California pop artist, Ashe dropped her poignant ballad, “Moral of the Story” on Valentine’s Day. Ouch. This one is heart-wrenching as can be, detailing the failure of a serious relationship that had promise until it didn’t. Ashe ultimately blames the beginning and the end of the relationship on the couple’s youth. Starry-eyed and hopeful, they decide to take on the world together. Then, things “turn volatile” and it all falls apart. Ashe finds her pop niche with this dramatic sound, as the strings, choir-like back-up arrangements, and heavy beat conspire to form a full and emotional track. Even though she appears pretty skeptical on this track, Ashe maintains a relatable and even humorous edge. She sings, “They say it’s better to have loved and lost than to never have loved at all / But that could be a load of shit.” The song aims to teach those who haven’t gone through a life-altering break-up how hellish and sad it can feel. “Moral of the Story” exposes the necessary reality of moving on.

You blow into “Indigo” on a warm breeze. Magnolian, the stage name of singer-songwriter Dulguun Bayasgalan, slowly pulls you into this sunkissed but hazy world with his soothing, steady voice— one that could easily wax world-weary, but is peaceful instead. Although the lyric “still getting over you,” implies loss, the song doesn’t force a juxtaposition between its lyrics and sound. It brushes on melancholy, but comes across as genuinely hopeful for what may come next. Bayasgalan sings, “I’m indigo and violet and blue.” Then the song lifts up before the line, “I’m so in love with you,” where it bursts and cascades down. The wash of background instruments twinkle. Light breaks in allowing the love he sings about to radiate. Allow yourself to become enveloped as the song pulses and pans between your earbuds.

Aussie indie rocker Harmony Byrne grew up singing songs in Mormon church choirs. On her newest single, “Loving You Is Lonely,” she harnesses that gospel influence to create an alt-rock sound that is equal parts ruminative and moody. At its core, the song is a meditation on what it means to be in love with an artist. Lines like “I want more / You want less / But we want this” showcase Byrne’s thoughtful lyricism as well as the inevitable loneliness of loving someone who puts their art first. The music is equally introspective with a soft mid-tempo drum beat and an electric guitar that feels like falling into a daydream. Byrne’s vocals, reminiscent of a slightly sweeter Courtney Barnett, command the song with each smooth, lilting high note. You have no choice but to hang onto her every word.

With Andrew Fox's debut album Shock by Shock on the way, The Wild Honey Pie premieres the latest single, "Matchless." Full of energy and motion, "Matchless" is the kind of song that needs to be on your morning commute playlist. It has an electricity to it that can keep you moving and singing along after only hearing it once in the way old pop classics do. Fox is a music veteran who is part of the Dave Harrington Group and has also put out solo electronic work under the name VISUALS. The influences of his past all melt into this new and exciting sound. Embedded in the movement of the song are lyrics that speak to our current reality and Fox tells us, "We're living through a trying moment, and this song is the idea that we are not fighting alone." Catch Shock by Shock out March 22 on your favorite music platform.

 A haunting piano melody opens Weyes Blood’s “Everyday,” but it’s quickly tossed aside, hidden by layers of saccharine 1960’s pop orchestration bouncing along like The Turtles or Sgt. Pepper-era Beatles. Intriguingly, the eerie tune was foreshadowing major key melodies hiding minor key emotions. It’s those two telltale words in the chorus — “Then again…” — that remind us to take a careful listen to what singer Natalie Mering, the creative force behind Weyes Blood, is really trying to say. The sweet smile of the song is just a facade for the darkness underneath, and every element of the song is trying to get that across. Even the music video features an idyllic ski chalet slowly turning into a nightmarish slaughterhouse over the course of a party, like a horror movie relegated to the bargain bin. The infections buh-duh-buhs serve to hide lines like, “I’m so scared of being alone,” and the heartbreaking, “Got a lot of years of bad love to make okay.” But like the characters determined to wait on true love, Mering puts on a happy face to sing through her sadness. “You never let it show.”

Minihorses' latest track, “Drink You Dry,” the lead single off their debut record, Living Room Art, truly grabs you from the instant it begins. Once you hit play, you know you’re in for a punchy electric guitar, head bopping ride you can’t get off— one that’ll leave you feeling melancholy yet surprisingly revitalized. “Drink You Dry” is hardly an early release for bandleader, Ben Collins, who’s been working alongside some of Michigan's most talented musicians for years and releasing music under the moniker minihorse since 2016. That being said, in some ways, "Drink You Dry" is what started it all. Collins says he initially recorded it as a demo to remember the chords and melody with plans to revisit it with his band if he felt so inclined. A while after, the band attempted to re-record the track, but it just wasn’t the same. “No matter how hard we tried, we were never able to recapture the feeling of this demo.” Soon after, Collins brought in his friend Anna Burch to sing some harmonies with him, and sure enough, that restored some of the magic of the original demo.  

