“Tides,” a new release from Ethansroom (solo project of William Ethan Fortenberry) is a sonic letter to everything we know we shouldn’t think about yet find ourselves ruminating upon regardless (“Shouldn’t think about it / But I’ll do it anyway / I’ll just start from / Further back / So I don’t get carried away”). The cyclical track mimics its title, with layers of banjo, guitar, mellotron, soft synths and steady drums churning over Fortenberry’s gritty-yet-smooth vocals. The atmosphere of the track—similar in feel to acts like Novo Amor and Adam Melchor—recalls days much like those now in early spring, that stretch further their hours of light over the horizon, making amber shadows on our walls. As the world warms, we feel nostalgic for summer suns past, and we push these thoughts away during daily monotony until we are alone under the moon and free to dream (“I’ll come back at the crescent / Give it another try”). In all its soft-glowing edges, “Tides” reminds us that sometimes there’s a reason we can’t stop thinking about something, a lesson there to learn—we just may not grasp it until the tide turns over and we start anew. Photo by Landon Edwards.

Rhye’s latest single, “Black Rain,” lights the fuse with a funky, four-on-the-floor beat that’s guaranteed to get your head bopping. But it’s not until the unmistakable vintage sound of 70s disco strings, which sets off the track, that you stand up and dance. As the song catches fire, lead singer and musician Mike Milosh’s signature falsetto kicks in, and Rhye’s unique mellow, electronic R&B sound is immediately discernible. “Black Rain” will undoubtedly satisfy any Rhye fan, and yet, despite its familiar sound it feels incredibly fresh, brighter and unlike anything they’ve released so far. Milosh’s silk-smooth voice over flavors of strings and synth are everything you expect from a Rhye song, but this track hits a little harder, sounds a little louder and should get any fan excited for what’s to come. “Black Rain” is the third of three singles released this year and it seems like Milosh has something very different in store for us on Rhye’s upcoming new album, Home, which comes out January 22. What began as an enigmatic collaboration between Danish producer Robin Hannibal and Canadian artist Milosh, has slowly evolved from the dark, sensual and minimalist albums Woman and Blood, to the quiet, piano-based release, Spirit, to this glistening new single. There’s a distinct sonic shift here, a shift that is perhaps reminiscent of The xx’s night-to-day switch on I See You. Maybe a darkness has in fact been lifted for Rhye. At the time I write this, as current events unfold, it certainly feels like a darkness has been lifted for all of us. Photo by Emma Marie Jenkinson.

“Mockingbird” by Valley Maker brought me back to a place where I have struggled to arrive within the last (but ever-lasting) months. Folk music, the kind that is melancholic and gently abrasive, was the first kind of music I thought of as mine. Although hints of bluegrass, folk and Americana music were not unfamiliar genres within my household, my family generally preferred songs that buzzed with vivacity whereas I preferred those that were bitter. “Mockingbird” reminded me of what in means to have music speak to the youthful qualities buried deeply inside of us. 
 
Valley Maker is the solo project of South Carolinian Austin Crane, who happens to be a PhD candidate in the field of Human Geography. “Mockingbird” strikes me as being deeply pastoral, depicting the ways in which a landscape and the people who inhabit it are intertwined and often viewed as facets of one another. Crane’s lingering vocals and gentle guitar work create a tone that is nostalgic and meditative. The lyrics ultimately focus on the constant movement of the speaker and the geography he traverses. This raw track is deeply beautiful, encouraging its listener to take solace in the fact that no matter what, they are always in motion. Photo by Bree Burchfield.

Angelo De Augustine’s latest track, “Blue,” is sonic poetry for the collective seasonal depression. In lyrics that read like a letter to a close friend, he sings, “All my life I’ve been so low / I don’t know why / So blue.” The three minutes span like a dreamcatcher, trapping the spinning sense of ennui that haunts each of us at some point; each note a wonderance on how, when we’re down, it feels like we may stay there forever, and when we manage to stand up we question if we’ve ever soared as high as everyone else around us. De Augustine eloquently expresses how, at our darkest, it can feel like there are worlds between us and any sense of normalcy (“Between my eyes / Is an ocean / You can feel it if you try / Not unlike a howling wind / Like a tempest in the open hearts of men”). The song carries the torch of De Augustine’s trademark lo-fi, intimate recordings, but marks one of his first collaborations with his label-owner, indie-folk icon Sufjan Stevens, whose presence dwells softly in twinkling guitars and hushed vocals. “Blue” soaks like a soothing balm into our deepest thoughts, timely shimmering ahead of the most wistful days of the year — and it’s one you’ll find yourself wanting to replay well into winter. Photo by Jess Collins.

"Sing Hallelujah in the morning when I rise," sings Lydia Luce, her deep voice dripping with honey and amber, "occasionally, you cross my mind." A rhythmic guitar keeps steady time and a luscious string arrangement sweeps us off our feet, into waves of getting lost in thoughts of someone we promised ourselves we’d forget. The music is an allegory for the feeling — we’re fine, or so we’ve convinced ourselves until, occasionally, we’re not. Whoever, whatever it is that catches us off guard crosses our mind and, just like Luce, we’re afloat, carried off by a current stronger than we expected, drowning in violins and crying out, "So go away, back to where you came from!" Just as sudden as the wave came, it ebbs and Luce is back on her feet, toes gripping the sand, a warm vocal accepting her fate of being bewitched, but only occasionally. Photo by Alysse Gafkjen.

From nineteen-year-old Miloe (Bobby Kabeya) comes “Change Your Mind,” a summertime anthem for your fall. “You got cold and I’m sold but you might change your mind,” he sings, describing the partial agony of wasting your time on someone who is uninterested — but needing to do it anyways to satisfy the feelings of unrequited love. The song opens with small phrases (“Rollercoaster / Took me on, I didn’t even know her / Took me high, now I just want the closure”) while quaint instrumentation builds, layering his optimistic lyrics over bedroom pop-like sounds. Aiming for attention and validation from an unreceptive source is exhausting, but Miloe’s upbeat track reminds us that a sliver of hope is all we need to find enjoyment in the unknown.