ALASKALASKA’s newest single “Bees” comes in fast and strong in the first few seconds then mellows into a groove that extends throughout the four-minute song. With a seamless layering of instrumentation, the South Londoners build an ethereal and futuristic track without losing touch of reality. This is due in part to the grounding nature of Lucinda John Duarte’s vocals. Their sound is malleable. It ebbs and flows without constraint mixing more electronic elements with a surprisingly sexy saxophone that peaks in and out. Though it is lush with sound, each element is balanced perfectly. No one part overwhelms or even tries to compete with the others. Their experimentation extends past just the sound as there is no defined chorus for the song. This fits with the message of constantly questioning and progressing as it ends with Duarte repeating, “Buy another face, pretend.” “Bees” is the second single from ALASKALASKA’s debut album The Dots out on May 3rd.

Brooklyn residents and lifelong friends, Daniel Alvarez de Toledo and Jordan Dunn-Pilz have been hard at work on TOLEDO’s new EP, Hotstuff, due out today, April 5th. “Some Samurai” is a dreamy track from the forthcoming EP that showcases the duo’s penchant for tight harmonies, soaring production and storytelling through run-on sentences. The song ties these elements together at every turn, like the feeling of time grinding to a halt and zooming in behind the line, “It’s hard to watch you want to understand,” before jumping into a shimmering chorus, hiding the duo’s doubts behind a veneer of dream-pop. It’s unclear whether or not leaving your “shoes lying in the hall” really qualifies you as “such a mess,” but if you feel that way, is there really a difference? Constant battles with inner demons can lead to constant battles with others. “Some Samurai” reminds us of the ways in which this kind of isolation can be so paralyzing — “Still I can’t stand to be alone / No, I can’t seem to stand at all.” There’s so much to unpack in TOLEDO’s vivid writing style, but it’s easier to get lost in the joyous choruses.

A whirlwind of sound and feeling, Chris Cohen’s “No Time to Say Goodbye,” off his brand-new self-titled album, highlights the multi-instrumentalist and songwriter’s lyrical and compositional talents. This track is equal parts lively and somber, and altogether unique. Full percussion, keys, traces of synth, plenty of guitar, and surprise appearances by other instrumental elements in the bridge play with equal rank to Cohen’s vocals, nothing fading or lost in the background. The poignant lyrics, “the fun is over // goodbye my darling,” drive home a particular sadness akin to knowing exactly where you lost something you knew you could never get back. Truly a masterpiece in its arrangement, evident by subtle key changes and a classic, low-fidelity sound, “No Time to Say Goodbye” is just one of many hits from Cohen’s latest project.

The stormy, unconstrained sound of Berlin-based, protean singer-songwriter and producer, Mogli truly comes alive in her latest EP, Patience. The brief yet stirring five-track project is a cohesive narrative of personal growth and acceptance in the midst of mental health issues. Mogli's unique upbringing as a child opera singer in a gender-free household in rural Germany with her two mothers is especially reflected in the title track, "Patience." In this song, she hones in on the power of self-empathy, healing, and taking in the moment for what it is. You can hear traces of female folk-rock icons, Cat Power and Feist in Mogli’s tender timbre and emotive melodic structure as she sings, "we should have patience to let the hurt dry out / we should have patience to let our hearts down.” Like much of the EP, “Patience” is soaked in dreamy, somber synths and uplifting percussion that effortlessly carry Mogli’s vocals through calm, patient waters.

“Martingale” is a darkly sweet new song from Aussie indie songwriter Jo Schornikow’s debut LP, Secret Weapon. During the time the album was written, Schornikow moved from New York City to Nashville and had two children with her husband, Matthew Houck of Phosphorescent (a band with whom she also tours). Grappling with her new identity, grounded now in motherhood, Schornikow wrote Secret Weapon as a rumination on the complexities and intricacies of being a parent. On “Martingale,” she does so with quiet tenacity—addressing large subjects, like love and persistence, through hazy vocal melodies and a soft, sparse arrangement. A reflection on the production, Schornikow recorded the album with a friend in a modest home studio in Melbourne. The subtle build throughout the song, led by keys and guitar, culminates in a beautifully reflective chorus of backing vocals that gives new intention to the track as a whole. At exactly two minutes long, “Martingale” is an ephemeral powerhouse on an album full of gorgeously bare songs.

