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.

“Windows” is Frankie Cosmos aka Greta Kline's newest, artful endeavor. The track explores refraction and nuances of the self, as well as the reinvention of other objects that act as life’s anchor holds. "Windows" shares the same freedom and swelling spirit as Kline's previous works—creating space to reflect, but also dance. A golden-hour peer into the bigger picture in song form, Kline draws all things together, leaving each of us as one glimmer adding our own bit to the whole of the light. “Windows” is a tender romp tune with the lyrical grace of a deep breathed coming-to-self.

"Lately" is the first peek into what Metronomy has in store for their 2019 album Metronomy Forever. Known for keeping every album a mix of unique experimentation with sound while still never failing to evoke endless lo-fi synth vibes, "Lately" is the perfect first single. The steady beat seems simple at the start and the airy vocals capture the ear as the track builds with flashy synths and abstract textures. Even the lyrical rhythms make the song dynamically addicting. Though the lead vocalist, Joseph Mount, sings of a love that can’t be, the track itself is bittersweet with its ever rapid beats weaving together. Released with a music video that shows a mini version of the band climbing out and playing on top of a cassette marked Metronomy 4 Eva, "Lately" is just as light and nostalgic as it is sonically intense and raw. We can’t imagine how dynamic the rest of the album is going to be.

You may recognize British singer-songwriter Delilah Montagu’s crystal clear voice from Black Coffee and David Guetta’s single “Drive.” While her personal style is in a completely different vein of music, Delilah’s debut EP In Gold showcases the same distinguishable voice. The EP is a beautiful collection of songwriting—showing a person discovering more about themselves, reminiscing on past loves, and taking the journey of self-discovery that comes with falling in love, heartbreak, and loss. The third track, “Next to Me,” has a mournful air of melancholy that somehow also feels light and breezy. With striking vocals, a funky prominent bass line and a more jazzy feel, the song chronicles someone reminiscing on simple memories with a past lover, as they’ve moved on and are reliving similar experiences with a new person. The chorus ruminates on old memories and questions, “Now I’m driving through the tall trees / Someone else is in the front seat / But only for a minute / Only for a minute / Why can’t you be? / Next to me.” Only for a minute, she wonders what it would feel like to have her old flame by her side but ultimately knows that the past is in the past. She’s resigned that everything is how it’s meant to be. She continues with a definitive jab, “If I were you / I would have begged me to stay / Well you’re too late.” This killer track is a haunting and impressive display of lyricism and showcases amazing things to come from Delilah Montagu. “Next to Me” leaves you wishing there were more than four songs to keep playing on repeat.

Snail Mail's debut EP Habit was re-released on Spotify last week, featuring a cover of Courtney Love's "2nd Most Beautiful Girl In the World." Rereleasing Habit might almost seem inessential, considering that the 20-year-old indie rocker has been making crashing waves in the female-led tide of melancholia rock in recent years. A pluckier and spunkier Phoebe Bridgers or Liza Anne, Snail Mail holds her own as a rock authority. Studying guitar from a young age, Jordan released Habit at the age of 16. Though a few years younger than the other artists mentioned prior, her music is as mature as it is listenable (and it's frankly fantastic). Lush, her first full-length album and sophomore release, claims your attention from start to finish without it ever feeling like the artist is trying hard to do so. Track-by-track, Snail Mail is unstoppable. I can't wait to hear more from this artist.

Kaycie Satterfield is a lot of things: a curly blonde, an indie darling, an all-around badass, but most of all, a rock'n'roller. Her latest release, "Women's Fiction," which premiered today, is everything we love about evocative, female punk(ish) rock: it's melodic, lyrically driven and honest as hell. While her vocals are very reminiscent of Canada's indie sweetheart Alvvays, her musicality is less silky and more brash and garage rock, like Snail Mail or Soccer Mommy. "Women's Fiction" addresses an undeniable and poignant feminist dilemma: "I don't need you to listen to me, but I really want you to" (i.e. "I keep telling my stories and begging someone to listen"). It's a tough balance, empowering yourself AND being vulnerable enough to admit that you don't feel powerful all the time. But Satterfield seems to strike this balance beautifully through the texture and phrasing of this song. It's a headbanger that makes you stop and consider your own desperation, insecurity and listening skills, and that's all us weirdos are ever really seeking from indie rock.

“Jukebox Cutie” is the soundtrack to a daydream. Victoria, British Columbia’s Bridal Party, helmed by the collaborative songwriting pair of Suzannah Raudaschl and Joseph Leroux, has been blessing the provinces with their soulful summer jangle since 2015’s Hot Daze EP, but their debut album, Too Much, is finally due out August 23rd. The second single, “Jukebox Cutie,” follows the imagination of the lovestruck Leroux as he thinks up the life inhabited by the enchanting person requesting classics from the DJ. The nonchalant airiness of the arrangement hides how meticulous the singer’s thoughts are, allowing an offhand comment to spark a whole world of imagined possibility. “He says that you sing / And when you do are you an alto?” wonders Leroux. “Jukebox cutie hanging around / Silver necklace in her mouth,” he sings, noticing the tiniest details. The ending of this love story isn’t particularly important, and Bridal Party leaves the question open with a beautiful instrumental vamp right where a resolution might go—choosing instead to focus on the endless possibility that comes before.