Hailing from Portland, Oregon Clara Baker's music expresses a strong sense of being in touch with nature and herself. Her newest single "Doubt" is her first release since her 2015 LP and is the lead single off of her second album Things to Burn produced by Shane Leonard (Field Report). Within "Doubt" is the sound of a troubadour, one that sings songs around campfires as people listen in, eager to hear how the storyteller has woven a tale into a melody. As a folk artist, Baker has mastered the lyricism required to tell good stories above a rich musical landscape. "My mama brought me up with on faith / my daddy brought me up with facts / I go to pray at the altar of the certainty I lack." There is a sacredness to "Doubt" in it's hushed tones and stringed instruments that prays tribute to it being anchored in the religious. As Baker reflects on what she taught from her upbringing she is learning not to run away or despise the doubt that comes along with faith and but rather see both as valid and worthwhile. Things to Burn is out March 8.

Loyal Lobos' debut EP releases today with soft-rock song "Burn" as its stand-out. It’s a song you can’t help to sway to and her youthful vocals drive the somber lyrics home. The LA native’s voice carries a relatable longing felt by her words and heard in her voice. The lines "You hold me just like my mother does, it hurts like hell / You broke, so watch me burn again" evoke a particular and familiar sadness. The simple percussion and guitar push her echo-y vocals to the forefront of the track with a slightly haunting aura as they intensify into the chorus — a feeling almost like finding something you thought you’d lost. Loyal Lobos' “Burn” is a sad song well-done. 

Miya Folick’s “Premonitions” is just the song for your next self-reflective midnight drive home. Folick strikes a delicate balance between contentment and yearning on this title track off her debut LP. Posing her deepest of existential questions to her listeners, the LA artist challenges herself and the audience to be more open with each other and themselves. Over an understated bass line and some lush synths, she sings, “If you ignore the darkness/then you miss the point of life.” “Premonitions” is a call for honest introspection and self-acceptance. Folick’s raw vocal delivery could be compared to a Strange Mercy-era Annie Clark, which is reason enough to dig into this track and others on her new record. The production is careful, intricate but accessible, just like indie pop records from Mitski and Japanese Breakfast. Folick’s record is fresh, fearless and ready to soundtrack your end of fall self-reflection. Give it a try!

Dutch-Ghanaian singer-songwriter Nana Adjoa recently released new EP A Tale so Familiar, a gorgeous collection of songs, with "Simmer Down" being the closing track. As an electric guitar and a piano usher in a calming and almost lullaby-like tone the themes of stories and nostalgia flood the song. The first verse gives us the setting of a comfortable house where records are spinning while the inhabitants eat "sweet bread" and drink "ageless wine." Adjoa refers to it all as "A tale so familiar," giving us the notion that something that once good and comfortable has now ceased to exist. There is a sadness to the song that is undeniable but it's coupled with a feeling of idllyic peace, as if living in past memories somehow makes them alive again. With her enwrapping voice and well-crafted lyrics, Nana Adjoa is the exactly kind of artist that we love to shine light on. Take a listen to "Simmer Down" to see for yourself.

"Out On A Trip" is the latest single by Chicago rock & roll band, The Evening Attraction. This tune was recorded straight to analog and produced by Twin Peaks', Colin Croom. As a listener you feel the pulse and the progression of the well-crafted lyrics. "Awake in a dream / But the night's not ending / You think you're asleep / But your eyes wide open / You know who you are / But now you're forgetting." Each verse paints an abstract picture, an out of body experience. But the chorus is repetitious and clever in a way that brings you back realizing it was just a trip, and it's all in your head. The Evening Attraction is creating music lyrically that is contemporary enough to stand amongst its peers but melodically respectful of the classics. The Farfisa Organ is reminiscent of the late 60s with vocal harmonies to match. These boys are the ones to watch. Stay tuned for more new music coming in early 2019.

With every corner of its soundscape filled to the brim with dreampop’s characteristic delay effects, it’s tough to make out every word of every line of Tallies’ new single, “Beat the Heart.” But that’s not really the point. Singer Sarah Cogan’s voice proudly shows the influence of The Smiths on the whole band, echoing Morrissey’s emotive depth and long syllables. The band describes this song as a rallying cry against “the lack of empathy that exists so strongly today” and hides that message in an airy earworm, hoping that it will carry listeners through difficult elections cycles and long nights post-Daylight Savings Time. Tallies announced their arrival into the world with their first single “Mother,” another entry from their new album due in January, more surf-pop than shoegaze in both sound and imagery, Tallies show that they are able to blend and contort their many influences into modern sounds.

