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Bop Shop: Songs From Fall Out Boy, Kim Petras, Wyclef Jean, And More

This week's shop is all about surf rock, boom bap rap, and thrilling Halloween-inspired pop

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn't discriminate by genre and can include anything — it's a snapshot of what's on our minds and what sounds good. We'll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Fall Out Boy ft. Wyclef Jean: "Dear Future Self (Hands Up)"

    I can't get enough of Fall Out Boy, Green Day, and Weezer putting out new songs nearly back to back. I'm pleased to hear Fall Out Boy returning to the same jaunty, classic-sounding beat they adopted for songs like "Uma Thurman" with "Dear Future Self," which is absolutely cut from the same cloth. There's a groove to it that ensures you're all in as soon as the drums kick in with the surf guitar and distortion. Wyclef Jean's inclusion is certainly appreciated here as well, because he absolutely kills it as a guest on the track. I wish Fall Out Boy would adopt this sound for an entire album. Surf rock sounds so amazing on them, honestly. – Brittany Vincent

  • Femdot: “94 Camry Music”

    I love when I discover artists who just get nostalgia. No need to overload your listeners with ridiculously over-the-top hints at what you’re referencing. Just a wink and nod, and then transforming that nostalgia into something new, yet still inspired by the past. Femdot is a rapper who definitely gets nostalgia and offers it up in “94 Camry Music,” the title song from his new project of the same name. The track is inspired by boom bap rap of the 1990s, and you can feel the spirit of rap’s golden age in the buttery bass, relaxing recording style, and even Femdot’s uniquely deep voice that would sound at home on Craig Mack’s "Flava In Ya Ear (Remix)." It takes over your senses and transports you to the world of yesterday when bars and style drove hip-hop to new heights. It looks like today Femdot’s adding a fresh coat of paint to that message. – Trey Alston

  • Peach Tree Rascals: "Mango"

    It’s hard to tell whether you take a bite out of Peach Tree Rascals’s “Mango,” or if it takes a bite out of you. I’ve always thought mangoes were painfully underrated, and the Bay Area natives make a strong case for the fruit’s redemption with a sweet, golden production to match its flavor. From its handclaps to the meditative refrain telling us to “take your life and change your mind,” the anthem for good times is positively infectious.

    Its color-drenched visual — directed by Jorge Olazaba — matches the track’s chill AF vibe. The band bounces back and forth between brightly colored walls and Santa Cruz escapades, giving us the type of summer we all want to look back and reminisce on... even if things aren’t so good for the song’s namesake fruit in the end. Who says summer has to be over? – Carson Mlnarik

  • Kim Petras: "There Will Be Blood"

    Run for your life! Spooky songstress Kim Petras is back with new songs that go bop in the night. With a combination of classic horror references and dark synth beats, Turn Off The Light is a welcome next chapter of the Halloween song game. “There Will Be Blood” is a track that no doubt demonstrates Petras’s love for mixing horror with pop, and we’re all better off for it.

    “There will be blood, you're gonna die / You'll never make it, never make it through the night,” Petras screams, giving us “Carrie debuting a new pop song on prom night” vibes. Kim positions herself as a serial killer, creating infectious beats that viciously murder the pop game. – Dan McKenna

  • Drew Famous: “MIA”

    You can feel Drew Famous’s “MIA” in your chest. Once you do, you’ll get into krumping formation and twist your face into a look that’s similar to having really bad gas and start popping, locking, and thrusting each piece of your body in a different direction. “MIA” is harsh and warrants the profanity to say that it is fucking fierce. The bass doesn’t just control the backend and establish the pace; it jumps — no, leaps into the foreground. Imagine hopping on a rollercoaster made of nothing but loops and you have no restraints. That moment when you push away from the safety of the entry point and realize, with sheer horror, the journey that you’re about to go on and wishing to keep your head on your shoulders throughout. “MIA” exists in this fleeting instant. Listen to it and you’ll see what I mean. – Trey Alston

  • Girl Ray: "Show Me More"

    Just because jacket season is upon us doesn't mean the party has to stop. Just watch U.K.-based indie trio Girl Ray's video for "Show Me More," and you'll find that bike riding in the park with your squad is an ideal way to watch the leaves change and get some much-needed outdoors time before winter ruins everything.

    "Show Me More" is a mid-tempo disco-tinged bop, the simultaneously danceable but breezy first single off the band's forthcoming sophomore LP Girl. Its synths, which weren't present on the band's first album, 2017's Earl Grey, are a welcome addition to the group's sound and will make Girl's November 8 release date something to look forward to. – Bob Marshall

  • Young TMO: “Uncut”

    Close your eyes. What do you see when you think of a harp? For me, it’s the serene area that you fight Jun Kazama at in Tekken Tag Tournament 2. It’s made of pink skies, white flowers on the ground, and a peaceful, natural air. You can practically hear the gentle strumming. Young TMO’s use of the harp on his new song, “Uncut,” is a little grittier and more cutting. The Houston-based rapper brings in some rattling drums that shake your chest and induce chills because of how silky smooth everything blends together. It’s not necessarily what he’s saying on the track that makes it stick with you, it’s how he says it. He’s clearly lounging on the studio couch, possibly eating some Chinese takeout, bopping his head as the words tumble out. My favorite bar is a simple one: “This money right here came with blood on it.” It’s a random line on the chorus without a larger meaning, but it’s everything you need to know about the harsh life that he comes from. I’m just now finding out about him, but I plan on doing some research. – Trey Alston

  • Japanese House: "Something Has To Change"

    The first thing you'll notice about The Japanese House's dreamy new single is its purposeful repetitiveness. "Something has to change" confesses singer Amber Bain over and over during the chorus, and while the song forces you to audibly experience the rut she's found herself in, the track's groove is propulsive enough that it leaves the listener more mesmerized than burdened. And credit director/photographer Nadira Amrani for the music video's striking visuals. The Japanese House's new EP is out in November on Dirty Hit Records, the label they share with The 1975. – Bob Marshall

  • Disco Shrine: "Alright"

    Call ‘em chemists, because Disco Shrine and UNBLOOM have the formula to bop-making down to a science with “Alright.” The track is a feminist cry. At the club, Disco Shrine sends a rallying call to her girls: “I'm coming in with that fire / Come get your close up.” The video screams ‘90s in the best way possible, and the L.A.-based performer leans into her Persian Barbie character, playing with stereotypes and labels like she plays with video games.

    Between the living-your-best-life assertions and booming synths, it’s nearly impossible to stop yourself from cracking a smile and throwing your hands up to dance — even if it’s only in your head. – Carson Mlnarik