Laura Marling surprised everyone earlier this month when she announced her new album, Song for Our Daughter, was coming out much earlier than expected, and she dropped the first single, “Held Down,” right away. Lyrically, the song deals with a disappointing communication breakdown between two people that are healing at different speeds: just as one is finally ready to be held down, the other runs away (and, in this case, leaves only a short letter). “And I just meant to tell you that I don’t want to let you down,” Marling sings in response to the letter, massaging the regret of her own inaction with cool vibrato. But for a song about separation, the emotional impression of “Held Down” is one of measured optimism by the end. Maybe it’s that we can tell Marling has learned a lesson from her misfortune (“Seen or unseen, say what you mean”), and that the loose confidence in her vocals and guitar work tells us she is going to be okay. But I suspect the real comfort comes from the solidarity and empathy in Marling’s all-lady backup chorus, who by echoing Marling’s words throughout seem to say, “You’re good, you’re okay; we got you.”

The Technicolors’ newest single “Shotgun Betty” is their third release in the last four months. The fast-paced track feels shorter than it is as the fuzzy, brit-rock inspired guitars keep a swift momentum. There is a short reprieve around the last third with a gently acoustic breakdown that really allows the listener to focus on the vocals and intriguing lyrics, “Don’t start dragging me down / I’ve got a lot to say.” It picks up into a compelling guitar solo right after. There is an underlying anxiety to the track which never settles within one sound for too long. It feels like the band is running from something or someone. The guitar riffs are just as catchy as the chorus as they loop in and out and build on each other. There’s a lot of layering on this track. Guitar parts weave in and out of each other while vocals separate into higher and lower distorted harmonies. Any dead space within it is intentional and adds to the dynamics. The Technicolors will be keeping the momentum of the releases going as they embark on a headlining tour in June.

Los Angeles singer-songwriter Christian Lee Hutson explores the sweet sadness of nostalgia in his newest single, “Northsiders,” produced by collaborator and friend, Phoebe Bridgers. Hutson takes us through vivid memories of his youth by grounding us in his world with startlingly specific imagery. It’s haunting but gentle like a friendly ghost. He juxtaposes sadness with witty lines, “Morrissey apologists / amateur psychologists / serial monogamists / we went to different colleges” before detailing a car accident that took the life of a friend just a few verses later. Something about the gentleness of Hutson’s voice and the brightness of his accompanying guitar stops the song from becoming morbid. It’s reminiscent of a story your grandparents might tell you of a childhood friend who is long gone now. There’s a wistfulness that allows for melancholy to seep in without overpowering the gratitude that this time happened, and this person existed. The minimalist production of aptly placed vocal layering allows for the focus to remain on Hutson’s impeccable songwriting while still adding interest. Catch Hutson open for and play lead guitar with Better Oblivion Community Center this spring.

Legendary indie rockers Local Natives deliver a deeply emotive ballad with their new song, “Tap Dancer.” The track is the newest single from their upcoming album, Violet Street, set to release April 26th via Loma Vista. "Tap Dancer" is a dreamier take on the kind of upbeat rock anthem you might expect from the five-piece. A reverb-heavy piano and tight acoustic guitar strums dominate the arrangement, both complementing the group’s signature three-part harmonic vocal and giving it new, almost spiritual, depth. The introduction of strings, a harp and spacey synths are an elegant addition to a chorus that, with the choir-like backing vocals, feels akin to a sacred experience. In the bridge, where tension builds to a gratifying release, it’s evident how delicate the production is—like the sonic version of a stained-glass window mural. Ultimately, “Tap Dancer” is a warm, beautiful track with surprising intimacy and a timeless melody.

Kevin Parker, the artist behind the music project Tame Impala, has been quietly gifting the alternative rock world with singles after four years of focusing on other projects. After the 2015 Currents album, Parker started releasing funky remixes and collaborations with artists from all over the genre spectrum. Known for his multi-instrumental talents and his soulful falsetto, the collaborations have been ear-catching every time, adding to his reputation as a neo-psychedelic rock icon.

The first single he dropped this year was "Patience," a bit of an ironic name for the single that appeased the fans that had been yearning for a new project. Using piano riffs and bongos, it was the perfect intro back into Tame Impala’s sound—straying just far enough from the last album to keep fans from expecting anything too similar. The most recent single, “Borderline,” is very different than "Patience." However, it still possesses several elements reminiscent of Currents e.g. the dreamy synth rhythms and the echo that ripples out after Parker's vocals.

The lyrics themselves sing of the new Tame Impala, who's experienced four years of international popularity since the release of his last project. Instead of singing of lost love like much of the tracks in Currents, "Borderline" sings of riding the edge of going too far in a lyrical conversation or contemplation over the L.A. fame lifestyle. Throughout the song, Parker sings, “Will I be known and loved? / Is there one that I trust?”—using different tones in his vocals to represent the various thoughts and paranoia L.A. lifestyle can leave on one’s psyche. We cannot wait to see where Tame Impala takes its sound from here.