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.

You can't salvage a relationship if both people involved aren't equally fighting for it. This is the tragedy at the centre of Alessia Cara's new song, "Dead Man," the lead single off of her upcoming fourth album slated to come out this fall. Over a jazz-inspired drumbeat and bright bursts of horns, Cara wonders: "If you really care, then why am I feeling you slip right through my hands?/ If you're really there, why can I walk right through you? Talking to a dead man." Both a throwback to the sound of her early releases and perhaps a nod to contemporary artists like Raye, jazz is just one of the many influences on Cara's new album, which she told People Magazine draws from "eras before my time" including music from the '60s and '70s, African funk, bossa nova and more. With the infectious "Dead Man," we're off to an exciting start. — Melody Lau

If you're in search of a track to herald you through the final stretch of the season, Toronto singer Anjulie has a floaty bop, perfect for the whirlwind of hot summer days. Sometimes it's difficult to get out of your own head and you need a reminder that the simple things in life bring the most joy. "Chai and Sunshine" is all about letting go of what no longer serves you and finding your bliss, in Anjulie's case: "All I need is chai and sunshine/ Pour me a cup, I'm fine." The singer, and prolific songwriter (with recent credits on Nelly Furtado's "Eat Your Man"), created the song with Yanchan Produced, a producer known for incorporating elements of South Asian music into other genres. On "Chai and Sunshine" he mixed an Afrobeats melody with South Indian drums to create the glittering rhythm that buoys Anjulie's crystalline vocals. — Kelsey Adams

Mo Kenney's plaintive opening verse rides atop a rapidly strummed guitar, the lyrics taut as the lo-fi pop beat kicks in and they finish the verse: "I wait for signs, for signs of life/ I wait to see what you might find." The second single off Kenney's upcoming September album, From Nowhere, "Signs of Life" is about a painful break — one that might repeat itself if not excavated properly. "When writing this song I was considering that sometimes how you are taught to love isn't the best way," the Halifax singer-songwriter said about the song. "There can be unlearning to do as you move through your life and discover things about yourself. There can be parallels between early relationships and how you navigate romantic relationships." Kenney takes their time with "Signs of Life," building in guitar breaks that layer into the song as they sing the title refrain, exploring how it feels from different angles. Kenney's new record digs into relationships of all kinds, and the tone of "Signs of Life" will ring familiar to anyone who's stood on the outside, looking in. — Holly Gordon

Sunsetto is the moniker of Cape Breton's Kyle Mischiek, who's been releasing a string of singles over the past few months, teasing his upcoming debut album, The Sun, the Moon and the Big Machine. The latest of these is a collaboration with Sinéad Harnett, the prominent Thai Irish English singer-songwriter known not only for her singles with acts such as Disclosure, Kaytranada, EarthGang and Pink Sweat$, but also her own music, including a new album called Boundaries. Their voices blend beautifully on "Don't Leave Me Behind," a happy/sad pop song that uses space travel as a metaphor for drifting apart: "When you pass by Venus, the planet of love/ I wonder when you see it, will you think about us," Mischiek muses during verse 1, his nebulous voice grounded by luscious drum and bass. Harnett responds in verse 2, evidently ruing the distance that separates them: "You'll probably feel my tears in an hour/ it's called a meteor shower." Upper strings serve as a tractor beam, connecting their separate trajectories as they unite for the final chorus. — Robert Rowat

After traversing mountains and seas, Tia Wood hasn't found the love she's looking for on "Losing Game." It's a warm blend of R&B and pop that underscores the emotionality of longing for someone: "You got me f--ked up just like all the feelings you gave me," she sings. Wood sounds invigorated, yet her vocals give off an air of vulnerability. Although she can't fully let her love go, she accepts that getting them to stay isn't in her best interest. Wood explained in a press release that the song is about hoping for security with "someone you consider to be your person" but finding that solace isn't there despite that hypnotic attraction. "It's hard to drift away but also important to recognize when it's time to move on," she said. Being aware the romance has soured makes her a winner; she accepts that she loves herself more than someone who can't reciprocate her feelings. — Natalie Harmsen

You'd be forgiven for thinking Vancouver rock duo Japandroids had quietly broken up as it's been seven years since their last album, Near to the Wild Heart of Life. But last week, Brian King and Dave Prowse returned with a new single and news that they will release one final album titled Fate & Alcohol (out Oct. 18). Its lead single "Chicago" shows off what the band does best: whipping up a rousing, heartfelt anthem over a relentless guitar riff and crashing drums. With his signature vigour, King sings about being "in love with it all, never want it to end." While the end is near for Japandroids' epic run, we still have some time left so let's embrace the band's style of Celebration Rock while we still can. — ML

Toronto producer Roam regularly builds intricate and intentional soundscapes, and his latest single "Nasty" is no exception. It's a sonic onslaught from the very beginning, that descends into a mind-melting whirlwind.

A vocal sample repeats throughout saying, "Tonight I wanna get nasty," as sinister synths and head-knocking bass abound. Roam shared in a press release that "Nasty" was inspired by "the desire to let loose and indulge in hedonistic escapism; a temptation that is universal and that I think is especially relevant as the ills of late capitalism and neoliberalism push middle and working class people further and further toward the margins." The tempo picks up midway through the track, sweeping things into a frenetic frenzy — the cathartic release achieved at last. The song appears on Roam's upcoming project, Deviants, out July 26. — KA