Adeline Hotel has a way of putting you at ease. Living on the axis of psych-rock and indie folk, the music is loose and calming, but also entirely intentional. On “Trace,” a track from the upcoming album, Solid Love, Dan Knishkowy leads the project with the strength of his songwriting, telling a tale of transition that is equally driven by moments of love and connection as it is by total unknowing. The band, headed by Knishkowy and joined by guitarist, Ben Seretan, bassist Andrew Stocker, pianist Winston Cook-Wilson (Office Culture), drummer Sean Mullins (Wilder Maker), vocalists Brigid Mae Power & Matt Kivel, and a host of others, come together to blend their unique songwriting practices. As Knishkowy puts it, “Five people with loud playing personalities, playing as quietly as possible,” each musician creating their own moments of tenderness, trusting themselves and the process. Because of this, “Trace” is a slow-building wave and at it’s crest lies a beautifully jagged ending jam. The recipe of musical ambiguity, intimacy and clear warmth earns Adeline Hotel a sound that serves reflection as well as much needed sighs of relief.

Liza Anne’s newest single “Devotion” is a hard-hitting break-up anthem that isn’t afraid of going full-throttle. It’s loud—glittering with synths, compelling guitar solos, and Liza Anne’s dynamic vocals all within the short span of two and a half minutes. The song nears glam-rock status at the conclusion of the first chorus as she proclaims devotion to herself, “I’ll do anything for her now, she’s my longest love / hey!” Instead of being angry or sad, “Devotion” is celebratory of the freedom that can come with the end of a relationship. It’s not just a time for mourning the loss of a connection. It can also be a time to embrace the beauty of solitude and independence, especially in the wake of a toxic relationship. The Nashville pop-rocker finds a Blondie-esque power as she sets forth on a journey of self-love and realization—singing, “find the bits of me I shook off / to appease you, oh just come on / I like the things I like / and that’s alright.” Inspired by Patti Smith's short-story of the same name, the track is perfect for blasting as you dance in celebration of your newfound independence.

Australian producer Kito enlists Lorely Rodriguez—better known as Empress Of—for the adventurous new single "Wild Girl." "It's not a secret, my heart's weakness / Is a half-smile touch, casually call you love / When your hand is enough, casually say it's love," Rodriguez trills into the airy lead-up to a club drop, but the muted bass has Kito exercising restraint in an otherwise pulsing beat. Though the track is easily danceable, being a "Wild Girl" isn't about kissing strangers on a crazy night out—rather, it illustrates being so consumed by a love that you rage like a wildfire, desperate for someone to "Gather me from one place or another." The genre-bending and subversive team of Kito and Empress Of is a match made in heaven, artfully exposing intense vulnerability through the most club-ready of songs, adding a fresh new touch to dance music tropes. The single is only a taste of the exciting collaborations and eccentric sounds of Kito's soon-to-come solo LP.

Imagine you’re in a cabin in the woods, cozy by the fire while a snowstorm rages on outside. The light is low, the atmosphere is intimate, and you’re overcome by a sense of longing you can’t quite place. This is the vibe conjured up by Loving’s new single “Only She Knows,” a lo-fi, psychedelic dream that’s as pleasing as the crackle of an old but reliable record player. The track is reminiscent of a slightly darker Whitney, with soft, wispy vocals and heavy reverb that gives the classical piano an almost ghostly presence. Dreamy synths and strangely seductive guitar lines make for a lush, hypnotic soundscape you can get lost in, while the crisp production makes apparent Loving’s appreciation for analog equipment. Nostalgic and lovely, “Only She Knows” is the perfect song for cold weather or a rainy day.

Hana Vu wanders further into her bedroom-pop world both sonically and physically with her newest single, “Outside.” The track opens with dreamy synths before the guitar and Vu’s vocals chime in simultaneously as she sings, “And I really wanna wake up / but there’s nothing to wake up to.” The plucked guitar riff perfectly balances out Vu’s droning and smooth voice with her unique throaty tone. She breaks from the calmness and almost reaches anger as she belts the second chorus for emphasis. The structure of the song is simple; she repeats the chorus and pre-chorus twice with a single-lined bridge thrown in the middle for good measure. This repetition further cements the monotony of loneliness the 19-year-old indie-pop artist is demonstrating. That being said, the track itself is never monotonous—finding interests in small swells and layered synths. It’s cyclical like depression and loneliness. Sometimes it’s hard to get out of bed. Sometimes it’s easier just to look at your phone all day. “Outside” is the latest single from Vu’s upcoming double EP Nicole Kidman / Anne Hathaway out on October 25.

The silvery vocals of Tei Shi and the iconic production style of Blood Orange bless recently released track "Even If It Hurts." The two artists, known as Valerie Teicher and Devonte Hynes respectively, previously worked together on "Hope" off Hynes' album Negro Swan. Now they've teamed up again on this starry-eyed synth song that implores for communication and honesty. Although the track is smooth and easy on the ears, wrapped up in the lyrics are two people trying to identify what the other wants from their ambiguous relationship. Desire permeates the vocals, both parties are willing to risk it all to have the other person wholly, but there's something stopping them from letting go. We might yearn and even love another person, but at the precipice of a relationship, growth requires action. "Even If It Hurts" explores what feels to be common ground in many relationships through something that straddles the line of melancholy and bliss. Look out for Teicher's new album La Linda out November 15 and Hynes' classical LP Fields due this October.

London artist beabadoobee pays homage to Pavement’s frontman with her new single “I Wish I Was Stephen Malkmus.” The inspiration doesn’t stop with the name drop, seeping into the production with buzzy guitar tones. The song takes eighteen-year-old Bea Kristi a little further from the bedroom pop label she gained through her first two EPs, launching her into the realm of therapeutic alt-rock. It’s harder, hazier, and proves that Gen Z is just as obsessed with the 90s as Millenials are. Kristi sings, “I sit at home, cry to Pavement / I wish I was Stephen Malkmus.” As much as it is a nod to the 90s, it also touches on Kristi’s affinity for change and individuality—which can be isolating, but she doesn’t seem too upset about it. She mentions her blue hair six times in four minutes, singing, “got new hair, a new phase / I’m from outer space / and I’m pretty sure I’ll get used to it.” Beabadoobee will release her new EP Space Cadet on October 18 via Dirty Hit Records.