A tune about the open road and a yearning heart, "Montana," the latest release from Brooklyn based singer-songwriter Eliza Elliott, is a distillation of equal parts sunshine and heartbreak. A tumbling, rhythmic guitar keeps time while Elliott measures the distance between herself and an unfinished love with the states that lie between them. Soulful, grounded and sweet, Elliott has the kind of voice that you can’t say no to. Her lyricism is narrative and intuitive as she lays her heart on the line with searing honesty. She examines the confusion and duality of unrequited love, confessing “How I wish you didn’t move to move to Colorado / no wait I wish I didn’t keep you in my phone.” This tangible uncertainty doesn’t come across as a weight, but rather as a reminder of the importance of perspective as Elliott finds a sense of lightness and joy in the face of an undetermined future.

Brooklyn dream-pop duo Savoir Adore’s newest single, “Body Heat,” feels like being transported to a glittery 80s dance party. Lush with technicolor synth sounds and carried by vocals as crisp and clear as a diamond, the song is a hi-fi headbanger that grips you from start to finish. The bright and fun production style makes apparent the song’s intricacies—like the low, ooo-ing backing vocal in the verses, barely above a whisper—while still letting you immerse yourself in the sound as a whole. Singer Lauren Zettler’s vocals are reminiscent of a millennial Madonna; playful and reverberating, they dance through the song with an inviting wink in your direction. “Body Heat” is a fun, hook-filled pop song perfect for dancing the night away with your friends. Hear it live when Savoir Adore plays the late-night dance party at Welcome Campers this May. You can buy tickets here.

"Mango," explores the innocent and intoxicating feeling of figuring out who you are and being exactly that. The sweet vocals of Zigi, who now rocks the Darcie name alone, are enough to get you addicted to the mellifluous vibes of the song. With strong calls of love and confusion from getting lost in someone, the lyrics and melody fully encompass Darcie’s unique and lovable sound. The artist is set to play her first headlining shows in the UK next month.

Your speakers aren’t cutting out. Shura’s “BKLYNLDN” starts not with a stutter but with a full-on double-take. Shura finds herself totally consumed by a new transatlantic love but riddled with the uncertainty of where it will end up, both physically and emotionally. She is nonetheless overcome with that every-minute-of-every-day sort of obsession, singing, “This isn’t love / This is an emergency.” The chill sway of the song belies her worries as she frantically second guesses every minute without a phone call. The final movement of the song is an expression of pure joy, a day spent basking in the sunlight, as the two lovers finally co-locate. The song picks up the pace and a squishy synth bass adds an undeniably playful air to a song that was thus far so steeped in its own hesitance. Symbolism and imagery, like the first verse’s lofty comparison to Jesus, are no longer a relevant currency for a feeling so simple and pure, so Shura resorts to an equally simple and pure expression of her love — “I think you’re awesome.”

“Stranger” is the seductively dreamy debut track from folk-pop band The Weird Years. This four-piece may be brand new, but its members are all seasoned musicians, which fits the single’s timeless, ethereal sound. Beautifully stacked harmonies work with soft, raw guitar picks and a piano soaked in reverb to create a hypnotic melody with mystical appeal. Otherworldly synth sounds ruminate in the background, adding unique depth to the classically leaning folk lines happening up front. The lyrics are equally haunting. “I am a stranger here / I don’t belong,” vocalists Hannah Winkler and Bess Rogers sing, opening the song on a note of floating isolation that continues to build through the verses. In the chorus, the sound culminates into one forceful message: strength. “I’ll keep this flame alive / shield it from the coldest night.” Soothing and experimental, “Stranger” secures The Weird Years a place amongst the most interesting up-and-coming bands to watch.

