When I think of David You, I think of morning coffee rituals and subdued light filtering through linen drapes. I think of soft summer evenings and sharing a bottle of wine with friends in the park as the sun sets over the trees. I could describe his voice as gentle or angelic, but really it’s the feeling of safety that his music invokes that I find remarkable. Much like the park, it allows a person to forget the busy rush of city streets just outside its perimeter. “Moon is in Charge” is You’s first single since his springtime EP, Beautiful, Like Pyramids, and after retreating home from a busy day it feels right to let the tender whisper of his voice fill the four walls of my room.

The simple arrangement of acoustic guitar and airy vocals makes for intimate lo-fi without any of the posturing. You sings about the repetition of the ocean waves, crashing over and over, and how he’d rather be “just like a small stream that joins a river's flow / knowing where I’ll go,” which is especially poignant in a time where we’d all like a little less chaos and a little more clarity when it comes to the future. Sweeping textures give substance, and You’s signature harmonies layered with the subtle hint of percussion and a shaker here and there complete the halcyon tableau of his songs. So pour yourself a cup of tea, put on your comfiest and give David You a listen.

Electro-folk duo Wolf & Moon offer a drawing of love’s attention span through “Eyes Closed,” their latest single. The racing pulse mentioned in the second half of the track is reflected in its very rhythm, aligning the physicality and musicality of a beating heart from its exposition on. Two voices fall in unison, as if to explain the sensation, through a series of focused, affectionate expressions. 

The voices of Stefanie and Dennis compliment one another, calling forth the component of love that exists not in the personal body, but in that of another. Repeated lyrical fragments place great significance on small details (“Your mouth is, your mouth is, your cinnamon”). A collage of reflections like these join the listener to their enchantment.

“Fila,” by Boy Willows with Dylan Minnette, is a two part story. Lulling hums intercept a metallic beat to welcome the first half, told by Landon Fleischman (Boy Willows), who vocalizes life’s cyclical nature in perfect contrast to his linear verse-interlude-verse composition. Fleischman experiments within a pool of genres, yet his work sustains an identity defined by welcoming conversations and gentle deliveries. 

Minnette’s voice carries out the rest of the story in bright ripples of disguised panic. This is the actor/musician’s first collaboration with Boy Willows, and their voices are so cohesive that you might think they’re one at first listen. He concludes with an echo of Fleischman’s earlier sentiment, “I just feel like I don’t deserve this life.” The overall weightlessness of the track is effectively sympathetic to those competing feelings of attachment and detachment.

With unassuming confidence, Brooklyn-born Staten Island-raised R&B artist Justy advocates for self-acceptance on the smooth jazz-hop single "Cool." While the production channels golden age hip-hop, Justy's vocals waft smoothly over the beat as she quips, "Money in the air, money in the air / I don't really care, I don't fucking care." She has this way of sounding both laid-back and indulgent in herself with these nonchalant lyrics. They're simple truths I wish I knew when I was eighteen, constantly remolding myself into what I thought people wanted. I'm taken with Justy's choice to sample Eartha Kitt, not in song, but rather in the form of a 1982 interview in which she scoffed at the thought of having to compromise who she is for a man. 

Nothing matters, when you really think about it; what time of day is best to post on Instagram, what people will say about my next quarantine hair color (I've been through four already), whether I'm too much of this or not enough of that. "If I gave you the world, no it still wouldn't matter," Justy sings, a reminder that you can't please everyone, and that approval you think you need isn't the answer. Take it from both me and Justy: there's nothing sexier than knowing and loving yourself.

As the fresh air of autumn circulates amongst us, so the delicacies of artists like Jesse Kivel circulate softly within and around us. “William” is Kivel’s first released track from what will be his very first solo LP, Infinite Jess, coming out in full on November 13. This track is similar in quality to the work of The War on Drugs in its timeless sound. It is the type of song that evokes the chill of an autumnal bike ride through suburban streets, feeling and fantasizing all the while. Through the ricochet of warm synth, the clearness of Kivel’s voice intones in honesty. Photo by David Kitz.

September 21 welcomed the first day of autumn and a brand new album from the Seattle-based folkies, Fleet Foxes. “Sunblind,” the second cut off of Shore, is a bright and lush eulogy of influences and contemporaries. Throughout the track, frontman Robin Pecknold names off around nineteen artists that have both had an effect on Pecknold’s life and have passed away at a young age. Though the song deals with death, it never comes across as mournful, at least not in a traditional sense. Pecknold vows to carry on the legacy of Elliott Smith, Arthur Russell and a handful of others through his own music, celebrating and honoring by creating music under their influence. Instrumentally, “Sunblind” reflects the same idea, rising to a crescendo under sunny guitars and warm vocals. Fleet Foxes are a great band, and “Sunblind” finds the ensemble squinting to the heavens as they cite some of the sources of their success. Photo by Emily Johnston.

There’s a special kind of innocence tied to the tumultuous journey of an immature love. From the spirited beginnings that paint our worlds crimson red all the way through to the disillusioned end, an immature love is often one that we cannot forget. The Hong Kong native cehryl simulates these mercurial highs and lows in her charming release “superbloom.” The lo-fi bedroom pop track is minimal in nature yet speaks volumes of its own in such a short amount of time. Utilizing story-like lyricism to guide the song in a poetic fashion, and a youthful soundscape to maintain a sense of innocence, cehryl unfolds a good-natured love that is not quite yet able to bloom. In the words of the young creative, “['superbloom'] is about the death of immature love.” The song sees itself as the artist’s third 2020 release following "Hide n Seek / Moon Eyes” and a “Together Lonely” remix with Tim Atlas. Although “superbloom” is much shorter than the former tracks, it’s definitely one you’ll find yourself listening to on a loop!

Nashville-based R&B/soul singer-songwriter Shannon Lauren Callihan delivers a romantic groove that is sweet and sultry in its proclamations. “Love You Right” is a track that is full of sweet-somethings, one of my favorite lines being, “I don't need no shiny things / Just want the joy your smile brings / It's in the way you look at me.” Reminiscent of the modern sounds of Natalie Prass and Tom Misch, while infusing elements of classic soul, Callihan is an artist you can listen to and satisfy any mood. Smooth vocals mixed alongside funky bass and an air of vinyl crackle creates a sound that could be described as both modern and timeless. A multi-instrumentalist known for her guitar playing, Callihan started releasing singles in 2019 and shows no sign of slowing down. Working with Nashville producer Jude Smith, she is focused on putting out more music and solidifying her place in the world of neo soul. Photo by Sydney Conrad.