dielines, the California-based indie-folk duo consisting of Daniel Berkman and Trevor O’Neill, prepare us for their upcoming album with their newest track "Chasing Rabbits." Though self-described as curators of "psych folk," this single lends itself to a softer, warmer acoustic sound that most people do not associate with the genre. Reminiscent of early Fleet Foxes, this track has the lyrical implication of an anxiety attack, but harmonically makes you feel like taking a drive on a winding mountain road. True to that analogy, "Chasing Rabbits" is full of twists and turns—Berkman's eccentric vocalization providing the majority of the intrigue and emotional gravitas.

New York-based singer-songwriter Fay Liew, performing under the moniker FIG, has released a new track about "leaving things which feel like home to you." "Stamped With Love" transports listeners to those final moments before departing, as depicted in the dreamy cover art by moosepopcorn, when the scenes are fresh, playing back like a film reel. The nostalgia permeates through her nonchalant vocals gliding over a retro R&B-influenced beat, with bittersweet lyrics like "Catching fireflies / Jumping oh so high / Imprinted in my head" reminding us of the things we all hold onto. Whether it's an old flame or a city you've left behind, FIG lets you know that even when change is imminent, memories and lessons learned are souvenirs to take along as you move forward.

“Was it something I said… oh fuck.” MyKey's new song "Was It Something I Said" begins with these softly spoken words right before bursting into sound. Though rhythmically upbeat and melodic, the song’s lyrics convey a sense of bitterness and resentment. Coupling the beat with the lyrics produces an underlying tone of nostalgia; it’s almost as if there is a dreamy memory washing over the bitterness. Introspective, soft, and bubbly— it’s the perfect song for a summer night.

“Not How It’s Supposed to Go” by Ashe is the closing track off of her most recent EP Moral of the Story: Chapter 2. Beginning with a calmly rising piano that stands alone for a moment, Ashe begins to relay an increasingly invasive set of societal expectations. In defiance of these expectations, a chorus swells beneath her achievement of clarity against these impositions. Our narrator “makes a wish into a fallen eyelash,” perhaps to find some understanding or solace within this life she finds herself in, but the eyelash “flies away and so [she] takes [her] life back.” Musically and thematically, the conclusions reached throughout this song’s journey are perhaps ‘not how it’s supposed to go’, but listeners ought to be glad that it did.

Mini golf’s single “Audrey” is harmonious in an unorthodox way. Leading in with cautious strings and what sounds like a slowly rushing waterway, the song moves quickly and boldly from the outset. In an amalgamation of synthetic, acoustic, and resonant natural sounds, the thematically chronological progression of the lyrics lulls the listener into a sort of subdued bystander role. Hearing but not fully participating in everything thanks to the paradoxically calming and exciting collection of instrumentals, eventually to be contented with the conclusion: “Sunlight gets brighter, at just the thought of you.”

Within the open-armed, free belts of “Dim The Light” ready ears may find strands of honest self-discovery and powerful utterances. This courageously self-aware track is one of many refreshingly candid pieces from Nashville indie pair The Harmaleighs’ new LP She Won’t Make Sense. “Dim The Light” is a movement-generating shadow-cast of the woes of loving someone while simultaneously holding hands with a lingering toxicity.

Chicago indie-rock outfit Whitney’s newest single “Used To Be Lonely” sounds like a slow summer drive through the country. A blend of folk and indie rock, the song fits in well with the last two singles—building a believable world for their upcoming sophomore album Forever Turned Around. The track starts with minimalistic piano and fingerpicked guitar before Julien Ehlrick’s recognizable voice joins in. It builds to eventually include a more stylized electric guitar, a gentle driving drum, and a chorus of horns that somehow refrain from overpowering the track. In a sea of sad songs, "Used To Be Lonely" lends some optimism without throwing it in your face. It addresses the fear that your current state of happiness may one day disappear—“I’m afraid you’re letting go / cause the only life I’ve ever known / Used to be lonely.” The instrumentals push the song to sound more optimistic than panicked. "Used To Be Lonely" is a languid declaration of a fear that is usually kept secret—something that is hard to escape and ignore but mustn’t be dwelled upon. If you think too hard about losing happiness, it will become a self-fulfilled prophecy. It is helpful to realize that just like leisurely summer drives, nothing lasts forever.