With “How To Love You Today,” you're guided through the initial feeling of being completely in love and trying to figure out how to translate something so beautiful into words. Son of Cloud’s much-anticipated album is right around the corner, and the first single doesn't disappoint. Indie-folk singer, producer and songwriter Jonathan Seale's moniker is a nickname given to him by the Yukpa indigenous tribe of Venezuela, close to where he grew up. In "How To Love You Today," Seale pulls us in with swipe-you-off-your-feet lyrics and the kind of wholehearted vibe of a well-worked folk melody. The artist has been working on his album while producing for several other artists over the last ten years. Son of Cloud’s self-titled debut comes out on 4/12.

Putting down roots in a new town and a newly expanded sound, Jordan Reynolds, the Atlanta-based frontwoman of Rose Hotel, steps out with a full band and a hint of nostalgia on her shimmering new single "10 K." The first release from her upcoming debut record, I Will Only Come When It’s A Yes, "10 K" is a departure from the project’s lo-fi folk beginning—marking Reynolds' arrival at a more fleshed out, supported sound. Over a collage of bright, roomy guitars and crashing percussion, she details the bittersweet ache of the passage of time. “Nearly old enough but too young to understand / time isn’t slowing down and I see wrinkles in my hands” she croons with a contemplative, unsettled ache reminiscent of the folk greats of times gone by. Reynolds has a knack for unraveling her thoughts through bruising storytelling, finding clarity in her razor-sharp observations about love, loss and uncertainty. Keep an eye out for Rose Hotel’s forthcoming debut LP, due May 31.

Josh Karpeh, the creative mind behind Cautious Clay, can pretty much do it all. He’s a singer-songwriter, producer, multi-instrumentalist and amazing performer, and he does each one of these things with sheer talent—timing the beats of his R&B style to perfectly match the message that his raw lyrics deliver. "SIDEWINDER," the first track off his newest EP, Table of Context, highlights the very skills that Karpeh has become so well known for in his art. The lyrics, which explore the idea of choosing sides and seeing the truth, are compelling and remain sincere to a contemporary soul style. As it floats along unabashedly, "SIDEWINDER" is perfectly balanced in how emotionally charged it is. We are ready for more of Karpeh's beautifully crafted work, no frills or excess, just funky beats that deliver a punch.

With the namesake of a tarot card that represents insight, honestly and simple solutions, Daughter of Swords is the new and aptly named solo project of Alexandra Sauser-Monnig. One of the golden, otherworldly voices of folk-trio Mountain Man, Sauser-Monnig has long possessed a keen ability for creating rich, poetic narratives that root themselves in the beauty of everyday experiences. Her first release under the new moniker, "Gem" is a precious summer-soaked keepsake, a treasure found amongst sweet green grasses. Produced in tandem with Nick Sanborn of Sylvan Esso, the track is playfully composed and quietly danceable. A gently puttering drum track and a bright, jangling guitar sway and shimmy as Sauser-Monnig dreams up the kind of beaming, wondrous world that falling in love gives us a window into. A meditation on the peace and vibrancy of loves both old and new, "Gem" is the setting of an intention and a declaration of optimism, a finger held up to the wind. We’re anxiously awaiting the rumored summer release of the full-length Daughter of Swords record, soon headed toward a golden hour near you.

“We were strangers for all of those years / now we’re strangers of a different kind my dear” croons singer-songwriter and multi-instrumentalist A.O. Gerber on her new single, "Strangers." Though the love that Gerber sings of turns out to be star crossed, the tune itself feels more cosmically aligned. Layered vocals that waft in harmony above sparkling, roomy instrumentation make this a daydreamy, easy listen and though the tune’s laid back composition easily lends itself into the canon of Gerber’s Los Angeles locale, "Strangers" does much more than groove. Gerber’s lyricism prods at the ache of distance and heartbreak, as she tries to untangle the questions that she’s found herself wrapped up in. Unwilling to be defeated by the uncertainty, Gerber remains to the chase and challenge of love, singing “here’s to making the same mistakes again / and again / and again,” as guitars warble over a warm, humming soundscape. A.O. Gerber is hard at work on her upcoming record co-produced by herself and Madeline Kenney and we're looking forward to more of her vibe-y folk rock.