WHEW I love Flyte. They're a three-piece British band with my heart in their hands. Their debut record The Loved Ones felt like a secret I kept between me and the band, an Easter egg in an 8-bit video game I revisited again and again, continually charmed and surprised. It's a gorgeous, passionate, musically beautiful album, which rounds out with an acapella cover of "Archie, Marry Me" by Alvvays. I think about it all the time. It's desperate and haunting. It's one of those covers that hops in your bones. But enough about their LP (but for real, open your window and listen to it), I'm here to tell you about "Easy Tiger." 

"Easy Tiger" is a break-up track. It's a predator with a thorn in its paw. It's brought low, it's humble, it's sad. It's brilliant for all of that. Will Taylor has a giant vocal register, but he is so subdued on this track, the emotionalism is totally carried by the instrumentation. The music is anxious in "Easy Tiger," while the melody is steady, rhythmic and calm. It's the embodiment of trying to keep your cool while you see an ex at a party: on the surface, you're collected, inside you are an ocean. 

Give Flyte the love they deserve today. I reckon a new record will be dropping soon from them, so listen to The Loved Ones and their 2019 EP White Roses after you give "Easy Tiger" a spin.

Ester’s “Not the Kind” is an unflinchingly honest song about seeing what’s right in front of you. “I’m not the kind that you’re thinking of…I’m not the kind that you’re dreaming of;” a series of clauses set the scene. Chicago band Ester’s lyrics are clear and concise. There are no double meanings to untangle or complex production to hide behind. They lay it all on the line. Heartbreak, rejection, conflicting notions of how and what to be in this world; Ester channels that emotion on Turn Around, their refreshingly introspective sophomore album. “You’re not the way to the mountaintop / Hate to say I’ve climbed enough...I’m not the kind that survives that stuff.” Insecurity can be empowering if it lets you move on. If you love Lucius and The Wild Reeds, you’ll probably like Ester too.

A warm, wandering guitar leads to Francesca Blanchard’s carefully parsed confessions on "Happy For You," from the singer and songwriter’s upcoming record, Make It Better. That same warmth ignites Blanchard’s white hot unease, born from conflicting feelings about the dissolution of a relationship, as the track treads emotionally wrought territory with a deft sense of purpose. These two words feel swiftly different—a quiet, tempered anger and ambivalent, cheerful instrumental stylings—but cumulatively, these choices illuminate the dynamics at the heart of the circumstance. Blanchard is both intuitively and musically aware of this conflict, and says the song recounts “trying to salvage the remaining pieces of a broken relationship while making as little noise as possible. It's a submission to grief, and there is something so fragile in that.”

Ela Minus’s new release, "they told us it was hard, but they were wrong" is an otherworldly escapade into a dancey multiverse of sound. She wastes no time getting under our skin with a persistent beat and a layered vocal echoing over it’s pitched-down mirror image. One can imagine Minus staring into the looking glass, a conjurer spinning planetary magic around her. Ambient sounds swirl around her as she speaks a simple truth: “Everyone told us it’s hard but they were wrong. When you love, you love it all, and nothing is impossible.” The layers grow in energy and complexity, a tapestry of synths swelling and stuttering over a four on the floor kick drum that won’t quit. It’s a tripped out victory dance and an explosive ode to love.

“Somehow,” a standout track from Hala’s Red Herring, is the pure distillation of only the best parts of the rock and roll ethos. It is sunglasses-and-leather-jacket cool, with none of the pretense. Singer-songwriter Ian Ruhala, who plays essentially every instrument on the album, plays the part of your friendly neighborhood Julian Casablancas, delivering a perfectly crafted pop song with a simplicity that feels effortless. Artists like Stef Chura and Anna Burch (for whom Ruhala played guitar on tour), among many others, set a high bar for Detroit’s vibrant indie rock community, but it is a community Hala slides into nicely. Though he retreated to the woods of Washington to record the album, he now broadcasts his Mid-Day Show sporting a sweater and his dulcet voice from his Detroit home, giving guitar lessons and music production tips from a safe distance. In the song’s music video, Ruhala and his ragtag bowling team narrowly defeat the bigger, meaner favorites, but even after all of the bad blood he reaches out to offer a handshake over a game well played. Ruhala is an underdog poised to break out, the hero of whatever story we need.

Relationships can be challenging, we know this. A partnership could have a pair of fantastic communicators, and somehow the whole thing can still unravel. Elah Hale, singer/songwriter, model & native New Yorker, at only 20-years-old, has her own story of disconnect to tell on the track “ITPA,” short for “in the party alone.” Apparently, after getting into it with a significant other, Hale went to a party to clear her mind. During the party, she came to certain realizations about the relationship. “You only miss me when you’re by yourself, I’m losing patience,” Hale sings with her tender, silky vocal, sharing a storyline that so many young lovers face. Hale’s cadence is fixed with a sense assurance that might confirm her desire to find a healthier affair. Despite it’s melancholic message, the smooth, alt-pop track is melodic magic that sounds like it could fit right into any party playlist. The beat is churning, steady and provides proper space for atmospheric textures and Hale’s vocal to be the track’s driving force. “I don’t know myself, I just can’t do it,” she sings. Hale’s honesty and lush confidence will get her to where she needs to be, and it’s likely a path that will be her own.

