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.

Charlie Martin and Will Taylor both started out their musical journeys as drummers, but the hushed sound they have developed as the principal songwriters of Hovvdy show no trace of the speed, aggression or volume one might expect from clashing percussionists. Sometimes described as “pillowcore,” their tour with an artist like Lomelda makes perfect sense. It’s not so much mood music as it is moody music. “Ruin (my ride)” is Hovvdy’s second single from their upcoming album, Heavy Lifter, and it “explores the often complicated nature of social and professional rejection, and aims to celebrate the power in genuine connection.” But, like all or at least almost all of Hovvdy’s music, “Ruin (my ride)” inevitably has the primary or at least secondary or at the very least tertiary effect of capturing an overwhelming wave of nostalgia. The tape recorder fuzz, the gentle acoustic strumming, the simple drum loops, and the sound of the vocals like they were processed through an iPhone microphone (a tactic they actually employed until recently, when the quality of their production caught up with the quality of their stellar songwriting) all sound like the ache of a yearning for something long gone or never experienced.

“Forever Turned Around,” the closing track on Whitney’s sophomore album of the same name, is the worthy culmination of three years and ten soft, shimmering rock songs. Vivid sounds are weaved through a vast, emotional arrangement; listening with your eyes closed is like watching the sunset eke out the last of its golden rays before it disappears over the horizon. A little psych-rock, a little bit of jazz, and Whitney’s impressive orchestral arrangements create an unmatched, genre-defying listening experience bathed in warmth. Muffled percussion and uplifting classical piano evoke a swaying beat as familiar as a cozy, lo-fi campfire croon. Horns with bellows as soft as sunbeams and gorgeous, surprising strings give the song its golden hour glow. The true emotional girth of “Forever Turned Around” however, lies not in the grandeur of its arrangement, but the places where it strategically stays soft. This is reflected in the lyrics, which are grippingly introspective: “Has your heart grown heavy by now? / Cause mine's already on the ground / Spent a long cold winter thinking about / The way forever turned around.” The wispy, lovelorn vocal sweeps over the instrumentation as a reflection on growth and the inevitable impermanence of forever, and it never builds. As reliably pleasing as the band itself, “Forever Turned Around” is a swoon-worthy track you can listen to again and again.

Folk and electronic: it sounds like a bizarre mix, but Simen Mitlid somehow pulls it off in his newest song, “Football.” He combines dainty guitar plucks with a softly pulsing beat, mingling the two disparate sounds in a cohesive way. Layering his gentle voice over the mellow instrumentals, Mitlid creates something almost whimsical in his sound. It's truly a modern indie fairytale.

If you’ve been searching for a groovier yet still mellow Connan Mockasin, look no further. Following the release of his first full-length album Let Us Sleep Together in 2016, Pittsburgh synth-pop star wwoman has just dropped the latest of three new singles, “Chuchi.” Your ears will be treated to a catchy hook the moment the opening notes are played, setting the tone for a true bedroom pop jam. Throughout the song, dreamy melodies are paired with a strong bassline and psychedelic vocals reminiscent of Gus Dapperton—creating the signature retro vibes that are intertwined throughout all of wwoman’s music.

“I’m Fine” by Daisy the Great starts off with attitude—groovy bass quickly blends with percussion to lay an instrumental mosaic under Kelley Nicole Dugan and Mina Walker's softly magnetic vocals. Masterfully harmonizing together, the pair bemoan the fact that “You wanna dress me up in yellow / Wipe my mouth and feed me jello, caramello,” all the while paradoxically insisting “I’m fine." This song feels wonderfully simple and clearly well-produced and performed. Advancing like a story of sorts, the track concludes with a quick little whistle, wordlessly surmising everything that’s been (excellently) sung and said.

“Rufufus” by Remi Wolf is all groove. Seamlessly marrying R&B and funk, Wolf’s newest release demonstrates her unique command of the mechanics of sound. With layered vocals and a flowing beat, Wolf creates a sound that revives funk of the past in a fresh, impressive way. Combining melodic groove with lovestruck lyrics, “Rufufus” sets a vibe-heavy precedent for Wolf’s debut album, You’re a Dog!—slated to release September 20.