“Drink You Dry” is lyrically inspired by the time Collins got arrested after playing his first solo show and had to spend the night in jail. The nebulous nature of the phrasing lines up with the frustration and confusion he probably felt throughout that night. Collins has lived through varying experiences, traveling the world while meeting a host of characters and building friendships both musical and personal along the way. Therefore, it seems natural that he would be so open to the endless possibilities of collaborating with others on a track regardless of how personal the song might have been when he first conceived it. “Drink You Dry” embodies the ways in which Collins so artfully and openly invites people into his musical storytelling. Burch plays both guitar and vocals on the track and had an undeniable influence on the infectiously honest mood of the piece. Minihorses’ debut album, Living Room Art is out April 3^rd via Park The Van Records.

Along with the announcement of his new album, In the Shape of a Storm, out April 12, prolific indie folk artist Damien Jurado has released a strikingly sparse and melancholic single titled “South.” Jurado, who frequently collaborated with the late Richard Swift, recorded the entirety of In the Shape of a Storm in one afternoon — favoring acoustic tracks that are stripped in instrumentation but still deeply emotive. With nothing more than light, rhythmic guitar plucking and a crooning vocal, the beauty of “South” lies in its simplicity. All of your attention is forced onto the melody and the darkly compelling lyrics, which are evocatively and eloquently performed. Hard lines like “You take New York / And I will marry Lee / Let’s see who comes back worse,” are capped by a whistle reminiscent of a cautionary tale, closing out what is surely one of the most vulnerable and stripped songs of Jurado’s career.

Drinker meanders through a mix of dreamy vocals, minimalistic guitar, and atmospheric synth in their new single, “Holiday.” The hazy, dark-pop song is the effort of Los Angeles songwriter Aaron Mendelsohn and New York producer Ariel Loh. It was the first track the bicoastal duo wrote after Mendelsohn moved from New York to Los Angeles. Contrary to the lyrics, “I don’t wanna work / Don't wanna start a project I’m on holiday," this song helped assure Mendelsohn and Loh that they could write and produce music together even if they were on opposite coasts. “Holiday” is about grounding yourself in a new environment and allowing yourself to take everything in before getting settled in the mundane ritual of daily life. The song feels like a moment in between sleep and waking when reality and dreams meld together in a cloudy warmth. “Holiday” is the fourth single from their upcoming LP, Fragments due May 3rd via B3SCI Records.

Wanderwild unmistakably earns every comparison to The Strokes they receive. Between the simple drum arrangements of “Platinum,” the dual rhythm guitars riffing off one another and the telephone vocal processing, it’s clear that this Athens, Georgia outfit was inspired by the New York City indie heroes of the early 2000’s. Even the wry, self-aware humor is there, cutting a song off abruptly on the lyrics, “I’m just getting started.” The real highlight, though, is singer Matt Martin’s vocal eruption in the chorus, a sort of suave scream that not many since Julian Casablancas have been able to muster. “Rearrange my living room / Just for peace of mind,” he belts, unleashing the all-consuming nervousness that has overtaken him. In a song where the percussion keeps its steady, almost drum-machine-like rhythm until the very last chorus, it’s Martin’s vocals that carry the energy. Wanderwild’s new album, entitled Sleep Tight, Socialite, is due out April 17th.

A lost love, a grudge, a new fixation. Every song on Worn-Tin’s new album, Cycles, sings of the way any new obsession can seep into every part of you. Warner (the voice and creative mind behind Worn-Tin) wrote that the album was an exploration into those kinds of obsessions in his own life. The track, "Same Joke," seems to speak to the way those cravings tend to play out. Sonically, this surf rock lullaby creates an unhurried, intimate feel. Longing, dreaming and frustration— the song makes you feel those universal feelings that take over when yearning for someone or something you are unable to get. The vocals are wispy and soft, creating that somber lullaby effect that can be heard often throughout the album. By the end of the song, the catharsis for these powerful emotions of pining and then coping is fulfilled. As he sings “It’s the same joke every time,” he reassures us that each obsession is the same, even when it feels as though you can’t live without it, a new one will take its place soon enough.

Modern Diet’s “Side Effects” starts off so carefree, a sort of bedroom surf-pop rumination on a hazy weekend. But by the second time around the verse, the good vibes start to wear off and the nasty side effects kick in. A heavy distorted guitar swings from side to side, the whole band sputters with the drums and the “here we go again” that kicks off the chorus sounds less playful and more urgent. Wild nights turn into the inevitable mornings and singer Jake Cheriff is fighting that constant battle with his internal critic and his alarm clock, singing, “It’s time to get out of bed / Try not to think about it / I see you thinking ‘bout it / Try not to think about it.” In the final tempo change, that nervous, joyous moment when the song is nearly bursting at the seams, you can almost hear Win Butler yelling, “You better look out below.”

“Side Effects” is the first track from Sit Down and Dance, a recently released collection of old songs. Cheriff, in a Facebook post announcing the release, describes his younger self, who wrote these songs, as “a ridiculous person overflowing with angst and passion.” For Cheriff, hearing the song now “is as strange… as the future has turned out to be,” but that’s no surprise — if the song goes through phases as the Jake of yesteryear who is affected by, well, everything, then the Jake of today is listening to the song having seen a few more of those phases. It’s a rare gift to be able to peer so clearly at one’s younger self, so full of overblown emotions flying every which way, but Cheriff has let us in on that private moment, polished with the tools of the talented producer he has become.