Hypnotizing listeners back into his universe yet again, Frank Ocean returns with highly hyped new single “DHL” from the artist’s first studio album release since 2016. The track dropped unannounced at the end of Ocean’s most recent blonded RADIO session, giving a taste of what is rumored to be a thirteen-track LP. Ocean teams up with electro-house producer Boys Noize on “DHL” and delivers swirling sounds and carefully casual lyrics. The song begins with his signature, stylized ambient noise—reminiscent of a more somber, slow version to the introduction of “Nikes.” He raps about a lover, things he’s bought, and attending fashion week in camping gear, “Look like I’m dressed for a hike / But I really look like I’m in Paris.” A mundane tone, almost droning, takes over the beats of the song and paints a portrait of Ocean in his day to day life—as normal as it can be. Following the announcement of “DHL” came the news of two other singles, “Cayendo” and “Dear April." Both were premiered at Ocean's new club PrEP+, where the artist played some remixed snippets. Both old and new Frank fans alike can look forward to new content being released in this era of activity.

Distant party sounds and the definitive click of a closing door open Loud Hound’s newest single, “High in the Bathroom.” Suddenly, you’re in a private room at a hazy house party, utterly immersed in low-fi rock sounds and Loud Hound’s reverb-heavy vocals. Jersey-based artist Tommy Florio sings, “All we have in common is getting high in the bathroom,” and you realize listening to this song feels like doing exactly that. The instruments are loud but muffled, and the psychedelic synth that joins the chorus sounds like something skirting the edge of sobriety — a slightly trippier Alvvays. There’s a sadness to the song that is uniquely carefree, like knowing there’s nothing to do for your wounded heart but to let go of your inhibitions completely. The production compliments that mood nicely, arranging the music in a way that feels like a loosening of one’s grip on reality, while still maintaining clarity and tightness overall. “High in the Bathroom” is Loud Hound’s fourth single, and it effectively showcases Florio's talents as a singer-songwriter and producer. We can’t wait to see what he’ll release next.

Not many can get away with not only gracefully covering a George Michael classic, but also managing to give it a distinctly refreshing take. Taken By Trees does just that in their recently released cover of “Careless Whisper.” Swedish singer-songwriter Victoria Bergsman is like your magical tour guide through a lush, brightly-hued rainforest. Her unmistakable voice guides you through this entrancingly sultry, Caribbean-inspired rendition that’ll make you sway in ways the song has never made you sway before. A reggaeton-like beat pulses underneath fluid, hypnotic synths that spill over Bergsman’s clear and silvery vocals — creating a practically spiritual experience. Produced by Dan Lissvikk of Swedish dance-rockers Studio and Aaron Drake and featuring Mr Little Jeans on backing vocals, this cover is nothing short of impressive.

British R&B singer Pip Millett pays homage to Otis Redding with her newest single, “Try a Little Tenderness.” The cover retains the soul and spunk of the original while bringing in modern sonic elements that nestle it firmly in the 21st century. Millett swaps Redding’s horns and piano for a heavy bass line and a soft, clapping hi-hat that groove behind her vocals. Smooth and sure, Millet’s voice is the standout element of this song. It’s got a soul-appropriate swing that feels effortless as it carries you from one verse to the next, and her crooning, lo-fi cadence, which feels a little bit indie, hooks you onto her every word. The lyrics stay true to the original, though the fact that they’re being sung by a young woman — the subject of the song — turns the meaning on its head in a great way. “Try a Little Tenderness” is beautiful and deceptive in its simplicity, and it’s only the sixth song Millett has ever released. We can’t wait to see what’s next from her.

"Cherry Tree" is the first song that Sam Owens ever released under the name Sam Evian. It's fitting as such since the song seems to be just the right mix of his soft rock sensibilities — no clichés and just the right amount of guitar riff mixed with a steady piano tone. "Cherry Tree" was written by Sam under an actual cherry tree in Central Park, which only adds to the authenticity of the vibe. The track is also very lyrically compelling. Like poetry strikes the mind and the heart, Sam's words hit you in all the right places, “Cherry tree hungover me / Waving with empathy" and "Tell me life’s a passing cloud.” The guitar that comes in around the first minute is absolutely addictive. It's just like having a daydream under a tree in a park, refreshing and full of creative life. Even in the slowness, the song is just that, creative and refreshing.

