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.

Parcels, the Aussie fivesome known for their disco-pop bangers, recently released Live Vol.1 as a follow up to their 2018 self-titled debut album. Among the classic studio recordings made in Hansa, Berlin is “Overnight," famously cowritten with Daft Punk and carrying the same funky vibes off of the iconic French duo’s Random Access Memories. If you’re familiar with Parcels, you know they have a knack for transporting their listeners back to the groovier days of the ’70s. I wasn’t alive yet, but tracks like “Overnight” feel like the rainbow that bridges the generational gap between us all. 

The recent turn of weather is a reminder of the New York City summer looming over our heads, and with quarantine, the uncertainty of what that summer looks like. Before self-isolation, we could rely on the routine of heavy heat like clockwork. Everyone knows some iteration of what I’m talking about; when Friday finally rolls around and the murderous sun has set, you hit play on a track like ”Overnight” and start to get ready. It’s a reminder of late nights spent out with friends, in your best outfits, dancing at halogen lit bars like Mood Ring or Friends and Lovers, skin sticky with the humidity, and the pulse of too many people packed into too small of a room. The bathroom line might be long but the possibility in the air is electric. Under the flashing lights, the silhouettes of your friends are bobbing up and down to the beat. One catches your eye and smiles, teeth glowing blue-white. Another is across the room, leaning over the bar with cash in hand. "Do you want anything?" they mouth over the heads of strangers. There is the laughter of shared inconvenience, of worries saved for another day. It may be hot and loud, but with the right music and the right people, there is a feeling of fullness; a promise of life, playing on repeat.

The third studio album from RAC titled BOY is a collection of songs that reflect the innocence of youth while exposing the angst and pain that comes with growing up. André Allen Anjos is the musician and producer behind RAC, which leaves room for a variety of vocalists to feature on his projects. The instant I saw Luna Shadows on the tracklist I knew the song “Boomerang” would become an instant favorite from the album. California alt-pop artist Luna Shadows is known for her ability to pair contrasting subjects and for finding a way to blend light and dark. “Boomerang” does exactly that by referencing all the ways in which we try to stay connected via social media— revealing how they ultimately leave us lonely. The playful way in which she sings, “Everyone who loves you is leaving,” almost has me believing this song is a happy one. The swinging melody and reverberated guitar insist that Juul pods, Instagram DMS and Boomerangs are cool, but the lyrics unveil the bigger picture that they lack any lasting substance. As the song comes to a close I find myself wanting to post a selfie and delete Instagram all at once.

If it wasn’t blatantly obvious from his previous work, the guitar mastermind and accomplished producer Blake Mills has a way with words, too. Mutable Set, Mills’ newest LP, is an intricately intimate album that sounds gentle but packs a lyrically gut-wrenching punch.

In “Window Facing A Window,” we are moved through an empty house, to a bare garden, then to a lacking bedroom, where Mills traces just where the vivid memories and past meanings from a relationship go. A slight line change in the chorus from “Are you upset?” to the latter “Are you all set?" shows the development—or rather, the deterioration—of a relationship, set to a sparingly played guitar and gentle piano sounds.

Mills’ humble voice makes his lyrics more raw and relatable, allowing him to capture a sound of longing that feels like waking up next to a warm body and knowing that it will be for the last time. All that is left is Mills, crafting poignant sounds in combination with desolate imagery that makes the song sorrowful, yet entirely comfortable. Almost like it was made in a bedroom, “with a bed that isn’t there anymore.”

As she proved with her 2015 single “Hypnotic,” 25-year-old Zella Day has some experience with delivering engaging and ‘hypnotic’ pop with a groove. Five years later, Zella is still producing hypnotic pop, but she is slowing things down a bit with her new single “People Are Strangers.” 

Like many of us, Zella seems to have loads of extra time on her hands to get introspective, and the dream-like state of “People Are Strangers” reflects on her deepest thoughts; you can almost hear her moving from one thought to another. In a time where the world is relying on human connection more and more, Zella ponders human interaction over a melody which sounds reminiscent of the dreamy sun-kissed pop produced in 1970’s California. Zella gets confessional as she sings about wanting to push people away, and insecurity over wanting to maintain relationships while being acutely aware of the negative aspects of getting to know someone and forming a new bond. Zella candidly admits of her habits, “People are strangers / I’m getting stranger / The moment they wanna get closer I push them further.”

Zella seems to open up more as the song progresses on its dreamy legs, almost writing off the idea of meeting anyone new altogether, while she sings “People are danger / It’s human nature.” It sounds like she would rather be safer than sorry because she holds an awareness that many don’t: Humans are more alike than we realize.

Zella Day plans to release an EP sometime in 2020. Look out for Where Does The Devil Hide.

Hazel English steps outside for a breath of fresh air on "Five and Dime," the latest single from the Oakland-based Australian crooner. Confessing her need for space, English couldn't be blunter: "I was running free 'til you called me up...Gotta get away / 'Cause you're taking up all of my time." Bright vocals animate the track's shoegaze essence with a neo-psychedelic nostalgia. The idea for the song came from a trip she took to Oakland to find space from an increasingly hectic LA. English explains, "'Five and Dime’ is actually an old slang term for the area code 510 which covers the East Bay, so I thought it would be a fun way to refer to the place that once used to be my home.” As we brace ourselves through uncertain times, the story of this breezy track is a glint of sunshine for us social distancers who might be finding our own metaphorical "five and dime" to escape to. "Five and Dime" is the latest of singles from her debut album Wake UP!, released on April 24 via Marathon/Polyvinyl.