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:

Scroll down to find out why you need to listen, too.

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

To hear more about these standout songs, tune in to CBC Music Mornings every Thursday (Canada-wide) with producer Ryan Chung and host Saroja Coelho, and Here and Now with Gill Deacon every Wednesday afternoon (in Toronto). Both are available via CBC Listen.

As soon as General Khan's voice drops into the track "Most High," she is holding court: "I'm magnificent/ you cannot/ reap my benefit/ I bleed red/ and I deserve respect/ there's no part of me/ that was ever less/ I will not rest/ until I do my best/ give my all," she raps, in a laidback but no-nonsense flow. The Halifax rapper just released her new EP, On God, on June 30, and her '90s-influenced sound is clear and resonant on the three tracks, with touches of saxophone and flute adding softness to her razor-sharp vision. As one of the only visibly Muslim women rapping in Canada right now, General Khan, a.k.a Masuma Khan, uses her mic as both an artist and activist. "I think music is great to listen to, but also it can be really great education," she recently told the Coast. "And so, if a lyric of mine is something that makes something click in someone else's mind, then maybe they might unlearn some biases or relearn things that they learned incorrectly, right?" "Most High" is a standout on On God, but don't miss the full EP, which will lead to a full-length later this year. — Holly Gordon

Daft Punk may not be together anymore, but the French electronic duo's legacy lives on in the music of many other artists including Montreal's Munya. "Un Deux Trois," one of two new singles from Munya's upcoming album Jardin, is heavily inspired by Daft Punk and Giorgio Moroder, but it never sacrifices Josie Boivin's own signature French-pop style. "You can hear Moroder's influence throughout Jardin, but this song is specifically for Daft Punk and all those who have loved Moroder's music," Boivin said in a statement. "He's contributed so much to my career as an artist as he did theirs. Plus, the world needs more music like Daft Punk and Giorgio Moroder." Munya's love of Moroder goes all the way back to her earliest work, but "Un Deux Trois" is the perfect synthesis of her laidback delivery with funk-inspired rhythm guitar and bass — the result feels like a track that could've fit seamlessly on Random Access Memories. — Melody Lau

Toronto R&B artist Sylo made his Colors Studios debut with a performance of his new single "Mile End," an ode to a love that's slipping away. The gripping track references days spent coupled up in the Montreal neighbourhood, as Sylo laments the emotional push and pull leading to the finality of a relationship: "Weekend in Mile End/ this could be our last few." The minimalist instrumentation makes for a striking performance that puts Sylo's smooth vocals on display. Donning golden under eye patches, he showcases his lustrous falsetto and bops to the song's slow groove. With his eyes closed, he sways to the rhythm while delivering the revealing chorus: "Please don't decide it/ cause you're gonna be hard to lose." It's the first song from a forthcoming EP, his first release of 2023 was Blanket, an intimate seven-track EP that landed on our list of albums we couldn't wait to hear in 2023. — Natalie Harmsen

Looking for the perfect song to transport you to an underground club on a hot summer night? Cue up Hua Li's "Closing Time" and get ready to astral project to that euphoric experience, where the crowd moves in sync to the groove while you lock eyes with a cute stranger. The latest release from the Montreal-based artist has her teaming up with Korea Town Acid and Boogieman to create an intricately layered electro R&B track. Hua Li describes the song's inception coming together over conversations about, "K-Pop's hold on everyone and reminiscing about '90s Mariah Carey classics like 'Honey' and 'Heartbreaker.'" They turned that conversation into a vibey track about flirtatious encounters on a sweaty dance floor. Hua Li's artistic multitudes shine through on "Closing Time," as she seamlessly layers enchanting vocals with an infectious beat. Then mix in Korea Town Acid's ethereal production and you have all the elements for what Hua Li calls an "immersive sonic experience." — Vanessa Conley

Almost 20 years ago, Metric released their fan fave single "Dead Disco" — now, as the Toronto rockers gear up for the release of their upcoming ninth studio album Formentera II, they're back with a new brand of disco. Described by lead singer Emily Haines as "regret disco," their latest track "Just the Once" definitely leans further into the classic sense of the genre than their first foray into disco-themed anthems. With synth notes refracting like light off a disco ball, and a grooving interplay between guitar and bass, "Just the Once" reassembles Metric's signature elements into something new. The addition of strings, composed and arranged by Drew Jureka (Dua Lipa, Alvvays), completes the disco transformation, as Haines herself dances around the word "once" and how it encapsulates a range of meaning, from a one-off becoming the slippery slope of "once in a while." It's a song that illustrates the addictive nature of things, and nothing feels more addictive than this song right now. — ML

Breakups are rarely clear-cut, especially when the decision to call it quits isn't mutual. On his latest single, the slow jam "Thinkin' 'Bout You," Jon Vinyl adopts the perspective of the dumpee, looking for hopeful signs that all is not lost. "Drunk texts, want me back/ Sober up, done with that," he bemoans in the second verse over a gently rocking compound meter, "I'll pull strings for you, anything for you/ But I know that it's never enough for you." San Francisco native Jeremy Passion joins the pity party for a beautifully sung verse. "Last night, dreamt I still had a place in your mind/ But we both know, there ain't no vacancies," he laments, his bright timbre a nice contrast to Vinyl's smokier tones. A soulful guitar, which has been keeping them company from the outset, ushers the song out. — Robert Rowat