After a childhood of consistently uprooting, Missouri based Brian Bulger is no stranger to the weight and grief of nostalgia. His recent release "Dance Until We’re Gone" is a swelling, swirling love song that distills the feeling felt when you’ve finally found someone that stays, and the peace and lightness that accompanies that arrival. The tune is given a natural sense of movement through a lush, folk-based arrangement that is equal parts cinematic and sentimental. A harmonic chorus of voices compliments Bulger’s earnest, quietly powerful delivery and love-letter prose sense of lyricism. Bulger’s sound reflects his Midwestern sensibility. His creative choices are made with a sense of purpose as he synthesizes folk and alternative elements with a bleeding sense of honesty and vulnerability. Bulger doesn’t shy away from instrumental complexity—what might be considered a classic folk love song is elevated by the resonant production and expansive string and percussive sections. We’re excited to hear what is to come from Bulger and his band on his upcoming record, due out in April.

Charlie Sztyk’s “Nineteen Twenty Two” is a fresh rock single. Sztyk’s vocal delivery feels raw and longing as he processes a love lost. Resigned, he sings “You left me something / A letter say you’re going out / With who I don’t remember / I never did like that crowd / Hope you stay dry my love.” Relaying these thoughts, Sztyk’s vocal lament is supported by high energy instrumentals consistent in their presence throughout. All in all, the sound Sztyk cultivates throughout feels novel but familiar and vents a frustration many know all too well.

Shy Girls, otherwise known as singer-songwriter/producer Dan Vidmar, just released his second album, Bird On The Wing—11 groovy tracks that give modern R&B a good name. A standout among them is “Drain,” the first on the album. It’s a song with a pulse perfect for walking down the street with the sun at your back and your headphones on full blast. “Drain” is a tribute to classic R&B with an alternative twist; it’s bass-heavy with a throbbing drum beat and Vidmar’s signature warm, low-fi vocals. The simple repetition of the three act as a base for the eclectic synth sounds (plus the deep, rhythmic background breathing in the chorus) sprinkled throughout. The result is a fun, slightly off-beat R&B bop you’ll want to play on repeat. Through masterful arrangement, Vidmar, who produced the entire album himself, proves he knows the conventions of the genre and, therefore, how to effectively break free of them.

The Parisian musician Vincent Fenton, the man behind FKJ (or French Kiwi Juice), just dropped a tribute to his home in France with his newest single, "Leave My Home." The rhythm grooves consistently through the song, creating that lush, electronic jazz vibe that so characteristically marks the New French House music genre—a genre FKJ has helped pioneer. This song itself will keep you purring along all night long, and humming it all week. FKJ is known for his creativity, particularly when it comes to taking his life and turning it into beautiful sequences of perfect chords. "Leave My Home" is no exception. Through the subtle reminiscent tone mixed with an upbeat funky loop, you can almost hear his outlook on life as he prepares to move away from Paris and onto the next chapter of his journey. He points to Paris as one of the biggest influences in his music. Now, only time will tell how these changes will influence his art in albums to come.

“Indigo,” the newest release from Fake Dad features pensive lyrics and vocals from the Brooklyn-based duo, Andrea de Varona and Josh Ford, helped by Loren Taylor. Just in time for spring, Indigo’s freshness and simplicity are more than welcome. Youthful vocals float above the song's unique cadence and subtle electronic undertones. “Wanna lie by the flowers / Wanna lie there for hours” evokes a certain restfulness and peace, elevated by such poignant lines as “I've learned to sink in the sound and fall away,” something easy enough to do listening to this thoughtful track.

Distant party sounds and the definitive click of a closing door open Loud Hound’s newest single, “High in the Bathroom.” Suddenly, you’re in a private room at a hazy house party, utterly immersed in low-fi rock sounds and Loud Hound’s reverb-heavy vocals. Jersey-based artist Tommy Florio sings, “All we have in common is getting high in the bathroom,” and you realize listening to this song feels like doing exactly that. The instruments are loud but muffled, and the psychedelic synth that joins the chorus sounds like something skirting the edge of sobriety — a slightly trippier Alvvays. There’s a sadness to the song that is uniquely carefree, like knowing there’s nothing to do for your wounded heart but to let go of your inhibitions completely. The production compliments that mood nicely, arranging the music in a way that feels like a loosening of one’s grip on reality, while still maintaining clarity and tightness overall. “High in the Bathroom” is Loud Hound’s fourth single, and it effectively showcases Florio's talents as a singer-songwriter and producer. We can’t wait to see what he’ll release next.