“Jukebox Cutie” is the soundtrack to a daydream. Victoria, British Columbia’s Bridal Party, helmed by the collaborative songwriting pair of Suzannah Raudaschl and Joseph Leroux, has been blessing the provinces with their soulful summer jangle since 2015’s Hot Daze EP, but their debut album, Too Much, is finally due out August 23rd. The second single, “Jukebox Cutie,” follows the imagination of the lovestruck Leroux as he thinks up the life inhabited by the enchanting person requesting classics from the DJ. The nonchalant airiness of the arrangement hides how meticulous the singer’s thoughts are, allowing an offhand comment to spark a whole world of imagined possibility. “He says that you sing / And when you do are you an alto?” wonders Leroux. “Jukebox cutie hanging around / Silver necklace in her mouth,” he sings, noticing the tiniest details. The ending of this love story isn’t particularly important, and Bridal Party leaves the question open with a beautiful instrumental vamp right where a resolution might go—choosing instead to focus on the endless possibility that comes before.

Carefree post-punk meets playful indie-rock on Amsterdam-based musician Pip Blom’s newest single, “Ruby.” Accelerated by raw, loud guitar power and Blom’s nostalgic vocal, it’s a hook-filled track with a catchy, head-banging beat. The chorus is infectiously fun. It’s loud without being harsh, and the grungy guitar and thrashing hi-hat are both cheerful nods to 90s rock. At the front of the arrangement, Blom’s vocals are matter-of-fact but still charming. Like a more upbeat Courtney Barnett, Blom uses her accent to the song’s advantage. Her brother, Tender, lent his voice to the backing vocals. Ultimately, “Ruby” is reminiscent of ephemeral bliss; like a good song, it reminds you the best things in life can be fleeting. It’s the second single from Pip Blom’s debut EP, Boat, out May 31 via Heavenly Recordings.

The Technicolors’ newest single “Shotgun Betty” is their third release in the last four months. The fast-paced track feels shorter than it is as the fuzzy, brit-rock inspired guitars keep a swift momentum. There is a short reprieve around the last third with a gently acoustic breakdown that really allows the listener to focus on the vocals and intriguing lyrics, “Don’t start dragging me down / I’ve got a lot to say.” It picks up into a compelling guitar solo right after. There is an underlying anxiety to the track which never settles within one sound for too long. It feels like the band is running from something or someone. The guitar riffs are just as catchy as the chorus as they loop in and out and build on each other. There’s a lot of layering on this track. Guitar parts weave in and out of each other while vocals separate into higher and lower distorted harmonies. Any dead space within it is intentional and adds to the dynamics. The Technicolors will be keeping the momentum of the releases going as they embark on a headlining tour in June.

Los Angeles singer-songwriter Christian Lee Hutson explores the sweet sadness of nostalgia in his newest single, “Northsiders,” produced by collaborator and friend, Phoebe Bridgers. Hutson takes us through vivid memories of his youth by grounding us in his world with startlingly specific imagery. It’s haunting but gentle like a friendly ghost. He juxtaposes sadness with witty lines, “Morrissey apologists / amateur psychologists / serial monogamists / we went to different colleges” before detailing a car accident that took the life of a friend just a few verses later. Something about the gentleness of Hutson’s voice and the brightness of his accompanying guitar stops the song from becoming morbid. It’s reminiscent of a story your grandparents might tell you of a childhood friend who is long gone now. There’s a wistfulness that allows for melancholy to seep in without overpowering the gratitude that this time happened, and this person existed. The minimalist production of aptly placed vocal layering allows for the focus to remain on Hutson’s impeccable songwriting while still adding interest. Catch Hutson open for and play lead guitar with Better Oblivion Community Center this spring.

Legendary indie rockers Local Natives deliver a deeply emotive ballad with their new song, “Tap Dancer.” The track is the newest single from their upcoming album, Violet Street, set to release April 26th via Loma Vista. "Tap Dancer" is a dreamier take on the kind of upbeat rock anthem you might expect from the five-piece. A reverb-heavy piano and tight acoustic guitar strums dominate the arrangement, both complementing the group’s signature three-part harmonic vocal and giving it new, almost spiritual, depth. The introduction of strings, a harp and spacey synths are an elegant addition to a chorus that, with the choir-like backing vocals, feels akin to a sacred experience. In the bridge, where tension builds to a gratifying release, it’s evident how delicate the production is—like the sonic version of a stained-glass window mural. Ultimately, “Tap Dancer” is a warm, beautiful track with surprising intimacy and a timeless melody.

Kevin Parker, the artist behind the music project Tame Impala, has been quietly gifting the alternative rock world with singles after four years of focusing on other projects. After the 2015 Currents album, Parker started releasing funky remixes and collaborations with artists from all over the genre spectrum. Known for his multi-instrumental talents and his soulful falsetto, the collaborations have been ear-catching every time, adding to his reputation as a neo-psychedelic rock icon.

The first single he dropped this year was "Patience," a bit of an ironic name for the single that appeased the fans that had been yearning for a new project. Using piano riffs and bongos, it was the perfect intro back into Tame Impala’s sound—straying just far enough from the last album to keep fans from expecting anything too similar. The most recent single, “Borderline,” is very different than "Patience." However, it still possesses several elements reminiscent of Currents e.g. the dreamy synth rhythms and the echo that ripples out after Parker's vocals.

The lyrics themselves sing of the new Tame Impala, who's experienced four years of international popularity since the release of his last project. Instead of singing of lost love like much of the tracks in Currents, "Borderline" sings of riding the edge of going too far in a lyrical conversation or contemplation over the L.A. fame lifestyle. Throughout the song, Parker sings, “Will I be known and loved? / Is there one that I trust?”—using different tones in his vocals to represent the various thoughts and paranoia L.A. lifestyle can leave on one’s psyche. We cannot wait to see where Tame Impala takes its sound from here.