Used to Be,' Sean Nicholas Savage

Feel left behind by the world, like it's moving on without you? Well, maybe that's good. Chances are if the world has always felt relatively safe, comfortable, and centred around you and your identity, it has not been that way for historically oppressed and marginalized folks. Sean Nicholas Savage's new song, "Ain't What it Used to Be," explores this with grace and softness, even if the motivation for the track comes from a place of being othered. 

"The title is a common punchline, people use to depict the rotting state of anything or nothing in particular," Savage writes in a press release. "In this song however, I sing this expression with the opposite meaning, as in: 'Ain't what it used to be, and thank God for that.'" The song is gentle and dreamy, a cloud of synths reflecting the full moon glow of Savage's vocals, and a timely reminder that sometimes hope blooms in dark places. — Andrea Warner

'Questions,' Faiza

Faiza is vulnerably defiant on "Questions," at odds with the controlling way her lover treats her but wanting to love him and put no one above him nonetheless. In love, things are rarely black and white, and "Questions" explores that grey space thoroughly. Faiza, a.k.a. Fatuma Nuri, emerged in 2016 with her Body Babe EP as an exciting new voice in Toronto R&B. If you recognize her voice but aren't sure from where, you may have heard it on one of her three features on Junia T's Polaris Music Prize-shortlisted album, Studio Monk. Nuri's voice is sorrowful and pristine, the heartbreak abundant in her vocal runs and ad libs. Moving between smaller, insulated moments and grand, sweeping builds, Nate Smith's production creates a fertile space for her to bare all sides of herself. In the chorus, she sings, "I got shackles round my feet, cause you can't learn to trust/ This ain't love, I need love." She begs with her lover to understand that giving her a bit of slack and not keeping things wound so tightly is the key to their relationship working out. "Questions" is pour-your-soul-into-it level R&B, the kind that is undeniably raw and emotional. — KA