“Flew Away” is the third of five stunning lo-fi tracks on the debut EP from fanclubwallet, Hurt is Boring. Ottawa-based musician and illustrator Hannah Judge looks back from a place of acceptance on the demise of a relationship, exploring themes of misunderstanding and miscommunication, what-ifs and so-whats, and how our own emotions can take us by surprise. She sings, “I didn’t know that it would make me feel this way seein’ your face online every day,” which is a testament both to the virtual spaces we have largely existed in for the past year and to the challenge of creating distance from our hurt when it always seems to be one tap or scroll away.  

Judge’s description of her style as “writing emo shit that doesn’t sound emo” is spot-on. Her vocal style is relatively understated, but her words pack a punch, and both complement the lo-fi instrumentals to give her music an undeniably nostalgic yet poignant bedroom pop sound. The mood is relaxed, but the sound is tight, guitar and bass riffs keeping time with a drumbeat during verses that punch between choruses and bridges backed by the youthful and energetic plinking of a toy piano—a favorite instrument of Judge’s that can be heard peeking out from behind layers of sound throughout the EP. A joyfully chattering crowd can also be heard at times in the background of “Flew Away,” adding a house-party vibe to the track—a nod, perhaps, to social lives past, and a sound we’ll hopefully all be hearing more of sooner rather than later.   

Written from her childhood bedroom during the pandemic, which coincided with a Crohn’s disease flareup for Judge (the line “I went to bed and didn’t get out for 10 months” is meant literally in her latest single, “C’mon Be Cool”), the EP is “about taking the good with the bad,” Judge has said. “You can’t really appreciate one without the other.” Not only was the EP written in Judge’s childhood bedroom, but it was also produced by her childhood best friend, producer Michael Watson. The pandemic has allowed many of us to reach back and connect (and/or reckon) with our past selves and past lives and take the good with the bad in what we find there. Judge likes to leave her lyrics up for interpretation, specific enough to allude to a situation, but vague enough to leave room for the listener to find their own meaning within the words. In keeping with this practice, “Flew Away” is sure to offer a little something for everyone. Photo by Ian Filipovic.

“Losing Patience” is the second single of 2021 from Tel-Aviv-based RGB. In it, we hear lead singer Noi Agam lament to a lover about how quick-tempered she has been with them. For an apologetic track, it is deceptively danceable; starting with claps and quiet beats, the song explodes into a shining array of electric tones, glitch-pop samples and a groovy disco bassline. The lyrics’ subtle play on words mimics the narrator stumbling over her apology, forming a catchy sugar-coated hook: “Sorry ‘bout me losing my patience / Now I know something went so wrong with me / Sorry ‘bout me losing—am I losing you?” The latter half of the song finds her realizing that feeling comfortable and empowered in a relationship doesn’t mean we should lose civil composure or abuse that power (“No I’ve never been the fool / Yet I’ve never been so cruel”). It brings to mind an important question: when we find ourselves in this situation, does our ability to be cruel to someone we claim to love mean we should stay and improve ourselves, or does it mean it’s time to walk away? If ever you’re not sure, you can always spend some time dancing to “Losing Patience.” Photo by Eden Amit.

Simply beautiful. Two words that describe Ted Taforo’s track “Island.” From the captivating lyrics to the electro-R&B vibe brought by the percussion, “Island” feels like silk through which one entangles their fingers. The addition of Lenka Shockley’s vocal makes it even more whimsical, almost as though one is traveling on a cloud, or in this case, a boat. “Island” serves as a metaphor for love and how it makes us feel stranded in our decisions. “Out in the sea/ searching for guidance,” Shockley sings with soft harmonies to add cadence. It reflects the ways in which our heart turns in different directions, overthinking the little things and failing to consider the big things. Known for fusing jazz elements into his compositions, Taforo's saxophone blares near the end of the track, allowing a feeling of comfort to run through. Taforo’s debut album, entitled Outside, will be released later this year under Future Gods. Photo by Ted Taforo.

From Kansas City, Missouri comes the graceful work of L.A. Chaí through his debut single, “Burn for You.” Gentle is the voice of frontman, Andrew Bergthold, who penned and produced the piece while cultivating what is now a commendable solo act. Conceptualized during a playful conversation about the immeasurable genius of angel-city-lattes, L.A. Chaí promises to satiate with easy listening, compassionate meditations and loving serenades. 

I blasted “Burn for You” while driving by a violet winter sunset and all I could think about was the striking congruence between song and scene. Bergthold “sends all of [his] love” via sparkling bells and atmospheric guitar as he charms his listeners with evidence that this vast galaxy is home to twin flames. It sounds like the magic hour that love so resembles. Photo by Levi Dalton.

