Lana Del Rey released her sixth album Norman Fucking Rockwell! at the end of August via Interscope Records and has once again proven herself to be an insightful, eloquent songwriter. Del Rey offers up her unapologetic observations on love, the maze that is human emotion and the communication breakdown that everyone seems to have on a daily basis. One track in particular that grabs your attention is “Cinnamon Girl”, which details the cycle of a caring, but unhealthy relationship. The delicate piano kicks things off and softly rings as Lana’s melodic, longing voice begins to build before you’re engulfed in pools of light, cinematic layers of synth. She poignantly recaps her desire to connect, “All the pills that you did / Violet, blue, green, red to keep me / At arm's length don't work / You try to push me out / But I just find my way back in.” As the song comes to an end, we get a dose of swirling instrumentation—leaving room to conclude that maybe Del Rey has found some sort of closure. There’s no sugarcoating or beating around the bush, which is a consistent element of the album as a whole.

Loving dropped their most recent single “Visions” at the tail-end of last month. The track is a feel-good anthem for searching for what’s next. A lot of people think they know what they’re doing with their lives, but an open secret is that nobody actually does. Some people are just better at pretending that they have it together compared to others, an idea that mirrors the transparent lyrics—“I’ve got a vision / So clear in my head / it’s a strange kind of prison.” It’s impossible to not have the melodic pace wash over you with the current of soft instrumentation and gentle vocals. The track is the second release following the single “Nihilist Kite Flyer” that came out earlier this year. The British Columbia trio could be the northern counterpart to Detroit’s Bonny Doon and are consistent in delivering their combination of folk, soft pop that melds together in a way that can best be described as inviting, warm and comforting.

In the third release from his upcoming album, Devendra Banhart paints a painstaking picture of loss. “Memorial” is so weighed down in grief, it might be hard to take if not for the relief of the gentle strings, subtle piano, and simple, grounding guitar strums that play evenly through the whole track. Banhart speaks directly to his lost loved one, giving voice to the frustration of not being able to ask all of the questions you have after tragedy strikes. “Can you hear me? Did you mean it? Did you plan it out? Was it an accident?” Banhart asks, knowing nobody can give him the answers he needs. The heavy content easily stays afloat with the help of a waltz-like melody and Banhart’s delicate, though heartbreaking delivery. The single is part narrative and part prayer as Banhart moves from describing the hospital and the funeral to pleading to his lost friend, “I know it don’t work like that, but maybe you can take it back.” “Memorial” washes over you, conveying the numbness and heartbreak in the most gorgeously tender way it possibly can. This latest single is a wrenching lead-in to Banhart’s album, Ma, which will be out in September via Nonesuch.

Okey Dokey is back at it with their newest release “Winnebago.” Once again they’ve put together a vintage vibe using funky instrumentals reminiscent of folk mixed in with refreshing drops of psychedelia. A collaboration with Liz Cooper & The Stampede, a band that was also featured on their previous album, “Winnebago” is the pure embodiment of a summer love jam. Liz’s dreamy folk vocals coupled with Okey Dokey's shimmering guitar and heart-racing production is a match made in heaven that could go on forever and never get old. The song itself goes through phases of intimacy, building in tempo, going through lulls, and picking back up again. “Love like this is like a lazy river right unto the other side,” vocalist Aaron Martin sings as the song itself dazes its way over to pass off to Liz. This modernized folk duet is a quintessential taste of a sweet love grown old.

"Birmingham" is an explosion of artistic creativity by Blood Orange from his latest project, Angel's Pulse. Like so many masterfully produced tracks on this album, "Birmingham" is assisted by Ian Isaiah and the vocals and writing power of Kelsey Lu. Olympic-level vocals take this solemn gospel-inspired interlude to the next level as each artist lends their own unique take on a beautiful, short, and poetic tale of tragic loss.

Julia Jacklin’s cover of “Someday” by The Strokes is a stripped-down, sultry take on the garage rock-revival energy of the original. A dreamy rock ballad for lonely, wandering nights, the arrangement is slowed down but kept in its traditional 6/8 tempo, so it moves at a gentle, swaying pace that maintains its momentum. Jacklin’s emotional sound, which exists at the intersection of indie-pop and alt-country, lends itself nicely to the moody, angst-ridden pulse at the heart of the original arrangement. Her performance is mellow but just as raw and sonically immersive—not to mention it was recorded live, which pays homage to garage rock in its own right. Most captivating of all is Jacklin’s control over the vocal melody, which feels and sounds like it was written for her. Silky, crooning, and evocative, her voice commands the arrangement and your attention. Jacklin’s cover of “Someday” is a quiet and captivating force that holds its own against the original.

"Away from you" is a dance-pop deviation from slenderbodies' usual psychedelic jazz style without losing their trademark sound. This track reminisces upon unresolved feelings from an ended relationship with lyrics that make it evident that slenderbodies have broken into a fresh space as songwriters. "It's a lonely world, yeah, I'm on my own / The memories they sell you / You told me that you felt it, it's over here / I don't let it go now"—words drawn from personal relationships of all kinds have become the focus of the band's latest work enhanced by their already stellar musicality.

Smooth R&B meets plucky indie-soul on “Too Much to Ask,” a laid-back new groove from LA-based trio Moonchild. With its thoughtful lyricism and delicate, sharp production, the track marks the beginning of a new era for the group, as it’s the first single from their upcoming album, Little Ghost. Crisp and clear, the arrangement, reminiscent of Noname, exemplifies a fun and seamless blending of sounds. Clicking and snapping work together with a drum pad to create a tight percussive beat that feels close-knit, like you’re right there in the room while it’s being recorded. Nice, 90s-inspired electro keys, bursting synths and a faint guitar round out the instrumentation, invoking a sound that’s part soul, part jazz, and entirely immersive. Similarly, lead singer Amber Navran’s vocals are like smokey honey; sung barely above a whisper, her lyrics about unreciprocated love seep into you like a love spell. “Is it too much to ask for you to love me like that? / Is it too much to ask?” Hopeful and mature, “Too Much to Ask” is easy listening for the digital age that sways to a perfect summer beat. Little Ghost, which Moonchild calls their “most thoughtfully crafted and complete work to date,” is set to release on September 6.