This past month has been the strangest that many of us have ever experienced in our lives. Confined inside the walls of our homes, we strive to find comfort and pleasure in any available form. For me, I found it by digging out the record player and stack of inherited vinyl records and dancing in my living room. I took a journey through several decades and genres, reveling in the richness of sound that can’t usually be achieved with digital streaming. Christian Lee Hutson’s “Talk” is an exception. This Phoebe Bridgers-produced track evokes the same feeling as listening to an old song on vinyl. Hutson’s vocal delivery and smooth timbre recall the classic singer-songwriters of the 1970s. While the acoustic production is simple: guitar, bass, restrained drum parts and a string section, the composite sound is every bit as rich as your favorite vintage record. Hutson’s subject matter reaches way down deep, too. He’s convinced himself—to the point of saying it out loud—that he will be a better parent than the one who raised him. He quickly realizes that’s easier said than done, especially when still reconciling with old scars. “It's no use denyin' / You belong to the dyin' / And I couldn't care less / Life's just a real slow death / Yep, that's what I was taught / Okay, so I care a lot.” Huston effectively delivers the pang of a painful childhood while never once raising his vocal intensity. This suggests a mastery on par with the great musical storytellers of generations past.

From Bon Iver's newest LP i,i comes "Naeem," a track likely named after Justin Vernon's collaborator and co-writer Naeem Hanks. More rhythmic and brimming with vocal warmth than some of the other tracks on this album, "Naeem" feels emotional and omnipresent: a cinematic departure from Vernon's otherwise loftier songwriting. This is not to say that this song is shallow in any sense. On the contrary, it feels more authoritative and defining. During an interview with BBC Radio 1, Vernon describes this particular track as signifying a crucial turn in the album: "I think it’s like the end of the first act. It ends the first side […] It was kind of too rambunctious, too energetic, or too Les Mis to end the record. It’s the end of the first act, the end of the first breadth of songs. It kind of gives you a chance to start over again on the second side." Bon Iver released i,i on August 9, 2019.

Frankie Cosmos are back and vibrant as ever as they tease the release of their fourth record with a glittering new single. "Wannago" tells the story of two distant lovers through rose-colored harmonies and sugary lyrics. "It's been forever but it's whatever / I'm here for you and I would never forget you" sings lead singer Greta Kline, who said she once "found some of the lyrics embarrassing," but later "accepted the cheesier lyrics as part of the youthful glow of the song." The track captures the serendipitous joy of two humans "with eyes and ears / and dreams and science and love and fears" connecting in an absurd world, being driven apart by life, but earnestly finding their ways back. Fans have bassist Alex Bailey to thank for pushing the band to finish the older tune, and the result showcases the band's collaborative synergy. Close It Quietly will be released on September 6 via Sub Pop Records.

Born in the suburb of Oshawa, Ontario, Dizzy is the indie dream-pop band composed of brothers Charlie, Alex, and Mackenzie Spencer and their frontwoman Katie Munshaw. “Twist” is the follow up to their debut album Baby Teeth—the single is a breezy heartbreaker that you won’t know whether to dance or cry to. The band members describe Dizzy as a means to cope with small-town monotony. However, “Twist” is a testament to how far the group has come since their suburbia beginnings. The track is atmospheric and swirling, grounded in a rhythmic, smacking drum loop. Small, incremental movements in the vocals and sweeping synths add a glittering texture to the song's bass-heavy foundation. Dreamy elements are weaved throughout via Munshaw’s serene but sincere voice, delicate, twinkling piano, and an entrancing guitar solo. “Twist” navigates the post-break-up, with lyrics like “I beat myself up for feeling let down” showing Munshaw grapple with wanting to see someone while chastising herself for the impulse. The chorus swells around Munshaw’s voice as she sings the tragic lines, “there’s a hole that’s inside of my chest in the place of a heart in the shape of your fist” and as the band grieves, we all feel the pang of our past heartbreaks. “Twist” is the lead single off the Heavy/Twist EP, which will have to hold you over while Dizzy works on their next record.

Big Thief’s music has always had an unearthly, ethereal texture to it and the band’s newest single “Not”, the first offering from their forthcoming, fourth record Two Hands, is no exception. The track is an examination of what is bigger than all of us and a look at what people often fail to appreciate. Lead singer Adrianne Lenker makes a heartfelt delivery with her poetically haunting words, “It's not the energy reeling / Nor the lines in your face / Nor the clouds on the ceiling / Nor the clouds in space.” The conviction in her voice and the cruising, confident production further relay the central verdict of the song. The Brooklyn four-piece make existential ideas more easily digestible and appealing to explore. They send a message of clarity—suggesting that we all take a moment to breathe and focus on the bigger picture amidst all the chaos of this world. Two Hands is officially out October 11 via 4AD.