It's rise-and-shine with Chloe Berry's charming new single “Breakfast.” The twenty-year-old NYC artist cooks up a delightful bedroom pop treat filled with bright guitar strums, syncopated drum beats and hazy vocals à la Frankie Cosmos, Clairo or beabadoobee. “Breakfast” serves as a single for her upcoming EP, Blueberry Jams and makes for an endearing and easy listen—but much like Berry's music, it also packs a good punch. The song, while structurally simple, also manages to be quite unpredictable. The combination of retro background vocals in the style of 50s pop, its swift rhythm changes and overall low-fi textures makes the whole track shine and come alive.

Berry now records with her partner and producer Sam Poon (aka Spoonuel) but says she’s been making music since she was seven years old—and it shows. She’s a gifted songwriter and has the kind of sharp, smokey voice that can easily translate beautifully on stage. As an upcoming artist, Chloe Berry is one to definitely look out for. Photo by Sam Graff. 

Relentless guitar arpeggios fill the room as soon as you hit play on Juni Habel’s new track, "Demons," from her debut album, All Ears — it’s like heart palpitations, excited and nervous all at once. The intro has the spirit of Joni Mitchell’s more traditionally folky moments, but Habel’s melody is more static. It’s almost an ostinato over the undulating guitar. Finally at the end of the first chorus (“When I go to those places, how I stumble,” she wails, her voice cracking), the rest of the ensemble kicks in — a drum kit that resembles a bodhrán, a fiddle, a back up vocal. All come together to haunt us (“that’s when I send the demons out in the night / I forgive myself, I try,” she almost whispers), as much as Habel is clearly haunted by the demons in her mind. She conjures them masterfully for us with a few deliciously dissonant notes that, sort of, resolve. But not quite. Relatable. Photo by E Petersen.

“Comfortable,” the latest single from Quarter-Life Crisis, producer Ryan Hemsworth’s recent project, is a futuristic, slow-burning synth-pop track with a love of collaboration at its core. Built upon a solid foundation of hazy synths, relaxed guitars and the warm voice of Hand Habits’ Meg Duffy, “Comfortable” shows off Hemsworth's ability to craft songs that immediately get stuck in your head. The most recent of three singles, the track follows a structure that is no doubt familiar to Hemsworth; starting by producing carefully crafted, radio-worthy instrumentals, he has then invited some of his favorite artists to do their thing. In the instance of “Comfortable,” Duffy has done just that. Their comforting voice brings the track into a dream-like state. And, like any good dream, “Comfortable” is over before you want it to be, as the instrumental slowly fades. Photo by Colin Medley.

This song’s super chill and laid-back. I’m also a big fan of Omar Apollo and Ruel so it was super cool to hear them on a song together.  — Claire Rosinkranz

Claire Rosinkranz was thrust into the indie spotlight after her song "Backyard Boy," the last song she wrote for this year's debut EP, BeVerly Hills BoYfRiEnd, went viral on TikTok and Spotify. Since then, she has amassed millions of monthly listeners on Spotify and even released a different version of "Backyard Boy" with fellow pop artist Jeremy Zucker.

The first thing I think of to describe “Where Did Summer Go,” Bre Kennedy’s latest single, is tender. The mixing here is absolutely gorgeous; her vocals are a perfect mix of strength and dreamy breath, expertly lifted by a soft, lilting instrumental bed of guitars, subtle piano and stripped down drums. She goes on to lament that summer has passed her by with “nothing to show,” and I don’t know anyone who would hear this in the depths of fall 2020 and not feel a deep heartstring mercilessly pulled for the year that’s almost gone (and did it ever really begin?). Psychology tells us we feel comforted by music because it triggers our feelings of being empathized with; “Where Did Summer Go” is the soft, thoughtful hug we all need right now to feel not so left behind, and to make peace with time’s relentless passage in a year when it seems to have stood still. “Where Did Summer Go” is a welcome emotional gut punch reminiscent of Taylor Swift’s recent creative partnership with The National, and I’ll be listening on repeat for some warmth ‘til spring peeks its head out once again. Photo by Lindsey Patkos.

With budding instrumentation and feathery vocals comes Iska Dhaaf’s “Unheard Choir,” the final track on the Brooklyn-based duo’s latest EP, Up. “Unheard Choir” traces the everlasting remnants of loved ones that have either been lost or separated from: “Even when our bodies disconnect / There’s always something left.” Opening with cradling strings of guitar and weaving piano notes, the track flows into a cascade of reverb and percussion. As the luminescent vocals ensure that “There’s never nothing left,” the track falls into an arrangement of strings sweeping high altitudes. It is an intricate and riveting expression of longing conveyed in a balance of softness and swift cadence.

In the science-fiction universe of Reptaliens’ “Taking,” a compendium of synths orbits complex themes of perception and existence. “Taking” is the nebulous matter on our cosmic route, mystifying our notion of self to later inquire, “Are we existing?” And how can we tell? The answer may lie within the lyrics’ own contemplation of life, broken down in its simplest, most absolute forms: “Making / Eating / Loving and / Hating.” It is these characteristics, along with others, that we can tether ourselves to on the tumultuous planes of existence — the textures of life. The synth-pop track is an otherworldly experience of whirling, euphoric sounds and beaming spaceship lights that coax us into a dance — the best way to be present in our bodies and with ourselves. Photo by Dan Hanson.

Captured Tracks group Reptaliens hail from Portland, Oregon. Their dreamy new EP, Wrestling, was released on November 6.