Don’t let the perfect be the enemy of the good, says Kuinka singer Miranda Zickler, albeit with a far more vibrant energy. “Wet Cement” is a bouncy tune punctuated by Rick Astley-inspired drum fills and quick guitar trills, while low-end synths blend with Jillian Walker’s growling cello. Lucius fans will appreciate the song’s subdued dance vibe and the vocal harmonies panned out wide, but the lyrics paint a darker picture of “landmines and concrete clearing out the town.” 

“Wet Cement” calls to mind things that are never finished, never good enough or always improving, worry not if those improvements are for better or for worse. “Every wall here says the phrase / ‘Heaven wants to hold me down,’” sings Zickler, with some abstract ideal of perfection preventing others from being content with anything. Based out of Seattle, the imagery most obviously alludes to the rapid growth and gentrification of the city, but Kuinka praises the good, rather than the perfect, in all its forms. The second half of the song is a wordless celebration of the present, honoring what we have now and slowly building upon itself rather than tearing down the groundwork to create something potentially shinier.

Before you even hit play, the title of "Come By Sunday" will accurately give away the essence of this song. Easy like a Sunday morning and twinged with the nostalgic sound Major Murphy has come to master, this love song bares semblance to the folk classics. "Come By Sunday" shows us a side of a slow, down-beat song that's more picturesque and loving than sad, much like Simon & Garfunkel's legendary tunes. "I think we can go a whole long way together / Remember where we've been," frontman Jacob Bullard sings. After their debut album released this year, the band decided to pay homage to their past by releasing an EP of bedroom recordings from a time where Bullard was still honing his sound and songwriting craft. Named after the house the EP was written and recorded at, the Lafayette EP holds warmth and history within it, which is beautifully seen in its first single.

"Labor Fruit" by NYC-based indie-pop duo, Birch is out today! Listening to "Labor Fruit" feels like one insanely gratifying deep breath. The etherial quality to the music production and to singer-songwriter Michelle Birsky's voice creates a very calm inquisitive approach to a very noteworthy subject matter. We've stood here once before / It didn't go so well / We stood at the door / Knocked down the door/ Let's push down the door. / The song looks back on the feminist movement of the past and reflects on where we are today. It's about coming up against adversity and questioning whether or not you can keep on fighting. Be on the look out for Birch's debut LP femme.one coming early 2019. In the meantime see Birch live with Eyal Hai & Friend Roulette at Elsewhere on 11/17!

Nashville's Frances Cone recently released their new and noteworthy single, "Wide Awake" off of their upcoming album Late Riser. The song mixes different elements from soft-pop to electro and infuses it into one synth-filled emotional track. As Christina Cone sings the chorus the breathy echos and harmonies fill up the airwaves and resemble a mosaic, each separate piece beautifully fitting together to make a work of art. It's no doubt that her vast musical background expanding from classical music to popular music has helped her create a clear vision for her own music. Together Christina Cone and Andrew Doherty create Frances Cone's enchanting and innovative soul pop sound. Be sure to check out our Buzzsession with them from back in March and stay tuned for their new album Late Riser out early next year!

We all have an imaginary place of escape. A setting that lies somewhere in between make-believe and a place we’ve actually been. It’s nearly impossible to jot down or sketch on paper. This perfect place exists nowhere besides in our own heads. French producer, Zimmer, and Sydney-based singer Panama’s recent collaboration, “Wildflowers” takes a different approach to this very concept. Instead of aiming to tell us exactly what each of their made-up settings might look like, they tell us what it feels like to enter that abstract space. The track seethes with astral textures, layered synths and lavish yet earthy percussion. It cultivates an ideal balance between rich, maximalist production and a stripped-down sound that evolves organically with each passing moment. “Wildflowers” is feeling like you’re walking barefoot on a warm, cloud-like surface only to look down and realize you’ve been walking on cold concrete with heavy boots. It’s racing towards a feeling of deep exhilaration while sitting still. Have a listen and re-enter that place.