The plea is immediate—a curious narrator, a curious band. It sounds like Bantug is coming to us live from the image on the cover; it's a bit constrained, a bit uncomfortable, embodying that Sunday feeling—dreading the potential of what’s to come. As the first verse begins to loosen up, Bantug admits that much of this familiar pain is internal. Keeping it hidden from those around her out of fear of “being misunderstood or given / A pity that [she’s] never wanted." It's such a beautiful lyric with genuine vulnerability, and in this moment, the song feels all the more generous. It’s so hard for many of us to share these intimate fears and pains, as doing so can leave so much room for judgment. It takes trust in those we share with, something we might not have earned here, but Bantug is willing to offer it to us anyways. And how lucky we are. Just opening up ever so slightly here feels like a huge weight off the track’s spirit, propelling us into this gorgeous guitar-driven chorus. The drums offer an undeniable groove and Bantug steps into the spotlight, reaching up for a stunning melody. We settle back into a second verse, frustration building as every attempt to break from these fears leads us right back to them. The chorus explodes again, just as powerful and magnetic. Adding in a xylophone and strings gives the bridge a brand new texture, layers of vocals capturing the tension. The pre-chorus comes back, now just Bantug and some gentle keys, upping the intimacy and authenticity of these emotions. Starting with the bass, we feel the momentum building again. The driving force gives it a sense of optimism and assuredness we didn’t have before. Dancing our way out even if the feelings stay, or return, we know we’re in control now. It’s a beautiful single following two other terrific and dynamic releases in 2021 for Bantug, and we're excited to see what the Nashville artist has in store next. Photo by Kirt Barnett. 

A tale of two boroughs. Harlem-based producer Air Volee and Brooklyn-based indie artist GOLDEN pen a bright story with "Eye." While the original version carried a more airy sound, the inclusion of Air Volee brings a fresh retro pop flare to a track where we're taken into a new tier of self-reflection. Both artists are distinct in style but balance each other well. There’s a sense of levity one can feel with the heavy percussion that defies space, capturing motion into a song that pleases the ear and sends an almost chilling sensation through the veins. There’s a saying that eyes are the gateway to the soul. With this track, that element plays out to make one discover a moment within that they weren’t even aware of, that there’s no authenticity in themselves. The question of "who am I living for and as," essentially. It’s a personal moment for GOLDEN, almost written as an autobiography, and Air Volee amplifies all the right focal points of her narrative. Photo by Kevin Condon.

Right off the bat, Texas-based Katy Kirby’s wit gleams through on her new single, “Portals." The track begins with some ambient synth, quiet bell-sounds and the clarity of Kirby’s voice wringing out irony: “I’m an alternate universe in Target lingerie." Soft pawing at the piano throughout the song creates a gentle effect, which draws out the thematic elements of weaving through questions of two people walking away from one another and what that might mean for the individual. Kirby ponders whether separation will strengthen the two, and if they reunite, will they recall their original purpose for one another? Not to be “boxes, doors, or borders," but to be “portals.” Clothed in prickled strings, matched with the warmth of Kirby’s powerful voice, this track contains a flickering hope against the odds of separation. Photo by Jackie Lee Young.

With his natural homegrown charm, Uruguay-born Juan Wauters releases yet another true-to-life track, this time including none other than, indie-crowd favorite, Mac DeMarco. While all of his music feels honest, this one is especially mimetic as it is a part of a collection of songs that will appear on his upcoming album Real Life Situations, due to be released on April 30. This track begins with the simplicity and clarity of Wauters’ voice above the delicate finger-picking of an acoustic guitar, drifting along timelessly, allowing for almost a minute to pass until the energy changes. What was once an intimate, delightful drawl transforms into a foreshadowing of the atmosphere of the rest of the song, which includes a commentary on the selfishness of people and what they will do to get their own, all wrapped up in sunny California sound. Photo by Laura-Lynn Petrick.

The prospect of rejection, love and intimacy hang in the balance of Worry Club's latest single, "Money." Nuanced and lovely, "Money" stands out as a softer, more vulnerable sounding single compared to his other work. Worry Club manages to write bouncy, yet subtle, indie pop singles with punchy lyricism and vocalization like a Midwest emo band, but the musicality of a Cali bedroom pop artist. 

