King Princess is just one of many featured artists on the recently released cover album I’ll Be Your Mirror: A Tribute To The Velvet Underground & Nico. Brought to you by Verve Records, the label responsible for the original release in 1967, I’ll Be Your Mirror is a tribute to the longstanding legacy of The Velvet Underground and the ways they have impacted the history of rock & roll. King Princess, described by The New York Times as “an old kind of rock star for a new age,” tackles the classic "There She Goes Again." While the bones of each track are the same, the production of KP’s version feels a bit more full and energetic than the original. Her gritty vocals and undeniable charisma welcome engaging details that make her version distinct in its own right. It’s fun, danceable and at one point you can hear her laughing—just one testament to the amount of enjoyment she and the band had while recording the track. The most recognizable difference between the two tracks has to be the ending; contrasting The Velvet Underground’s reliable fade-out, KP’s version builds to combust. Guitars, synths, drums, bass—it’s all there, it’s all building and it’s all chaos. Each marvelous in its own way, King Princess’ cover of "There She Goes Again" and the tribute album at large brings a kind of angst and spirit to 2021 that we all didn’t know we needed. Photo by TORSO.

Naina V's debut single "Play Pause" is a much-needed break from both the universe outside and the universes we all carry inside. The Singapore-based singer/songwriter chose to present her music to the world with a light song about going slower and getting "lost in white noise." It's particularly symbolic of a moment where life goes faster than it's ever gone, but we've just been forced to stop and contemplate the finitude of everything and everyone. While the guitar track on "Play Pause" will make your soul soar towards a simpler, dreamlike life, the bridge will ground you back to the present, reminding you of the moments in life that allow a deep breath. This song is a strong debut for a powerful voice that is just getting started. Photo by Harsha/Honest Media. 

British indie rock newcomer Holly Humberstone's newest single "Please Don't Leave Just Yet" is as emotionally direct as its title entails. A bare-bones breakup song, the track finds Humberstone wrestling down her own desperation as she pleads to not be left alone. It's a glowing, moody pop song that you'll want to hear over and over (even if it makes you a little emo). It's got that gorgeous, lagging, night drive quality prevalent in so much of Humberstone's music. The urgency of her language couples perfectly with Matty Healy's arrangements. Sweeping, vulnerable and frail, the lyricism is bolstered by Healy's surprising and nuanced pop production. It's quintessentially The 1975-esque pop, with layered, interesting vocal effects and punchy saxophone parts that you'd never envision for an emotionally charged pop hit, and yet it somehow fits. That's the mastery of these two British indie pop voices: they revel in the unexpected. The 1975's most recent album, Notes on a Conditional Form, was their most experimental album yet, genre-jumping from electronic to country. Humberstone is an anomaly herself, having garnered critical success following her first EP release (Falling Asleep At The Wheel) at the age of 21. Healy's established himself as a household name in the modern Britpop scene, working with everyone from beabadoobee to FKA Twigs, and Humberstone is quickly emerging as a titan in her own right. I'm looking forward to hearing more from these two in the weeks to come, with Humberstone's sophomore EP arriving on November 5.

Imagine you’re watching a car drive down a mostly empty highway; it’s dark and late, they pull off into the parking lot of a 24-hour diner. A lambent neon sign hangs from the window illuminating the now-parked car’s glossy exterior. The passengers get out and order coffees at the booth under the light fixture. The sign’s glowing message shines against the glass, each letter taking a turn before they blink together. Feeling restless in their seats, they finish their coffees and decide to go: It’s nothing new here anyway, they agree and turn towards the road. Onto the next spot, onto the next night, wherever that may be. 