Whirling with echoes of crowded celebrations of yore, Francesca Blanchard’s “new year’s in paris” emits the essence of a glass sphere; it includes this sense of wholeness, as well as transience in the spirit of self-restoration. Coming from a space of hibernation, Blanchard’s voice rings out with a clearness that pierces through all of the delicacies of loneliness and leads into a full sound of crowds cheering, synths roving and strings billowing. This track is one of yearning and the acceptance of loss. With lyrics like “I had a dream, our kids on the lawn and your mother loving me like her own," this song touches on the deep cut of desiring so badly for someone to come for you, to share the intimate details of life with someone who may never show up. Blanchard shared: “It goes out to anyone who’s gone through heartbreak this past year, in a time where human contact was out of reach. Here’s to healing late, but right on time." Photo by Maví Lou.

The latest single from Charlottesville, VA trio Stray Fossa lays the drums and effects on heavy for an atmospheric and propulsive track from their forthcoming debut album With You For Ever. "Orange Days" bends genres as it goes; one can hear dashes of new wave and psychedelic amidst its dream pop landscape. Fans of Tame Impala will appreciate the phaser-laden guitars and ample reverb that recalls Tame’s beloved Lonerism. Over the booming and uptempo drum beat, singer Will Evans anxiously ponders the future. “My sun'll rise, and I know it's not much longer now,” he sings. “Somewhere begins a future, a stranger to ourselves.” The uncertainty of the lyrics, often delivered in spectral layers, mixes with a soundscape that likewise expresses a sense of unease as guitar and bass lines take unexpected turns. The end result is a song that successfully merges genres and sounds to a haunting and head-banging effect. Photo by Anita Richardson. 

On "Paper in the Sky," Australian singer-songwriter Portair challenges convention in the details: a pattering hollow drum, strings suspended in water, full piano chords that draw contrast against his delicate vocals. While these sounds are unique and lush, Portair balances more inquisitive elements with a foot-stomping folk backbone that gives the track its homey, comforting sensibility. Laced with childhood nostalgia, "Paper in the Sky" calls to mind the adventures on which our youthful imaginations used to take us. Concrete images of raindrop races on car windows and model trains evoke visceral memories of a time when things were much simpler, when it didn't seem so difficult to find simple joy or excitement in the world. But instead of dwelling on innocence lost, Portair seeks to reclaim it; sending off all the most structured, restrictive and harrowing parts of the reality we know into a symbolic paper plane, there's nothing left but to "watch the paper in the sky float." Photo by Ashley Osborn. 

Kylie V’s "Natural" twirls and dances around intimacy in a way so earnest and honest, it almost breaks your heart. Their voice drops words like pebbles in a pond, rippling out before sinking in deep and out of sight. “I’m not a provider, I just wanna feed you,” they sing. The hook delicately touches on one of the most beautiful and intangible parts of love. It’s so enigmatic. Love never demands you to be anything but what you are; however, it often asks you, politely but insistently, to keep growing. It doesn’t shrink behind insecurity, even though you might. Love delights in vulnerability, taking in as eagerly as it gives. It’s strong and intimidating, and it takes time to learn how to conduct it. "Natural" sits right at the heart of that feeling, overwhelmed by the impulse to keep one hand held tight, and the other grounded on a door handle. Rhythm guitar lines ebb and flow as the lyrics tug between the fear of feeding someone else until you’re empty and the fear of letting them feed you back. The fear that you’ll take too long to get it right tends to linger at the back of your throat like something sweet and burnt. But you love them so much that of course you would try to figure out how to love them best. It’s almost too much to consider how you would begin to trust them to do the same for you, though. It feels safer to let yourself get wrapped up in the tide of feelings you’re experiencing, ready to climb out of the river when the current pushes you back to the banks. It’s a heart-wrenching feeling, but a delightful taste of what’s to come with Kylie V’s debut album, Big Blue, due February 28th. Photo by Lauren Ray.

A soft strummed acoustic guitar introduces “Find You," the beautiful brand new single from The Heatlamps. Released on Valentine’s Day, this tender song serves as a meditation on the hope of finding and finally being with an ever-elusive love. 

The verses build slowly as arpeggiated guitars and solemn-sounding piano chords express a feeling of longing. However, this is beautifully juxtaposed with a sense of trusting that things will eventually fall into place, even if a little patience is required. The L.A. duo, consisting of Bo Jacobson and Louis Weeks, capture these conflicting emotions in a captivating manner as they sing “Maybe someday we won’t be waiting for another tomorrow / It’ll be our time," followed by “Show me the way / All I wanna do is find you." The song ends with an angelic swirl of noise made by guitars, pianos, synths and ghostly vocals, bringing it all to a reassuring conclusion.

Whether you are alone and looking for someone, you’ve found the one or aren’t really interested, this song will definitely get you in your feelings.