Worry Club is the moniker of Chicago-based indie musician Chase Walsh. Walsh integrates dreamy synth-pop guitar and muted percussion into gritty and unflinching lyricism. He looks depression and heartbreak dead in the face with his poetry, packaging these difficult subjects into truly gorgeous songs. 

"Money" is Worry Club's first single of 2021. Give it a listen wherever you stream! Photo by Lars Juveland.

Pining after someone who may never be yours could never be a lost art. There's something addictive and almost romantic about a push-and-pull dynamic, the sense of wanting what you can't have, but the willingness to fight for it anyway. Unusual Demont's newest single "Pine" captures this essence over a smooth bassline and clean, '90s-tinged production. While idly approaching themes of envy and infidelity, Demont keeps the song bouncy and breezy in contrast, while emphasizing the longing in true R&B fashion. The title conjures a deep, woodsy hue "because green is the color of envy," as Demont explained in a statement, but also plays on the yearning when he hums, "For tonight / I'll pine for you." "Pine" follows his first single "Amber," fitting the theme of his forthcoming project Hues that will surely transport listeners to a world of his own creation, built on a foundation of rich colors and heavy, but groovy moods. Photo by cravingavino.

Bright and welcoming melodies intertwine with inquisitive and gentle lyrics of longing, creating a compelling recollection of imminent change within Blue Canopy’s first release of 2021, “Motovun." Following their mid-2020 debut release, Mild Anxiety, the project took the new year by storm with their atmospheric synth-filled single that examines the sheer inevitability of personal expansion, as well as the bittersweet awareness that comes along with letting go. Off of Sleep While You Can, their coming EP set to release this March, “Motovun” is brimming with dynamic energy built by lyrics that ponder the feelings of transition and evolution of identity. The project is led by Portland-based multi-instrumentalist Alex Schiff, who was formerly a keyboardist and co-writer for Brooklyn-based indie band Modern Rivals. Blue Canopy’s upcoming release is said to explore the often unspoken anxieties that accompany having a child, and the ways that can relate to one’s perception of self; “Motovun” is no exception. The single captures transformation, wonder, change and the creative process, building anticipation for the rest of Blue Canopy’s intrinsic and explorative sophomore release. Photo by Bea Helman.

Sometimes genres enter into a feedback loop. When an artist proves that a formula or sound works, it's not uncommon for that artist’s sound to permeate throughout their peers’ work. The beauty of Gallant is that he has always existed outside this cycle, and this endearing individuality shines through brighter than ever on his newest single, “Comeback.” Stylistically, Gallant and longtime producer STINT return to the hallowed acoustic-guitar-driven grounds of aughts R&B while integrating some more contemporary drum & bass elements, creating a sound that pays homage to the genre’s forefathers while still striving to push it forward. The most remarkable aspect of Gallant’s music, however, remains the lyricism; armed with a vast vocabulary and an unparalleled penchant for imaginative metaphors, Gallant’s pained pleas for a lover to come back to him sound fresh, despite being one of the most well-worn topics in music. If this single is a fair barometer for what’s to come, expect the forthcoming Neptune EP to be one of the best R&B releases of the year. Photo by Sasha Samsonova.

The latest from Austin-based indie group Sun June is an anthemic offering from their new record, Somewhere. Gradually building over its three-minute run, “Bad with time” continues the band’s streak of somber, lingering tunes to beautiful effect.

The track evokes Yeah Yeah Yeahs—appropriate, considering another cut-off of Somewhere borrows its name from Yeahs’ singer Karen O. A sparse opening and booming drums recall the iconic “Maps,” but the song never loses its identity as being distinctly Sun June. Singer Laura Colwell’s lyrics fill the song with imagery of the desert and southwest, crooning “You’re too cool for LA” over the song’s chorus as twin guitars tangle and build into the conclusion.

The band has described the record as a “prom record,” encapsulating the highs and lows of rushing love. With “Bad with time,” the album opener, the band gets right to the point, setting the tone with a gentle, swaying tune fit for a drive at dusk across the desert, or perhaps someday, pandemic-pending, an actual prom. Photo by Jade Skye Hammer.