Amelia Meath’s rich vocals and Blake Mills mellow and subdued instrumentation decorate “Neon Blue,” a track that’ll find you nestled within the ominous comfort of a late night and a good friend. The gently eerie debut single arrives as Meath and her Sylvan Esso-counterpart Nick Sanborn launch Psychic Hotline, an artist-led record company that strives to do right by creators in radical ways. “Neon Blue,” along with its B-side reinterpretation by Sam Gendel, is the first of several collaborative singles to be released over the next few months. In addition to this project, entitled the Psychic Hotline Single Series, Sylvan Esso has announced that their self-titled debut album will be the first release of what they’re calling the Psychic Hotline Reissues. Welcoming a new era of the movement-filled and sonically charged project that so many have come to love, “Neon Blue” masterfully scores the transition as a new chapter of Sylvan Esso begins. Photos by Blake Mills, Nick Sanborn and Marcella Cytrynowicz.

With their newest EP When the Compass Resets… Part 1, indie rock band Atlas Engine brings us back into their expansive universe of sound with standout track "All I Want is Everything // Alternate State." The vocals of the band's founder Nick LaFalce and vocalist Meredith Lampe narrate an unbound, relatable sentiment, yearning for something that doesn't feel like it's ever going to come. There's no denying the atmosphere of nostalgia and desire that grows from start to finish. Artists like Atlas Engine so seamlessly weave together two individual halves into one cohesive story, like the track is almost in conversation with itself. The striking crescendos exemplify the tone of the song's body and the last portions retain that trademark gorgeous soundscape. We end with a montage of sound that blends perfectly and then takes its final rest. When nothing seems satisfying enough, let your ears find respite in the capable hands of Atlas Engine and their atmospheric, cinematic universe of sound. Photo by Atlas Engine.

At first listen, “Socially Alive” sounds blissful and nonchalant with its stacks of vocal harmonies and staccato pop instrumentation. With steel-pan-sounding keys bouncing through the chords and the bubblegum-like melody, the song sounds like a light beach day, filled with sunshine and joy. The instrumentation is almost like a companion to the feeling of excitement as places start to reopen, optimistic and vibrant.  But the lyrics tell another story. After this past year of isolation, most of us (especially those of us who fall under the introvert category) saw a dwindle in our capacity for socialization. Throughout the song,  c. The melody allows for the lyrics to feel like they are Su Lee’s thoughts in real-time, racing through every bad scenario whilst trying to keep herself calm. The juxtaposition of the instrumentals and the lyrics depict the dichotomy of feelings at this ever more complex time. Photo by Su Lee.

Dream pop duo Drauve is comprised of Pittsburgh natives, Victoria Morgan and Stephen Grzenda. In their second track out this year, "Search Party," Drauve musically captures a relatable story about finding oneself amidst the noise of others’ expectations and opinions. Intertwined through textured euphoric reverb and echoing vocals, the lyrics reveal the singer’s personal journey dealing with mental illness while grasping for a sense of her own truth. “Reaching for a sign of life 'cause there’s no end in sight" reveals the necessity for an escape from what others think and how empowering it could be to simply to live authentically. A sense of honesty and inward reflection defines the song’s journey home. The combination of airy vocals, lyrical depth and a mesmerizing, dreamy soundscape leaves us hopeful for more tracks from the duo. Photo by Jesse Schlauch.

What does it mean to be “too much?" Does it somehow, ironically, mean we’re not enough for someone? It can feel that way when we try hard to please everyone, yet somehow fall short of their expectations. On “Elephant,” Samia laments on this burden with arresting honesty and candid stream-of-consciousness thoughts about the cycle of disappointing others, then reconciling with oneself. Over distorted synths and lo-fi guitar, she sings, “I brought an elephant / To the most delicate place.” When we fail to please people, it can be difficult to avoid placing blame on ourselves. But, it takes a hard-earned, emotionally resilient and self-assured mindset to realize that your expectations of yourself are the only thing that matters at the end of the day—that sometimes, you can only do your best to be a good person and bow out to preserve your energy when it isn’t enough for someone else (“I reset my tolerance / Now it’s easier to fail the audience”). Samia has learned one of the most important lessons in life, which she offers listeners in the most poignant lines of the song: “You cannot make everyone happy / But you can force a smile on their face / Just place your fingers / On each side of their mouths / And pull towards heaven / Until their teeth peak out.” You can hear the track on her new EP Scout, out now via Grandy Jury Music. Photo by Sophia Matinazad.