Singer-songwriter Jordan Moser’s “The Devil” feels like summer nights around a Texas campfire with folk songs and ghost stories. It has a soft sadness as he sings, “how am I gonna know where your hand is gonna be on a night so dark.” He is reaching hopelessly into the night, searching the stars for answers just to be met with emptiness. The acoustic guitar floats warmly above the soft percussion. The beautifully sad and timeless track nods subtly to country greats like John Prine and Guy Clark while rooting itself in modernity through the contribution of fellow Austinite Molly Burch’s ethereal tone. “The Devil” is the first single off his label debut at Austin label Keeled Scales (Buck Meek, Twain) due out July 26.

Originally only available as a 7-inch vinyl at concerts, “Little Trouble” was released digitally as a gift to fans last month—and a gift it certainly was. Phoebe Bridgers and Conor Oberst, the sad-indie rock duo behind Better Oblivion Community Center, sing some of their best, and definitely most upbeat, harmonies yet. The thrashing drums and throbbing guitars set the tone for the song’s carefree attitude; immediately, no matter where you are, you can’t help but start bopping to the beat. As always, the compellingly dark lyrics are delivered with matter-of-fact charm, reminiscent of Bob Dylan with a full band. “Well, tell me, baby, what’s your biggest conceit / Is it that you did it, or you did it with me?” Complete with a tiny, grungy guitar solo, “Little Trouble” is a fun and fitting addition to the band’s debut album, which they released in January.

One of the first words that come to mind when listening to The Head and the Heart’s new single, "Honeybee" is grounding. The abundant ups and downs of the track will make your heart take flight and land back on the floor like a feather. "Honeybee" was released ahead of the anticipated fourth album from the 6-piece Seattle band, Living Mirage. The beat, vocal melody, and lyrics work together to create the ideal love song about the person you want to build your whole world with. Vocalists Jonathan Russell, Josiah Johnson, and Charity Thielen's collective timbres pair seamlessly with Kenny Hensley’s piano, Tyler Williams’ percussion, and Chris Zasche’s bass—reuniting nearly 10 years of work together as a band in a perfectly sweet folk track. Their album Living Mirage comes out on 5/17.

“As Loving Should” is an especially circular song with its sparse drum beat, ever-present acoustic guitar strumming, and simple song structure, ending up right back where it started. Singer Liz Drummond’s tired vocal delivery uses the song’s circuity to examine the perils of an unhealthy relationship with alcohol. “I didn’t feel very well / I still don’t feel very well,” sings Drummond of the endless cycle, the bottomless pit. Much of the music Little May has released in the lead up to their forthcoming album deals with feeling stuck— the previous single “Apples” addressed the difficulties of creative fulfillment in the face of relentless financial pressures—and that may be the nature of finding success as an independent band. A band with small beginnings, three high school friends making music together achieved a pleasant level of exposure with their debut—an album produced by The National’s Aaron Dessner, support from Australia’s Triple J, appearances at large festivals and a supporting date with Mumford & Sons. But 2017 saw the departure of original member Annie Hamilton, and there are obvious creative pressures to follow up on the success of their debut. With “As Loving Should,” the third single from Blame My Body, due out May 3, Little May is looking forward and reclaiming control—“I chose the bottle over you too many times / No more empty promises, this body is mine.”

"Crow" by Bear's Den is a nostalgic elegy remembering the loss of a father figure. Full of bittersweet gratitude, the harmonic aspects of the track are a beautiful complement to the melody and lyrics sung by Andrew Davie with such pure emotion. He laments, "a stranger who I learned to love / a friend when really no one was / my Daedalus, my wings to fly / why'd you leave me behind?" This deeply personal song from Bear's Den is a leading track off their most recent album So that you might hear me.

Carefree post-punk meets playful indie-rock on Amsterdam-based musician Pip Blom’s newest single, “Ruby.” Accelerated by raw, loud guitar power and Blom’s nostalgic vocal, it’s a hook-filled track with a catchy, head-banging beat. The chorus is infectiously fun. It’s loud without being harsh, and the grungy guitar and thrashing hi-hat are both cheerful nods to 90s rock. At the front of the arrangement, Blom’s vocals are matter-of-fact but still charming. Like a more upbeat Courtney Barnett, Blom uses her accent to the song’s advantage. Her brother, Tender, lent his voice to the backing vocals. Ultimately, “Ruby” is reminiscent of ephemeral bliss; like a good song, it reminds you the best things in life can be fleeting. It’s the second single from Pip Blom’s debut EP, Boat, out May 31 via Heavenly Recordings.