The Weeknd's collab with Future and Metro Boomin, and 6 more songs you need to hear this week

Songs you need to hear is CBC Music's weekly list of hot new Canadian tracks.

Scroll down to discover the songs our producers are loving right now.

'All to Myself,' Metro Boomin, Future, the Weeknd 

"All to Myself" appears on the second joint album in less than a month from rapper Future and producer Metro Boomin. It's clear they had too many heaters after releasing We Don't Trust You in March that they needed to follow up with We Still Don't Trust You last week. The Weeknd appears on three of the album's tracks: the synth-heavy title track, the sinister "Always Be My Fault," and the surprisingly endearing "All to Myself," which is a more straightforward love song than we've come to expect from either Future or the Weeknd.

After Future finishes listing all the things he loves most about his partner in his signature mumbling cadence, the Weeknd's distinct falsetto pierces through Metro Boomin's downtempo trap and R&B-infused production with a sweet "I promise that I got your back." Aside from being a superb collaboration, "All to Myself" is gaining buzz for a lyric that some are interpreting as a Drake diss: "When they got leaks in their operations/ I thank God I never signed my life away." (The Weeknd previously turned down an offer to join Drake's OVO Sound label). There's nothing that gets people talking (and streaming) like a little controversy. — Kelsey Adams

'You Got it Wrong'/'Too Soon to Tell,' Kelly McMichael

What's the best pairing for a biting breakup song? A bossa nova B-side that warns you not to trust those new-love butterflies in your stomach, as Kelly McMichael sings in her split single "You Got it Wrong" and "Too Soon to Tell." With hand-claps, staccato piano and a smattering of (probably?) cat meows in the intro, "You Got it Wrong" is an experimental and jaunty takedown from the Newfoundland-based singer-songwriter that's ripe for a musical — though sometimes it's hard to know whether it's directed at the wrongdoer or the wronged. B-side "Too Soon to Tell" eventually shares the piano backbone of its A-side, but first a dulcet guitar guides us into the remedy for heartbreak that more easily fits into the singer's previous catalogue. The two tracks announced the forthcoming release of After the Sting of It, McMichael's followup to her 2022 Polaris Prize shortlisted album, Waves. — Holly Gordon

'Forgot We Were Seeds,' Tobi, Mick Jenkins

"They tried to bury us and forgot we were seeds," raps Tobi on his latest track with American rapper Mick Jenkins. The pair toured together earlier this year and previously collaborated on "Off the Drugs." But with "Forgot We Were Seeds," they've traded in the silky, jazz-inflected stylings of their last link-up for something punchier and more spirited. The boom bap song contains razor lyrics such as: "They hate the world woke because they love when you sleep," demonstrating Tobi's continued love of crafting conscious raps. With two recent Juno wins in his back pocket, Tobi could have used the song to celebrate and boast. Instead, he and Jenkins point out that petty hip-hop disputes ("F--k all that beef, need some good leather") won't distract them from looking ahead and honing their skills. — Natalie Harmsen

'Pink Collar,' Brittany Kennell

The working woman anthem has always been a staple in country music. From Dolly Parton's "9 to 5" to Kacey Musgraves' "Blowin' Smoke," the genre's connection to the working class gives space for its artists to delve deeper into the hardships of our everyday lives. For women, specifically, that includes the "work twice as hard" adage that still resonates today. Enter Montreal singer-songwriter Brittany Kennell's latest album, Pink Collar, and its confident title track, which continues this tradition for the "modern woman in a rich man's world, workin' overtime." Referencing Parton, "mortgage mommas," and women telephone operators in World War I called "Hello Girls," Kennell conjures the past while praising those in the present still "rockin' that pink collar." Many of us are still barely gettin' by, but at least we have another great addition to this canon of empowering songs. — Melody Lau

'Colloquially,' Caity Gyorgy

Jazz singer, composer and arranger Caity Gyorgy has announced Hello! How Are You?, her fourth album in as many years, due to be released on Aug. 9. Its lead single, "Colloquially," is a tour de force whose breakneck tempo evidently poses no challenge. Gyorgy's crisp diction and laser-beam intonation are on full display as she sails through clever lines: "I'd like to get to know you colloquially/ And maybe after that you'll call boldly for me/ To come and keep your lovely self company." The real fireworks come in the solos, led fearlessly by pianist Anthony D'Alessandro, who sets the scene for Gyorgy's oft-hyped scat — and she delivers. They trade nimble phrases with drummer Jacob Wutzke before the head returns with a sly modulation. It's a beautifully rendered song, recorded and mixed by Graham Lessard at the National Music Centre in Calgary. Why not put your jazz chops to the test and join the growing number of musicians rising to Gyorgy's "Colloquially" challenge? — Robert Rowat

'It Takes 2,' Jonah Yano, Le Ren

There are some duets between artists that feel destined, as if both voices finally found their other half — such is this case for Jonah Yano and Le Ren's "It Takes 2." There's an intimacy to the way their vocals are enmeshed and buoyed by each other that would make you expect they were extremely close when making the music, but the opposite is true. The two Montreal-based singer-songwriters had only known each other a few weeks before working on what would become their joint EP, The Little Italy Demos. Yano shared in an Instagram caption that "we wrote and recorded these demos as basically strangers to one another three years ago and I think writing these songs together is what brought us close."

The single, and the EP as a whole, is more folk-leaning than Yano's last album, Portrait of a Dog, but the sound is right in Le Ren's wheelhouse. Set to a simple, pleading guitar melody, the husky richness of Le Ren's voice and the wistful glimmer of Yano's are uniquely complementary, and the song unveils itself stunningly as they share verses about taking accountability in relationships. — KA

'Love Me, Baby,' Anika Marie

Some artists have a knack for evoking nostalgia, and R&B artist Anika Marie is definitely among them. Her music transports you back to an era of bell bottoms, Afros, and Farrah Fawcett hair. Whether you're dusting off your record player or connecting your mobile phone to your speakers, "Love Me Baby" will put you in your feels. Marie's voice embodies a soft and sultry passion as she reminisces about her lover's cologne and the simplicity of a memorable taco date. Her singing is unadorned and sincere as she croons, "I like the way you love me, baby," stamping her footprint into the Canadian R&B scene and heralding a potential renaissance of love ballads with herself at the forefront. — Ryan Chung