"I’m Warping Here” by Dutch duo Feng Suave has all the makings of your favorite summer track: retro-soul style, a body-moving groove and references to childhood nostalgia. Don’t let it fool you; the lyrics reveal themes a little heavier and darker than the feel-good vibes let on. On second thought, go ahead and let it fool you. In this song, songwriters Daniel De Jong and Daniel Elvis Schoemaker explore the sinking feeling that your best days are behind you and adulthood is turning out to be a whole lot less glamorous than you once envisioned. One particularly poignant line: “Maybe I'm not ever really home for long enough to stare my own eyes down.” Is it that we’re too busy to take a moment to get to know ourselves, or do we intentionally keep ourselves busy to avoid doing so? Either way, the subject matter and musical production are actually a brilliant pairing. Everyone can relate to this everyday existential dread. It’s a reminder that we’re all in this together, so let’s celebrate being human. Go ahead and turn it up while you swivel your hips in your kitchen or drive with the windows down. Trust me. It feels so good. And I don’t know about you, but I could use a little feel good anthem right about now.

Being stuck inside just became a million times more enjoyable with Kali Uchis’s latest TO FEEL ALIVE EP drop. After her 2018 release of Isolation and a few amazing features on other artist’s tracks like Little Dragon and KAYTRANADA, she’s back with sexy, slow songs perfect for sunbathing out your window or thinking about your quarantined lover. “angel” is a gorgeously honied track off of the EP, conjuring up images of swaying around in Kali’s personally made paradise. Like many of her other hits, the sweetness of her voice breathes life and feeling. Her warming vocals embrace you, confessing her desires to her lover and easily hypnotizing her listeners with cool rhymes and weightless rhythm. Some of the sounds in “angel” feel close to her 2015 earlier release Por Vida (like the intro to her track “Speed”), but with even more mastery and layers. Kali continues to grow in artistry while keeping and growing upon her signature sound. Her next highly awaited album is slated for release later this year, and if its anything like the sleek TO FEEL ALIVE EP, we can anticipate the best.

Brooklyn based thanks for coming’s newest (very timely) album, almost named this album"untouched" in reference to not editing the cover photo and also having an unrequited crush on a stranger but then i remembered we're all social isolating right now and it's a little too on the nose even for me is impressive all around. It features the song “intersection," a 3-minute long euphony that serves as a cathartic listen for anyone with a lot on their mind. According to Rachel Brown, the artist behind thanks for coming, this song was written before the height of the crisis we all find ourselves in right now. But there’s something prophetic about their choices in composing this track. Brown’s vocals accompany relatively simple acoustic guitar, but they’ve layered three different vocal tracks atop one another, effecting a sort of self-amplification. Their tone throughout the song feels like a balance of lighthearted humor and serious self-expression that’s somewhat inexplicable in its powerful execution. “Meet me at the intersection / I’ve got so many fucking questions,” they sing, simultaneously with two other statements directed at an unknown subject. While the world is smothered in unknowing, and distance between people, thanks for coming’s “intersection” seeks to know. Perhaps it’s this that makes the song resonate so deeply, in a way that’s hard to pin down.

There is an earthy and tactile way about Big Thief's music that has always evaded me. There's an elusive nuance to the combination of Adrianne Lenker's timid and iconic vocalizations and the ambitious, lustrous and occasionally bizarre musical choices the band makes. It's what makes them genius and what makes me hard-pressed to listen to their ever-blossoming discography. There's something about them that makes me a smarter and better music listener. "Love in Mine" only exemplifies this quality.

"Love in Mine" is a bonus track off of their most recent full-length record Two Hands, which dropped just months after the release of another 12 track LP: U.F.O.F. Two Hands and U.F.O.F. listen like a narrative pairing. One leads and bleeds into the next. Lenker herself described the two records as "Earth sisters." While both of these albums are true-blue fixtures of Big Thief's personality—featuring sultry instrumentation, chilling vocals and sharp, poetic lyrics—Two Hands is the softer, more unfurling of the two, and "Love in Mine" is a near-perfect extension of that sentiment. Gentle and contemplative, this song manages to feel full and round while boasting only five stanzas of lyricism. It's a longing, sweet sentimental track about leaving a well-worn past behind and pressing on with grace. Perhaps we can hold this song in our hearts as we ramble forward in such a bizarre and difficult period in history. Listen to "Love in Mine" wherever you stream!