We just announced a partnership with Quadio, a social music streaming platform for college students, and are excited to be taking over their Artists of the Week section this week and next. First up we have Berklee student Francisco Haye (aka Cisco Swank), who pays homage to several of his jazz, soul, and R&B ancestors on his new track, “Home.” With chord progressions and vocal runs that evoke a young Stevie Wonder, bare and buttery production in the style of Frank Ocean, and the full live jazz band appeal of Anderson .Paak & The Free Nationals. Haye demonstrates not only that he’s been doing his literal homework, but also that he is capable of synthesizing these royal influences to make something fresh and uniquely Cisco Swank. At times, the beat is so syncopated that it feels like time is going backwards—in a good way. And though the lyrics may at first seem simple and repetitive, by the end lines like, “I know you been searching for way too long” have a mantric, centering effect. So if you have been looking for a new self-produced soul artist who is just getting started but already knows what he’s doing, you may have “finally found the answer” here.

From the moment he appeared on streaming services seemingly out of thin air early last year, Kent-based singer-songwriter Havelock has been releasing a slow drip of genre-defying singles. His most recent, “LIBERTY," is his attempt at addressing his difficulties kicking an unwanted cigarette habit. While the topic is anything but lighthearted, you wouldn’t get that impression just listening to the instrumental. Hip-hop inspired 808s and a driving, funk-inflected bassline combine to make this the kind of track that you find yourself involuntarily bobbing your head to after a few listens. The groove drops out entirely during the chorus, and this is where Havelock’s clever lyricism and satiny voice really get the space to shine. His self-deprecating outro refrain—“Patched up lookin’ stupid, am I sure I wanna do this, girl?”—paints a vivid picture of a smoker on Nicorette, desperately conjuring a reason to pick up another pack instead of starting to kick the habit. With his debut EP, TRY B4U BUY, due in the coming months, Havelock is looking to close his first year as an artist in triumphant fashion.

Many musicians have plied their trade within the well-worn realm of sparsely-accompanied, heartfelt balladry. “Parakeet”, the recently released track by the Italian-born Birthh, is the latest proof that even the most frequently trodden paths can seem like an overgrown trail full of unseen delights in the right hands. Birthh sings forlornly about childhood memories over somewhat lo-fi guitar chords and fluttering, angelic piano notes, her melody perfectly exhibiting her vocal range and yearning delivery. Just when the song seems like it has settled into its soundscape, the final chorus is imbued with plucky strings, subdued horns and some surprisingly upbeat clapping, adding an almost exultant sheen to her words. When it all suddenly drops out at the track’s conclusion, it becomes difficult to coalesce the song’s bright ending with its slow, nostalgia-tinged first couple of minutes. It’s a little confusing when taken in its totality. The only way to ascertain your feelings on "Parakeet," really, is to spin it again—and therein lies its genius.

Philadelphia-based Maya Bon, frontwoman of Babehoven, released her first musical delicacy of the new year with “Only So”. Bon carries pain like a wounded songbird, making beauty out of the despondency of life. Crooning vulnerabilities such as, “There’s only so much I can take of this destruction," Bon invites her listeners into a sacred space of learning exactly how much she can take, and how much she will no longer allow to be set upon her. Clothed in a simple instrumental accompaniment, her lyrics are the apex of the track, pointing all attention toward them. On February 7, Babehoven will be releasing an EP called Demonstrating Visible Difference of Height.

Orla Gartland’s upcoming EP Freckle Season features “Heavy," a gracefully delivered breakup song. Soft piano accompanies Gartland’s beautiful, stirring vocals in what initially sounds like a classic, lofty lament. However, a closer look at the lyrics suggests that this track is concerned with the somewhat more secondary side effects of a love lost. Longing to do things like “hang with you / and watch Grand Designs” and wishing that “your mum and I could be friends / I think about her now and then / How we drove up to her house / I’ll never see that dog again.” Gartland eventually reaches the titular question, delicately asking “So tell me why this has to be so heavy / Tell me why this has to be / ‘Cause I really thought that we'd be cool / Some exception to the rule”. This song wisely embraces one of the duller pains of parting ways: the loss of all the little things that one can find solace in. We all wonder, do we really have to let these things go all at once? Does it have to be this heavy? Gartland answers, “But honestly, I think it has to be this heavy."

LA-based and Melbourne-bred pop artist Banoffee inches closer to her debut with a cheerful new single, "Count on You". Featuring mechanical yet spirited co-production from SOPHIE and Yves Rothman, Banoffee encourages us to look out for each other. "We can weep till the salt runs dry / Crystals on our cheeks / Make a cocktail from the tears you cry," she promises with a silvery sincerity. Her crystalline voice coaxes listeners to feel togetherness in whatever troubles there may be with a simple message: "'You can count on me." On the record's content, Banoffee said, “Each song uses human experience to talk about more complex concepts of addiction, obsession, heartbreak, and resurrection. Not to dwell in sadness, but to join hands.” With a number of infectious tunes dating back from 2012, as well as tours with Taylor Swift and King Princess under her belt, Banoffee's upcoming debut album won't disappoint. Look At Us Now Dad is slated for release on February 21 via Cascine and Dot Dash Records.