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.

Sorcha Richardson has been releasing a tantalizing trail of singles leading up to her debut album. Her new track “Honey” is the latest breadcrumb dropped. “Honey” continues Richardson’s trend of meditations on love and rejection that she explores in her previous tracks, but it may be the most chilling song of the bunch. Eerie piano keys set a moody, melancholic tone right off the bat and are soon joined by Richardson’s vocals, soft and tender and crestfallen. The track is striking in its simplicity and evocative in the moments it recalls. “I watched you move around the room / you’re more magnetic than the moon,” she sings a voice equal parts lonely and piercing. The entire song sounds like a sigh, up to and including the accusatory chorus line, “Honey, what the hell d’you to me?” Richardson’s singles have displayed the range of her skill and style and this latest track establishes an ability to create something immersive out of something so quiet.

The Japanese House is the moniker of London-based singer-songwriter Amber Bain. If you are familiar with her writing style, you know that she has an uncanny ability to make indie electronica feel warm and welcoming. That's precisely the texture we encounter in her most recent single, "Something Has To Change." It's much more pop-oriented than her most recent record Good At Falling, which, track for track, feels more like a film score than an album. Bain's voice is subtle and soft but manages to carry a world of emotional meaning. Some of her lyrics are so concise that they feel more like journalism than poetry: "And it's the same girl who's giving you hell / And it's the same face / Your heart keeps breaking in the same place." This indelible quality makes her a whip-smart songwriter. As a listener, you know that the words she's chosen were meticulously procured for this track: they were thought about, loved and woven into the song.

Dream-pop act No Vacation revives its signature nostalgic sound with the warm and vibrant “Days.” The track was released along with the announcement of a new EP, called Phasing, which premieres October 18 via Topshelf Records. The atmospheric surf-rock drums and wavy, bright guitar tones provide an inviting opener with a breezy, bopping beat. Reminiscent of Beach Fossils, the instrumentation is lush and vivid with a crystal-clear production style. It builds to a nearly 2-minute long jam session packed with full, rich sounds and a shredding guitar solo, epitomizing the track’s carefree late-summer feel. But all of that may as well be background noise to singer Sab Mai’s dreamy vocals. Delicate and subdued, Mai’s voice melts into the song with velvety-smooth movement and ease; you’ll want to hang onto every lingering word. “Days” is a cool, beachy jam with a fun, bopping beat you’ll want to listen to again and again.

Eerie, ambiguous and dark, Ryan Egan's most recent single "Cruel Times" lives up to its sobering name. The song is deep, dark synth-pop at its finest. It possesses Egan's precise command of production: a style that entices the listener with equal parts accessibility and surprise. Egan's vocalization is especially emotionalized in this track, taking on a harsh dichotomy between the chorus and verses. His typical dreamy falsetto is contrasted with baritone talk-singing—speaking his verses like melodic slam poems. The lyricism is politically charged, venting frustrations with apathetic leaders regarding their climate indifference.

Scandanavian artist Anna of the North further cements herself as a pop force with her newest single “Dream Girl.” It’s light and catchy with bright keys opening the breakup track. She cycles through all the traditional breakup emotions as she sings about visiting their old spots in hopes of bumping into her ex before launching into a bit of denial in the chorus, “In my dream world / I’m still your dream girl / No if, but or maybes / I’m still your baby.” It’s the song for everyone who hasn’t yet reached the “I hate you” phase of a breakup. You still want that person to love you back. The animosity hasn’t built up in your system. Just like Anna, you might pick up the phone at 3 am just to hear their voice even though you know it won’t yield the results you’re hoping for. “Dream Girl” is the first single and title track to Anna of the North’s sophomore album due out October 25.