Welcome to Streaming and Screaming, Spectrum’s bi-weekly look at the world of popular music. Every couple of weeks, the staff will turn its eyes to the Spotify Streaming Charts of various nations and grade the top 10. This week’s entry looks at the top 10 chart from the United States, on Wednesday, June 16, 2016.

1. “One Dance” by Drake feat. Wizkid and Kyla

In this brilliant switch-up, Drake trades in wintry solipsism for an island-influenced take just in time for summer. It isn’t much better than “Hotline Bling,” but he dials down the petty, maudlin screed about disaffected lovers just enough to let the rhythm take center stage. On Views, the mediocre LP this song lives on, it’s clear he’s stagnated as a rapper, delivering some of his weakest punchlines since the hashtag rap blow-up of ’09. But he’s still got legs as a songwriter unconcerned with satisfying blog critics and solely dedicated to tearing up the charts. B+

2. “Panda” by Desiigner

Being friends with Kanye West will apparently get you places. But that’s unfair to Desiigner; he’s got a great flow, and the low mumble of his rap gives him a semi-unique spin on the myriad influences from which this is assembled. Menace’s beat is textbook trap: nothing new, just exactly what one would expect. Desiigner is lyrically all swagger, but his understated delivery reads as quiet confidence more than the expected bravado. In some ways, “Panda” is as unremarkable as they come, a fairly straightforward rap single. Still, Desiigner’s deft touch and subtle subversion of expectations hint at a bright future to come. B-

3. “Too Good” by Drake feat. Rihanna

It’s difficult to believe that a guy like Drake, who’s riding a wave of success ranging from television to hip-hop to this new brand of pedestrian R&B, can have trouble relating to a young lady. So it’s good that the narrative in this mundane groove shifts to an admission that “Too Good” refers to the first person, from self-deprecating social awkwardness to “I’m too good to you.” This is slightly more believable until you realize that his female duet partner is Rihanna. Really, Drake? Canadians typically pride themselves on modesty, but not Drake. The trap-dancehall-influenced rhythm on this track is understated, and even the autotune is subtle enough to make his voice sound appealing. Everything about this track flows easily. He’s pretty good; they’re both pretty good. But too good? It will move some elevators but it won’t rock any worlds. C

4. “Needed Me” by Rihanna

Let us take a moment and reflect on the beat put forth here. This kind of detached, icy, production isn’t anything new in the post-Weeknd pop landscape, but to hear such Gucci-levels of coldness coming from DJ Mustard is a legitimate shock. He’s never been afraid of letting the space do the talking on his notoriously knuckleheaded music, but he rarely paints in colors this deep. As for the rest of the song, no one wields weaponized sex as well as Rihanna; she only gives listeners as much as she needs to, saving the rest for herself. Her selfishness is part of the appeal. Here’s hoping she makes three songs like this one every year for the rest of her life. A-

5. “This What You Came For” by Calvin Harris feat. Rihanna

On her latest album ANTI, Rihanna sounds more like herself than she has on any of her litany of hit singles. Her personality, her delivery and her swagger may well make her our greatest living pop star. So shifting from the raw honesty of her recent output to this bland EDM exercise is disconcerting. For a better Rihanna-plus-producer matchup, spin her track with beat maker Mike Will Made It, “Nothing Is Promised.” C-

6. “Controlla” by Drake

Popcaan seems to have the magic touch. He helped Jamie xx craft a near-classic last year in “I Know There’s Gonna Be (Good Times),” and he’s even made Drake’s balladeer schtick kind of work. Drake the singer has always been a difficult sell because his personality is more or less the same as Drake the rapper, and no one wants that guy singing sweet nothings in their ear. But the smooth dancehall groove tempers Drake’s nice guy tendencies, resulting in an electropop/dancehall hybrid that achieves the seductive vibe it aspires to. Sure, you have to contend with Drake’s half-hearted attempt at a Jamaican accent, but overall, this works. B

7. “Don’t Let Me Down” by The Chainmakers feat. Daya

Watch them. Follow the audio embers as they rise into the night and fade. A music producer pitching the latest thing draws them in the air with his fingers to help illustrate to a panel of skeptics. Suddenly, the requisite “indie” female vocals marble-mouthing and over-annunciating trite melancholy. It’s perfect! It crosses Florence Welch with “Turn Down For What!”. Someone in the room suggests meekly that the whole dubstep thing is over. That mainstream radio has squelched and bass-dropped its way to dub-nauseum. The table was flipped way back when Skrillex was still a thing, and if you want dubstep now you should be chilling with Truth or taking cues from the Chestplate label. A silence enters the room, a cold chill to douse the embers until he decides you’re perhaps not listening closely enough. He reaches over, clicks the space bar again and reignites the incessant refrain, “Don’t let me dow, dow, dow, dowan…” It’s perfect, sir. D-

8. “Don’t Mind” by Kent Jones

He won the foreign-language-single battle against Jeremih, and the listening public is better for it. But more than anything, this is a victory for the We the Best extended universe. After all, it will take more than a few Game of Thrones album covers, late-night TV lip sync drops, above-average posse cuts and New York Times gardening section profiles to keep DJ Khaled’s inexplicable victory train chugging along on pop music’s tracks. This ballad on the time-honored tradition of having sex with non-American women is the kind of breezy, humming snack that will play at barbeques for the rest of the summer before it disappears from memory entirely. Empires are built on the backs of commoners, and their sacrifices are remembered in the royalty they serve. B-

9. “Work from Home” by Fifth Harmony feat. Ty Dolla $ign

Someone who’s never listened to Fifth Harmony might well think this was Danity Kane. “Work from Home” is harmless, but would be utterly pointless without the guest spot from Ty Dolla $ign, whose casual charisma works wonders on the back half. Look, it’s not their fault Rihanna released “Work” before they could debut this cute bit of mediocre fluff to the masses, but it’s hard to get through that hook without wanting to skip to that far superior cut. C

10. “Can’t Stop the Feeling” by Justin Timberlake

Can it be? Is Justin finally joining us in the 2010s? His last two albums seemed stubbornly grounded in the mid-‘00s, too often relying on Timbaland’s tricks to conceal weak songwriting. Yet this embraces the 2010s retro-dance pop revival wholeheartedly. Hints of JT’s R&B influences creep up, but the booming beat and gleeful chorus feel more in tune with EDM than Timberlake has ever hinted at before. It’s a blast, but it’s still lightweight. Given what he’s capable of at his best, this feels like the sort of thing that he could bang out in his sleep. This three-minute sugar rush may only be a footnote in his, but it’s sure going to be the best thing to come out of the Trolls movie. C+

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