I’m sitting here listening to a ghost rise from my speakers while my body responds physically to the familiar sound of distortion pedals; with every whine of guitar, an old tremor of hormonal angst climbs up the ribcage to my heart while my arms slowly and rigidly begin crossing themselves. Before I know it, 15-year-old me is huffing and puffing at the door, and she’s back with a vengeance. I spent my teens like a lot of isolated kids do, scribbling in my journal, rolling my eyes at anything that moved and crushing on boys and girls who looked straight through me. The only method of keeping the unpalatable world at bay was the pair of headphones secured tightly around my ears blasting the Yeah Yeah Yeahs, BRMC and The Killers on heavy rotation. That is to say, in a time before kids my age had any sense of self beyond malaise and wretchedness, we had early 2000s indie. 

“Impossible Weight,” the title track off of Deep Sea Diver’s forthcoming October album, embodies that era. It’s The White Stripes meets Sleater-Kinney, meets a cool glass of water with a cruel and jagged lip, meets a hole I want to crawl into headfirst, partly because of nostalgia, and partly because I'm so glad you can still find it somewhere. Frontwoman Jessica Dobson’s vocals prick like needles alongside the jaunty four-on-the-floor drumline. They dance through the verses, pushing the sound up and out towards the epic. A meek wail of guitar is layered in and around the chorus right before Our Lady Sharon Van Etten enters, her steady rich voice ringing out and grounding us against the bouncing instrumentals. The two singers move together in harmony before the music strips down once more, this time to only Van Etten’s low murmur—then the layers build back up again into a thunderous bridge. There’s something about the way that she draws out the last vowel in the line, “So I’ll just let you down now,” that creeps me out and electrifies me at the same time. Kind of like looking back at how formative music from a certain timeframe can be to a generation, how it accompanied us during that period and therefore shaped us as well. Yes, it’s true time (and therapy) heals all, but that doesn’t mean I didn’t run to preorder the LP from my local record shop immediately after listening. Photo by Matt Wignall.

“Sorry,” the latest single from beabadoobee’s forthcoming album Fake It Flowers, is a 90s inspired ballad featuring gorgeous string arrangements. At its core, the song is about what it means to confess to one’s wrongdoings in a relationship, and wondering how those mistakes will come to affect both parties involved. “...I’m doing alright and guess I’ve been feeling fine / But it hurts me / That you could be the one that deserves this / Even more,” the British-Filipino artist also known as Bea Kristi states earnestly, backed by an electric guitar. Halfway through the song, there is a sonic explosion, and the track takes on a rockier, gut-punching feel—a large departure from its simple, string adorned beginning. To start the second half of the song, she sings “I never want to think twice / With what could have been your life / And I’m sorry / I’m sorry.” An earnest, heartfelt apology, she acknowledges that she too has experienced bleak periods similar to the ones that the person she is addressing is currently living through: “...You stayed in the same dark place that I adore / But you stayed for more / I guess that’s what happens to the best of us.” Overall, “Sorry” is an exceptionally strong single that is bound to leave listeners asking the tough questions about themselves and the behaviors they have exhibited in relationships. Keep an eye out for Fake It Flowers, which is due to be released later this year, and listen to “Sorry” wherever you stream.

“Someone New” is Helena Deland’s commentary on the rhythm of the self and the infringing desire to find oneself reflected in the eyes of others. The slow-rising track stands as the title track of her first LP, which was recorded over the lapse of two years and can be expected in full come October.

There is a sort of elemental component to lending oneself to another person; to be seen in their eyes and to be rid of all control of the presentation of the self is an experience that carries its own celestial weight. In lending the image of the self to the hands of someone outside of the self, there is the opportunity for transformation, but not a solitudinous change; a reflection which absorbs an image of a person and transfigures it accordingly, in turn giving a lover a new image of themself.

In “Someone New” Helena Deland inspects the tendency that many have to seek out validation in the hearth of another. The fullness of her voice weaves through oscillating paces:

“If things go my way

I'll stay in this room

Where again I want to lay

Kissing someone new

Who tells me

Something pretty

So that I too

Can feel like someone new.”

In “AUATC (Ate Up All Their Cake),” Bon Iver’s crew is rolling deep: the voices of Bruce Springstein, Jenny Lewis, Jenn Wasner (Wye Oak), and Elsa Jensen meld together with Justin Vernon’s helium-ed vocals into a buzzing confection of a track. A commentary on capitalism, its lyric “shed a little light” also winks at James Taylor’s 1991 civil rights song.

At 2:22, "AUATC: is likely just a snack—following Bon Iver’s release of "PDLIF" in April, speculation hints at the possibility of a forthcoming 5th album of acronym-based titles.

Available via Jagjaguwar, the track was released with an accompanying statement including its full cast of credits and a call for listeners to support five organizations “working tirelessly to foster a world that celebrates our humanity on a local, national, and global level.” Also, be sure to watch the music video featuring exuberant movement and dance from Randall Riley.

Emulating a Sylvan Esso style vocalization on this track, Fake Dad serves up a summer's end song with their latest single "Summer Hill." Dreamy, ethereal guitar ushers along the psychedelic and surrealist lyricism of this easy-going, vibey tune. "Summer Hill" is about living in the moment. It's an observational tune about the quick passage of time. 

The musicality, similar to the track's themes, is taking its time. It's gentle, plodding and intentionally placed. Andrea de Varona's vocals here sound exceptionally striking. In an effort to live in a headspace that appreciates daily beauty instead of wishing the day away, "Summer Hill" is a great reminder to stop and smell the roses (through your mask, of course).

Check out this new single from Fake Dad and listen to the rest of their tunes wherever you stream!

“thank u love u”— that’s all boylife, aka LA artist Ryan Yoo, wrote when he released his newest single. 

“boston” has a nostalgic kind of texture, like the intimate grit of an old mixtape. It gives body to that stickiness we’ve all experienced from a song when it transports us back to a very specific time and place—a person, a scent, a state of emotion, a certain cast of streetlight. I’ve lived in Boston, but the magic of this song is that “Boston” can represent any place where you’ve dreamed in or dreamt of. With soft organ and reflective gospel-like call and response, it offers a reminder that the relationships and experiences we have in these places shape us for better or worse. For that, we can appreciate them, grow, and also let go with a simple “thank u love u.”

Evolution is a natural part of being a musician, and tracking the evolution of an act from their first release through the rest of their career is one of the most rewarding aspects of following an artist. Some artists hop between genre and sounds as they see fit, incorporating new elements as a means to progress their sound or diversify their fanbase; others opt to take their initial approach and refine it, working within their existing soundscape to find new angles and methods with which to improve their art. When it comes to British dream-pop duo Jadu Heart, it seems that they have opted for the latter. “Burning Hour"—the sixth single from the duo’s forthcoming sophomore effort Hyper Romance, out September 25—traffics in the same ethereal vocals and jangly guitars as a majority of tracks from their debut album, Melt Away. However, there are clear signs of artistic development on display throughout the track; the songwriting is more direct, there’s less hesitation to be loud to get a thematic point across, and the duo’s voices seem more complementary to one another than ever before. The end result is one of the most addictive singles yet from the duo and one that will keep expectations high ahead of the album’s release next month.