Welcome back to The Verge's roundup of the most important music from the week that was. I'm Jamieson, I'm still your host, and I'm glad you're taking a break from following the Drake / Meek Mill beef to spend some time with me. This is a diss track-free zone! I love a fine musical spat, don't get me wrong — I just want to give some shine to some of the non-juicy tracks made available this week.

There's a Spotify playlist at the end for your listening convenience, and feel free to share your own favorite cuts / compliments / complaints from this week in the comments. Let's go:

Ashley Monroe, "If Love Was Fair":

Carly Rae Jepsen, "Warm Blood":

Disclosure ft. Sam Smith, "Omen":

I wrote about this one when it was released at the start of the week, and I've kept coming back to it since. I love hearing Smith operate within dance music, where he's restrained by beats and his richness is put to work complementing sleek, silvery arrangements. Less wailing over goopy pop-soul and more of this, please! There's nothing revelatory about Disclosure in 2015 — there wasn't in 2012 either — but they're ruthless in their competence. You could buy a shirt to this song, right? (That's a compliment, I swear.)

Ducktails, "Surreal Exposure":

Duke Dumont, "Ocean Drive":

British producer Duke Dumont has a new EP coming out in October, Blasé Boys Club Part 1, and "Ocean Drive" is its first single. Dumont was a major part of the UK's great recent pop-house wave, a charge led by Disclosure singles like the one above, and he ended up nailing three straight top-two hits across 2013 and 2014. There's something different about "Ocean Drive": it's funkier, darker, built to have sharper edges. I think it's a great look for Dumont, and it's smart to step away from a sound that's become oversaturated.

New Order, "Restless":

These post-punk titans are readying Music Complete, their 10th studio album and first without bassist Peter Hook, for a September release. "Restless" is its first single, and it's just fine — lacking the vitality and the momentum that marked every New Order song at the band's peak, sure, but solid given their recent personnel turmoil and the fact they're 35 years into their discography. If I'm still churning out half-decent weekly roundups in 2050, I hope you'll all recognize the magnitude of that accomplishment like I'm doing now (though I hope it's a passion project at that point).

One Direction, "Drag Me Down":

PARTYNEXTDOOR, "Kehlani's Freestyle":

Actually, scratch that — I hope Zayn's listening to this. PND's probably the least commercial member of the OVO stable, but he has an impeccable grasp on their house aesthetic at this point. He's thirsty to the point where it's pitiful, he's drinking and smoking enough to feel bad about it, he's torn between braggadocio and vulnerability. Drake might've blazed the trail, but PND's leaving fresh tracks. "Who did you love that I gotta shake hands with? / Who did you love that I gotta make plans with?" I want him to get over himself, but it sounds so good.

Prince, "Stare":

Prince Royce, "Handcuffs":

Prince Royce is a Spanish-language superstar who rose to prominence making bachata, a sensual, guitar-driven subgenre of Latin pop. Double Vision is his first English full-length and fourth album overall, and it's been a joy to spend time with it. Royce is a skilled vocalist, gentle and agile without compromising on power or grit. There's plenty worth highlighting on the album — Pitbull and Jennifer Lopez pop up on "Back It Up," and it's the best kind of effervescent summer jam — but I picked "Handcuffs" because it does a few difficult things well. It fuses tender, romantic crooning and libidinous, dubby club fare, and it does so without a shred of awkwardness. That's a sign of impressive craftsmanship.

Here's this week's playlist — have an awesome weekend, and I'll see you again soon.