“My Dead End Self” begins with technological reminiscence. The stillness around me is filled with the recognizable yet abrasive sound of a skipping CD. I am briefly teleported back to my childhood, recalling the countless hours spent playing the same albums on a purple boombox until they too developed that eerie but familiar skip. However, as the song continues, I am jerked from my reverie and tactfully reminded that, for all intents and purposes, CDs are extinct. We live in an age where music is produced, consumed and promoted on the internet, and the band Dirty Nice couldn't be any more aware of this phenomenon.

If the Talking Heads were a product of the late 2010s as opposed to the mid-1970s, they would probably sound just like Dirty Nice.With a sound that pays homage to previous new wave artists through skilled sampling and synthesizing, “My Dead End Self” is hauntingly existential, yet ironically emotive—"All I need in these dead-end times is a place to live my dead-end life." The track and its accompanying music video pulse with an impending sense of doom and engage in a one-way conversation with what seems to be the end of the world. While the track itself is only three and a half minutes, its message is profound and long-lasting, giving you something to think about long after the sound fades into the atmosphere.

Our final Quadio song of the week is “La La” by Florida-based, up-and-coming indie darling Laney Tripp. With drowsy, meditative sounds and smooth, balmy vocals, Tripp takes you on a walk along a breezy seashore. As the track progresses, you look around and realize that, even though this uncharted beach is desolate and wild, you can’t help but feel a deep sense of comfort and security. It feels like home. “La La” hits your ears in the same way: it feels effortless yet purposeful. Laney succeeds in combining the rich inner monologue that she carefully dissects within the four walls of her childhood bedroom and recording space with the overwhelming dynamics of the outside world. All of this combined with her drowned-out yet crisp, twirling production and surprising compositional choices make for an infectious tune. “La La” is a chilled-out bop, and we’re so thankful to Quadio, the new college student-driven streaming service, for introducing us to such a promising artist that will likely be on our radar for years to come.

Quadio is a new streaming service revolutionizing how we find up-and-coming new artists in the college sphere and we are pleased to be partnering with them during the next week to introduce you to the newest in indie. This week we've been streaming "Partly" by Ellie Williams. Anyone who's bumped into an ex at a party unexpectedly will feel seen and understood listening to this track. Lyrics, "I'm partly overwhelmed and partly confused / Forget to inhale at the sight of you / I don't understand why I react this way / I'm wishing this were just another party, partly" ring out over the dull and all-too-familiar roar of a get-together as Williams explores the flood of emotions of an unexpected encounter with an ex-lover. In her own words, "Being both shocked and slightly pleased to see them, it follows the internal conversation you have when coping with the fact that someone you once loved deeply has now seemingly become a stranger." We are more than partly in love with this single from Williams, and hers is one of hundreds of hits from emerging college artists found on Quadio.

Occasionally, when a piece of music pervades or impacts the culture it arose from so profoundly that it gains universal acclaim, it is afforded the descriptor of “timeless”—as clear a sign as any that the piece will be covered by new musicians well into the future. Onyx Collective, the New York-based experimental jazz group that have taken on a somewhat mythical quality in the city for their high-energy and technically impressive live shows, have taken it upon themselves to reimagine a bevy of classics that emerged from the mind of Richard Rodgers—one half of the iconic duos of Rodgers & Hammerstein and Rodgers & Hart on their new album Manhattan Special. The single and album closer “Blue Moon” features frequent Blood Orange collaborator and R&B powerhouse Ian Isiah, whose strong soprano is perfectly suited to tackle the melody that forms the emotional center of the track. The instrumental backing is unusually subdued when compared to Onyx Collective’s other work, but that in-and-of-itself is the mark of talented artists. Great covers don’t necessarily have to be flashy or purposefully different; sometimes, it’s just about paying homage and lending your talents in order to keep the song alive in the collective conscious. The sheer technical ability possessed by both the band and singer result in a delightfully refined rendition of a ballad that has stood the test of time for 85 years—and with the Onyx Collective’s help, it will surely continue to do so.

Calming chords swell as gentle keys bring the song to life. Adding in clock-like drums, time seems to be expanding with each new note of Heather Chelan’s heartfelt vocals. Vocals which start as an intimate conversation, quickly growing into so much more. We hear them gaining confidence and strength as the narrative builds. Finding new rhythms to deliver the lyrics, Chelan shifts into a new gear. It is perfect for the moment, proving their prowess in building an impressive song. Angelic background vocals flourish with each note, creating a moving chorus. The energy throughout the song feels like the clouds parting—Chelan coming to terms, finding clarity with the song’s story, while the arrangement finds new ways to shine with every turn. A perfect moment sees a soaring Chelan slide effortlessly from a dreamy bridge to the most powerful chorus yet. An irresistible performance, and Heather Chelan’s first release since 2018. There are only good things to come.

We just announced a partnership with Quadio, a social music streaming platform for college students, and are excited to be taking over their Artists of the Week section this week and next. First up we have Berklee student Francisco Haye (aka Cisco Swank), who pays homage to several of his jazz, soul, and R&B ancestors on his new track, “Home.” With chord progressions and vocal runs that evoke a young Stevie Wonder, bare and buttery production in the style of Frank Ocean, and the full live jazz band appeal of Anderson .Paak & The Free Nationals. Haye demonstrates not only that he’s been doing his literal homework, but also that he is capable of synthesizing these royal influences to make something fresh and uniquely Cisco Swank. At times, the beat is so syncopated that it feels like time is going backwards—in a good way. And though the lyrics may at first seem simple and repetitive, by the end lines like, “I know you been searching for way too long” have a mantric, centering effect. So if you have been looking for a new self-produced soul artist who is just getting started but already knows what he’s doing, you may have “finally found the answer” here.