http://www.billboard.com/files/styles/promo_225/public/media/camila-cabello-backstage-mtv-movie-awards-2017-billboard-1548.jpg

From a new album by rap’s gangsta godfather (Snoop Dogg) to a new track from one of the next generation’s finest (Vince Staples), to debut solo singles from a boy band survivor and girl group veteran (Liam Payne and Camila Cabello, respectively), these are the best new releases we’re spotlighting on Billboard this week.

Vince Staples, “Big Fish”

Vince Staples has made the dark and gritty summertime banger a centerpiece of his repertoire, and his Def Jam debut Summertime ’06 was littered with the type of raw production that let his streetwise tales become the main attraction. His new track, “Big Fish,” is both in the same vein and wildly different, like taking the same approach to a situation but from an opposite angle. Its bouncy beat, crafted by production duo Christian Rich, pulls from old school Long Beach G-Funk but somehow keeps an edge to it, and Staples’ flow bumps and bends along with it as he juxtaposes his former life with one of success. It’s party music, which Staples has never been associated with, but it comes with a heft and a hint of malice that differentiates him from anyone else making music right now. If Vince Staples and YG are leading the West Coast funk-rap wave, we’re in good hands. — Dan Rys

Nick Hakim, Green Twins

Nick Hakim’s Green Twins is his debut album, but we’ve been longtime supporters here at Billboard — back in 2014, after Erika Ramirez turned me on to him, I said one of his early tracks sounded like “a lost ’70s outtake from some forgotten soul genius.” Fortunately, not much has changed. Yes, the production is slicker than his 2014 SoundCloud material – this album mines the hazy, psychedelic vibes Tame Impala delivered on their last album. But his recordings still have the immediacy of bedroom confessionals, and the instrumentation exudes the funky soul of a ’70s studio cat messing around in their spare time and delivering an effortlessly organic gem. – Joe Lynch

Linkin Park, One More Light

Don’t ask Linkin Park about Hybrid Theory. That was 17 years ago, and if you don’t want to take their own advice to move on, new album One More Light might not give you much of a choice: Gone is the screaming, most of the rapping and nearly all of the guitars, all filed away like embarrassing yearbook photos. So what’s left? Well, the soundscapes that differentiated the band for most of their lifetime, and still a healthy amount of angst, powering laments like “Nobody Can Save Me” or “Sorry for Now” — only they’re mature and restrained enough that you could play ‘em in a psychiatrist’s waiting room. The latter is particularly telling — Mike and Chester, once the nation’s f—ked up kids, now apologizing to their own offspring for not being around more. Just goes to show: You get older and wiser, but it’s not like everything ever stops being so heavy. –– Andrew Unterberger

Camila Cabello, “Crying In the Club”

A quarter-century after Tom Hanks asserted that there’s no crying in baseball, Camila Cabello has extended that tears restriction to the dance floor on her debut solo single. Unlike contemporaries Zayn and Harry Styles, Cabello’s focus very much remains on mainstream pop in her first major step following her departure from her best-selling group, although the Sia-penned “Crying in the Club” demonstrates just enough vocal flair for the former Fifth Harmony star to escape the more generic tropes of top 40. Grab a handkerchief and dance. — Jason Lipshutz

Liam Payne ft. Quavo, “Strip That Down”

You gotta give the One Direction boys credit – this is the fifth debut single we’ve heard from the former fivesome, and they all sound radically different from each other (and 1D’s sound). Liam Payne’s first solo foray is a trap-influenced stripper anthem that’s not as painful or cringe-worthy as you would expect from a boy bander singing a trap-influenced stripper anthem. Payne’s voice is loose and confident, and the song benefits from a quick-rising, quick-falling vocal on the chorus that resembles a Timberlake/Timbaland joint. Migos’ Quavo gives the song some authenticity, and Payne proves that while he’s not gonna be the breakout solo star of 1D, he can hold his own on his own. — Joe Lynch

Snoop Dogg, Neva Left

As his album title lets you know, Snoop has always been here. Jay Z might take lengthy breaks between releases, but Snoop has remained a reliably prolific legend. On his latest album, he taps some of best who ever hit the mic: Redman, Method Man, and Cypress Hill’s B-Real. As for the next generation of rappers, Snoop’s frequent collaborator Wiz Khalifa pops up for a puff, and innovative electronic DJ Kaytranada contributes as well. – Joe Lynch