Girlhood takes on a new, fresh sound with “It Might Take a Woman.” The duo, composed of Tessa Cavanna and Christian Pinchbeck, released this single to predate their self-titled debut LP which will be released on October 23. The track mixes elements of synth pop and R&B to create a fast-paced groove, a major difference from their usual dreamy sound. The production of the track additionally starts slow, but then becomes an almost chaotic party of harmonies and reverb and shifts back. Tessa Cavanna's vocals are light and airy, but their power lies behind the message of the track: “It might take a woman like me / To get me to the man in you.” Cavanna is constantly straightforward about femininity in the duo’s music, and "It Might Take A Woman" presents a new chapter to this narrative. This track is an anthem for the ordinary woman to acknowledge that confidence can be found in vulnerability. Simply put, if you're ever in need of a confidence boost, then this single’s for you. Photo by Dean Davies.

This single release from New York-based multi-talented indie-pop artist Denitia begins with a beat that builds as if it were underwater, swelling to the surface before engulfing us in its rhythmic and full-bodied sound. A singer, songwriter, producer, and multi-instrumentalist, Denitia single-handedly uses a blend of electropop, psychedelic, and R&B elements along with her disarming and reverberating vocals to create a dreamlike soundscape on “Forever.” An 808 drumbeat pulses throughout the song, perhaps in homage to the human heart, as other sounds loop in and out around it. The instrumental ebb-and-flow evokes images of waves and currents as Denitia sings, “I am a river / You are the ocean / We go together / We could just flow in.” Referencing “flowers under the sun” and “the moon and the tide,” the lyrics are filled with earthly imagery, highlighting the ways in which we are all connected, to each other and to nature, and the paradoxical illusion of any concept of “Forever.” Accompanying the song’s release on Bandcamp is a blurb from the artist that reads: “Our existence among each another can seem so complicated in our modern lives, but then you realize we are so inextricably connected to each other and the natural world. We are both infinite and impermanent at the same time.”

If you took Phoebe Bridgers to a club on a sweltering Saturday night and sweetly encouraged her to get her groove on, the triumphant result would be "Lonely Boy" by Becca Mancari.

Mancari delivers the perfect track for the summer, clocking just under two-and-a-half minutes; a decadent and triumphant pop song, which wouldn't be out of place if it were featured on the soundtrack to a beloved teen drama from the aughts. She takes her lonely subject on an upbeat ride, trying to figure them out. 

Getting a lonely person to contemplate their loneliness would normally seem like a daunting task, but Mancari goes easy on them as she spends the majority of the song gently asking "Are you a lonely boy?" Mancari is intent on driving the question into her subject's mind, to the point where they're unable to avoid figuring out why they're always a loner—but they get a bit of a pass because this "lonely boy" still tries.

Becca Mancari's first album since 2017, The Greatest Part, will be released on June 26 via Captured Tracks.

The staggering genius of Sean Bowie emerges immediately upon pressing play on their fourth album as Yves Tumor, which opens with “Gospel for a New Century.” Tumor’s own brand of brilliance survives in their own mystique, which shapeshifts in kaleidoscopic, sonic morsels that fleetingly reveal themselves through flashing emotional windows—into which Tumor allows us to momentarily gaze. “Gospel for a New Century” unfolds with a vintage horn sample that sounds freshly plucked from a James Brown or Edwin Starr song, soon supplemented by a full chorus of brasswinds fit for a 1970s spy-noir film score. By the time the bassline and Tumor’s vocals kick in, we’d be tempted to enlist the song as a masterwork in psychedelic, anthemic rock—but this is where we’d be wrong. Often the best art shocks and shakes us in unquantifiable ways, without grasping at labels or ticking genre boxes, and this is exactly how Tumor’s opus pierces our senses. In neon orchestral flares we can discern a host of influences from Prince and Lenny Kravitz to MGMT; yet, this recognition leaves us as rapidly as it arrived. Tumor’s “Gospel” is a roaring rhapsody of experimental funk-rock distortion, layered so finely we could spend ages dissecting it—but by the time we do, Tumor will have already entered another unexplored aural landscape.

The quiet inside of me could never match the stillness 

outside, even on nights like tonight, when the world

stops and offers me a chance to unwind.

Of all the things I carried home

and secrets left behind,

there lives one in the neon chrome

waiting for her right time.

Alone with you, the truth comes soon,

exposed in afterglow.

I'll save it for the perfect moon —

when it's my time, I'll know.

A bassline groove sets the scene for Tayla Parx’s high-pitched glossy vocals to steal the show in this sparkly, nostalgic number as she sings of not wanting to “Dance Alone.” We’ve all been there—the night is nearing its inevitable end, but we’re not quite ready to go home. We want to keep on dancing (just not alone), and we’ll do anything to keep the party going “until the lights come on.” Whether you hear this as a metaphor for clinging to a doomed relationship, or a literal ode to and reluctance to leave the dancefloor, this single by Tayla Parx, in all its glitter and glory, will definitely keep you dancing for at least one more song. 

Even if you have yet to listen to her debut full-length album We Need To Talk (2019), you’ve heard elements of her sound and style on some of the most popular songs of the last few years. From Ariana Grande’s “thank u, next” and “7 rings,” to Khalid and Normani’s “Love Lies,” to Panic! At The Disco’s“High Hopes,” to Troye Sivan’s latest release, “Take Yourself Home,” Parx has infiltrated the charts with her poignant melodic and lyrical contributions. These songs all share a polished pop sound, and it is clear in the genre-bending and infectious track “Dance Alone” that Parx sets the same high standards for her own work as a solo artist.