If smooth had a sound it just might be Philly-based R&B vocalist and spoken word poet, Christinna O.  At just 19-years-old, Christinna O brings out the sleekness of her sultry funk influences on her latest single, “Lay It Down.” The track comes as a glimpse into her upcoming EP, Girl In Passing, and sets the groundwork for a matured yet vibrant sound. Her style brings to mind soul queens like Toni Braxton and Brandy with its driving beat, thoughtful melodies, and a hook that just won't quit. “I trust you,” Christinna O sings as she takes you by the hand and into a moment of intimacy. She says, in regards to the subject matter, “It’s a choice and a permission, to let someone else know that they are welcome and they are the one I’m ready to lay down my burdens with. To feel valid in my vulnerability but ultimately, love.”

"Are you too far departed?” is the central question in Wild Rivers’ newest single, “Moving Target.” The song is about losing touch with someone you love and the desperate longing that drives you to reach for that person regardless of how far away they might be. "Moving Target" is a heartbreak-filled ballad that moves you along with the melodic passion the Toronto-based band is known for. Khalid Yassein and Devan Glover's haunting lyrics and powerful vocals drive the band's first single after their stellar 2018 EP release, Eighty-Eight. The band is touring Canada next month and has a few US shows planned later in the year.

South African singer-songwriter, Alice Phoebe Lou meanders through space in her newest single, “Galaxies.” The song is not loud or over the top, but it feels expansive. Lou’s voice layers well atop atmospheric synthesizers and minimalistic guitar, but she pierces through occasionally with short high pitched yelps. It is a mix of her usual folk rock with a more electronic sound leaning towards something I could envision Bjork releasing. The languid, spacey and atmospheric sensation mimics the subject matter. The image of the galaxy in the song evokes a feeling of smallness and insignificance in the grand scheme of things as she sings, “we’ll go down the longest stream / reflected in a sunbeam / just a speck of dust in the milky way.” About two thirds through the five-minute track, it escalates. The synths build, guitar speeds up, and the percussion fills out. Lou’s voice accentuates this change as she slides into her yips at the end of almost every line — giving it a primal and exciting quality before she settles back into the droning for the last part. The song is the second single off her newest album, “Paper Castles,” which came out on March 8th. Lou is currently on the North America leg of her tour and will be performing during SXSW before heading to Europe in April.

California pop artist, Ashe dropped her poignant ballad, “Moral of the Story” on Valentine’s Day. Ouch. This one is heart-wrenching as can be, detailing the failure of a serious relationship that had promise until it didn’t. Ashe ultimately blames the beginning and the end of the relationship on the couple’s youth. Starry-eyed and hopeful, they decide to take on the world together. Then, things “turn volatile” and it all falls apart. Ashe finds her pop niche with this dramatic sound, as the strings, choir-like back-up arrangements, and heavy beat conspire to form a full and emotional track. Even though she appears pretty skeptical on this track, Ashe maintains a relatable and even humorous edge. She sings, “They say it’s better to have loved and lost than to never have loved at all / But that could be a load of shit.” The song aims to teach those who haven’t gone through a life-altering break-up how hellish and sad it can feel. “Moral of the Story” exposes the necessary reality of moving on.

You blow into “Indigo” on a warm breeze. Magnolian, the stage name of singer-songwriter Dulguun Bayasgalan, slowly pulls you into this sunkissed but hazy world with his soothing, steady voice— one that could easily wax world-weary, but is peaceful instead. Although the lyric “still getting over you,” implies loss, the song doesn’t force a juxtaposition between its lyrics and sound. It brushes on melancholy, but comes across as genuinely hopeful for what may come next. Bayasgalan sings, “I’m indigo and violet and blue.” Then the song lifts up before the line, “I’m so in love with you,” where it bursts and cascades down. The wash of background instruments twinkle. Light breaks in allowing the love he sings about to radiate. Allow yourself to become enveloped as the song pulses and pans between your earbuds.

Aussie indie rocker Harmony Byrne grew up singing songs in Mormon church choirs. On her newest single, “Loving You Is Lonely,” she harnesses that gospel influence to create an alt-rock sound that is equal parts ruminative and moody. At its core, the song is a meditation on what it means to be in love with an artist. Lines like “I want more / You want less / But we want this” showcase Byrne’s thoughtful lyricism as well as the inevitable loneliness of loving someone who puts their art first. The music is equally introspective with a soft mid-tempo drum beat and an electric guitar that feels like falling into a daydream. Byrne’s vocals, reminiscent of a slightly sweeter Courtney Barnett, command the song with each smooth, lilting high note. You have no choice but to hang onto her every word.