Ela Minus is, in the best way possible, a guerrilla tech geek using machines as a poetic extension of her anti-capitalist ideology in the EDM world. Heavily influenced by the likes of Kraftwerk, Minus talks enthusiastically about the special relationship she has with her synthesizers, the unique quality they each have and how she cares for them like friends. When you understand that she has built and programmed most of them herself, the idea of a personal connection with a machine begins to make a lot more sense. We’ve grown used to seeing artists and DJs on stage, lurking behind the faint glow of an Apple logo, but Ela Minus is uninterested in using a laptop to arrange her music. She writes, produces and performs on an analog rig covered in neon pink tape. Her pedals, synths and voice are the only tools she uses to create her hypnotic techno-pop beats. Gabriela Jimeno, the one-woman whirlwind behind Ela Minus, is no stranger to the DIY scene. Jimeno drummed for a hardcore band in Colombia from the age of 11 to 18, eventually making it to SXSW in 2009. She then left the band and her hometown of Bogotá to double major in jazz drumming and synthesizer design at Berklee College of Music. It was there that Ela Minus was born, first as a moniker for her graphic design, and then later as the solo music project now releasing subversive singles such as “el cielo no es de nadie.” 

In a low whisper reminiscent of Billie Eilish, Ela Minus peels back the layers that separate the peaceful intimacy of your bedroom and the anonymity of a packed dance club in Berlin, making them somehow indistinguishable. “el cielo no es de nadie,” like most of her songs, is about empowerment, and rejects the notion that lovers must go to the moon and back for each other. In a breathy voice that barely rises above the strobing backbeat, she tells us the only person who can give you what you need is yourself. Fitting for someone who would spend her college weekends going out to clubs—not to hook up, drink or do drugs—but just to close her eyes and dance.

Ela Minus's forthcoming album acts of rebellion is out October 23 via Domino. It is of course performed, produced and recorded entirely by herself. Photo by Teddy Fitzhugh.

There is a certain wildness and movement in “Material Life” that could awaken dusty bones. The eclectic release by indie-rock duo Lightning Dust, comprised of Amber Webber and Josh Wells, is a commentary on the need for more. There is always this desire in us for something deeper, something more valuable to dig into, giving us the feeling that we cannot and will not belong, that perhaps there is more for us that we have not yet been greeted by. The track begins with a steadiness, and at its midpoint slows down to say, “I’m in a world I don’t belong,” creating relevance within itself to the nature of being.

Angel Olsen’s “(New Love) Cassette” is a gorgeous rumination on the feelings one experiences when starting a new relationship. Her haunting, emotive vocals, drenched in reverb, convey longing in the midst of limerence. “I’m gonna show you love all of the time / Gonna be your breath when you’re out of life / Love / Free / Take / Me,” she sings earnestly. The simple arrangement—the version on the album Whole New Mess is stripped back guitar/voice vs. the lush, full version featured on 2019’s All Mirrors—is striking and heartbreakingly honest. This song is the perfect balance of bittersweet and nostalgic—a tune for anyone missing the dreamy and unraveling emotions that come with falling in love with someone new. Listen wherever you stream. Photo by Kylie Coutts.

Boston-based singer-songwriter Anjimile reckons with ways their demons have caused hurt to a lover on “Baby No More," a modernized bossa nova tune more harmoniously balanced than the relationship itself. "Scary / What I done and might do," they open, a fragile moment of self-awareness, yet inability to stop themselves from doing more damage. Referring to themselves as "King Heartbreaker," their lightly rasped vocals send a simple message, the only fitting end for a doomed relationship: "I can’t be your baby no more."

For the greater part of 2019, I found myself in the thick of it. Drinking heavily more nights than not and equally as addicted to an emotionally abusive relationship, my sense of self was all but torn to shreds. Much like Anjimile, "I quite literally felt like I was losing my mind, vis-à-vis alcoholism," though it was my close friends whom I hurt the most. While the fresh, upbeat nature of "Baby No More" contrasts some of the darker lyrics, for me, the levity mimics the relief that comes with detaching yourself where you need to; it's that second of clarity, seeking help and coming out better for it. Anjimile's debut record Giver Taker, which will delve further into mental health struggles and coming out as transgender, is due out September 18 via Father/Daughter Records.

Arcade Fire’s Will Butler has released the second single off his upcoming solo record, Generations. “Close My Eyes” grapples with the pain and hopelessness that fuel desire for a revolution. This soul-inspired, synth-y cruiser may sound lively, but Butler is shedding some warm lamplight on the reality of racism and collective trauma, and insinuates his need to stay in the backseat as a white male. The line “I’ve got to dance to keep from crying,” nails this sentiment. The chorus is a much needed release, with stacked harmonies to match the upswing. 

Butler’s jangly ballad digs into some Motown and also nods at early 2000’s indie-pop. These inspirations, as we know, generate a heart-swell that Butler knew was important to lend—leaving the listener feeling heavy with the reminder of today’s realities, but also appreciative of what we have to get us through. The rest of Generations drops on September 25, where more of these themes are sure to emerge. Photo by Will Butler.

girl in red's new single "rue" is a haunting, emotional track, obviously inspired by the HBO show Euphoria both sonically and lyrically. From the start, the pounding drums and reverb-drenched instrumentals recall the dark nights and neon dreamscapes depicted in the series. The lyrics describe a relationship in which her mental health issues have made things hard on her partner, taking a toll on the relationship—similar to the dynamic between Rue and Jules shown in Euphoria. She describes crippling depression in the lines, "I hate the way my brain is wired / Can't trust my mind, it's such a liar / Believe me when I say / I can't carry the weight." Despite her struggles, though, it becomes obvious throughout the song that she wants desperately to save the relationship, repeating "I will make it work" in the bridge like a mantra, almost as if her saying it enough times will make it come true. "rue" is an emotionally impactful, atmospheric track with a booming, catchy chorus that will not be leaving your mind anytime soon. Listen to "rue" wherever you stream. Photo by Isak Jenssen.

Ahead of the release of his first solo project under the name of Lupin, Hippo Campus's vocalist and guitarist Jake Luppen presents track "May". The single is a delightfully chaotic introduction to him as Lupin, even for the fans who were already used to him as Jake. An honest reflection on his relationship at the time, May's lyrics might remind you of the feeling of the passage of time this year: "It lasted longer than you had expected / (Oh May) But shorter than I thought it'd be." The daze of the energetic beat or the heightened vocals only corroborates the idea of ever-so-reluctantly letting go of a connection with someone. While his writing on Hippo Campus had the mixed energy of a crew of artists, Lupin's self titled debut album is set to be a deeper dive into him as a whole—his story, his ups and downs, his most profound fears, the mark he is leaving in the world. The album's release is set for October 9.