“Someone New” is Helena Deland’s commentary on the rhythm of the self and the infringing desire to find oneself reflected in the eyes of others. The slow-rising track stands as the title track of her first LP, which was recorded over the lapse of two years and can be expected in full come October.

There is a sort of elemental component to lending oneself to another person; to be seen in their eyes and to be rid of all control of the presentation of the self is an experience that carries its own celestial weight. In lending the image of the self to the hands of someone outside of the self, there is the opportunity for transformation, but not a solitudinous change; a reflection which absorbs an image of a person and transfigures it accordingly, in turn giving a lover a new image of themself.

In “Someone New” Helena Deland inspects the tendency that many have to seek out validation in the hearth of another. The fullness of her voice weaves through oscillating paces:

“If things go my way

I'll stay in this room

Where again I want to lay

Kissing someone new

Who tells me

Something pretty

So that I too

Can feel like someone new.”

Biig Piig is the stage name of Irish-born, Spanish-raised, London-based singer-songwriter Jessica Smyth. The first I heard of Biig Piig was her single release “Switch,” which came earlier this year, but, admittedly, I was late to the party. Known for her hip-hop beats and sultry vocals, Biig Piig has garnered millions of streams on songs like “Perdida,” “Sunny,” and “Vice City.” With her unique blend of vocal techniques—transitioning from singing to rapping and back again seamlessly—on “Don’t Turn Around,” Biig Piig sticks to her guns. Maya Angelou famously said, “When people show you who they are, believe them.” In her latest release, Biig Piig not only believes them, she lets them know where they stand, as she riffs, “I see you now, exactly who you are / No place for patience, no need to press restart.”

If “Don’t Turn Around” sounds familiar, it’s because in this latest release, Biig Piig samples from Montell Jordan’s iconic 1999 R&B track, “Get It On Tonite.” Jordan’s song had, in turn, sampled Jamaican-born Claudja Barry’s 1976 soulful disco ballad, “Love for the Sake of Love,” another iconic number. For “Don’t Turn Around,” Biig Piig collaborated with cowriters Joerg Evers, Jordan Reid, and Juergen S. Korduletsch, and producer JD. Reid. The result is an instant groove with just the right mix of nostalgic R&B and neo-soul, and a splash of disco, bringing the sounds of decades past into the contemporary genre-bending realm of indie-pop. Bet you can’t listen just once.

With love from Madrid, garage-pop band Hinds releases a wildly emotive and reverberant cover of The Clash’s “Spanish Bombs." With their gorgeous Spanish accents and a more deeply rock-forward sound, the dream ladies of Hinds give the track a bit of refurbished energy. Bringing additional chaos into what is already a chaotic concept—the bombing campaign of several holiday resorts in southern Spain—the girls of Hinds holler and yelp into static-riddled darkness. This rendition of “Spanish Bombs” is the musical equivalent to the tenderness and fire of being a young, devil-may-care creature of living.

Gabe Goodman’s new single “Immortals” is a fresh take on an age-old feeling. For centuries, music, literature, poetry and film have depicted the pain of admiring someone on a pedestal. Perhaps this track is so titled because the subject matter will be relevant for eternity. When Goodman ponders, “Is your kindness a service to me?” he dredges up something classic and relatable: raw self-doubt born from deep-seated insecurity. He covets something he feels is out of his reach, thus allowing himself to envision an outrageously fantastical outcome were it to come true. It likely won’t, so he’s safe in imagining that a mere touch would render him invincible: “Would I also feel immortal if you touched me?” We’ve all been there at one time or another. Gabe, you get us.

Tastefully and imaginatively produced by Goodman and Will G. Radin, the track is enhanced by a whimsically animated lyric video that is worth at least a few replays.

Montreal-born Love Mansuy looks inward on “I’ll Be There,” an earnest commitment to endlessly support his young son Carter. Mansuy, who did not have a relationship with his own father until recently, chose to feature Carter’s voice on the track. Whether it’s when “there’s ketchup in ya hair” or “ya in a padded cell,” Mansuy promises simply, “I’ll be there.” Vulnerability poses a challenge among men and especially in BIPOC communities. Mansuy depicts it beautifully both in the song and its accompanying video, which he intended to “reflect on not only the need for Black men to show up for their sons, but the need for Black men to be there for Black women.” In the video, protest footage airs as a mother braids her daughter’s hair, and reminds us that the emotional toll of this constant exposure is often forgotten amidst charged protesting and calls for legal reform. As we’re all looking for ways to continue showing up for the Black community, I invite you to consider donating to Black Emotional and Mental Health Collective, which advocates for increased accessibility to emotional and mental healing for the Black community through methods ranging from therapy to the arts.

Revolution comes in all shapes and sizes. Even though it should inspire others to join, it often scares people on the sidelines. What’s scary is to be revolutionary, to speak your truth to power, to give people the opportunity to turn a blind eye to your own experience, and to tell you that you’re wrong. Ayoni released her truth, “Unmoved (A Black Woman Truth),” offering peace, knowledge, and even a reality check for those who are truly listening. For Black women, it is the reiteration of the struggle they’ve always faced, brought to them in a vessel that allows for them to feel at peace. For Non-Black people, it provides a lesson in the Black experience and how the fight for Black lives is not new, as Ayoni sings, “It’s always been bigger than this.” Lastly, it is a call to action for the people who are listening and a wake-up call for the ones who aren’t. 

“Unmoved (A Black Woman Truth)” is the battle cry of the revolution both sonically and lyrically. The song begins softly with the strumming of an acoustic guitar, Ayoni’s vocal then coming into play creating a shift that pulls you in. As the song progresses, the layering and tone of her voice symbolize the frustration and anger that ebbs and flows when trying to reason with ignorance. Ayoni sings, “Are you sitting comfortably while we bleed in vain? / I’ve died by other names,” calling attention to the countless Black women who have died unnecessarily. She continues, “Please make me feel you care my ally / But are you prepared to lose your sleep / To bare your teeth / To break like me?” She is calling on us to not only reflect but to educate ourselves and put in the work. Ayoni spoke her truth to power. Now it is up to us to listen.

Denmark-based duo Moon Panda have clearly done their homework, and the result of their focused vision is “Slow Drive,” a track as peaceful and centering as its namesake. The bright, scattered tones in the song’s first moments are soon enveloped in a chillwave: we see a washed-out scene of a beach house (or other seaside real estate) at sunset. Californian-born Maddy Myers paints the warming ocean as only a Californian can, digging into the sand with her deep and subtle soprano. Meanwhile, her lyrics could not fit the blurry guitar-driven ambiance any better—in fact, they could even double as a poetic review of the track itself: “I close both my eyes now, try to feel the breeze. The calm washes over me. I heal on my own.” My thoughts exactly.

Moon Panda’s new Make Well EP was released on Bandcamp and other streaming platforms on July 13.