"Who the fuck is Lauren Ruth Ward?” reads the descriptive text teasing the 31-year-old American singer and guitarist’s website. Ward is a firecracker, a Scorpio, a water sign. What do Maggie Rogers, Father John Misty, and Lauren Ruth Ward have in common? Their voices read like anachronisms, under-processed, floral, not limited to modernity or copying what came before. They make music that’s difficult to place but electric to absorb. What’s more, all three artists hail from Maryland, a state that isn’t classically associated with rock music, and one that also happens to be where I grew up. On the Mason-Dixon line, this is a place where country music is charred with a rock sensibility, or in the case of Ward, rock is infused with a smokey folk flavor. Prior to moving to Los Angeles, Ward, who rocks Angel Olsen bangs and tie-dye hair, worked as a hairdresser in her native town of Baltimore. “Water Sign” is a song that you feel throughout your whole body. “I'm living in my personal hell / I don't need your ammunition / Everybody say ‘Oh, I can tell’ / Can only see my own vision,” drawing out the last syllables into a growl. Ward sings of emotional volatility: being vulnerable to the moods and actions of people trying to swerve into her left lane. Single lines speak volumes, with punctuated pauses and Ward’s sharp tongue (“I did it my sentence it was cruel but I finished it”). If you’re in New York, don’t miss Ward’s upcoming show at Rough Trade in April.

“Those Girls”, the fifth track off of Big Thief’s latest record Two Hands starts quickly and plays out slowly. Adrianne Lenker sings in a forceful almost-whisper that extends over an entrancing three and a half minutes. Consistent percussion pairs with an easy, calming ensemble of strings that reverberate over themselves and fall into silence as the song concludes with a reflective fifteen seconds of silence. Wistful verses and easing instrumentals fill the middle of the album with grace.

On their eleventh studio album Ode to Joy, Wilco strings together intimate, direct moments that paint a picture of hope, solace and a search for meaningful connection. Frontman Jeff Tweedy leads the way through discord with a steady maturity and calmness, bringing us out the other side with a higher self-awareness than before. In each track, Wilco makes the case that belonging and happiness do not have to be diminished for one person just to be attainable to others. The third song on the record, “One and a Half Stars," fully embodies that theme, examining how we deal with comfort, feeling safe and communicating appropriately with one another. Although there are certainly hints of weariness and poignancy throughout the song, Tweedy's forthright, heartfelt vocal tone really takes the center stage. His tender lyrics don’t miss a beat, “You mean too much to me / I'm angry / I could need so much / I'm worried about the way / We're all living.” The humble mix of acoustic guitar, gentle drums and keyboard lightly march along before eventually picking up in pace as Tweedy attempts to find a way to adopt new habits. Even though "One and a Half Stars" is one of the more modest ballads on the project, it holds an incredible amount of emotional resonance that helps build more empathy. Wilco isn’t trying to roll out new tricks or outdo themselves. Instead, they offer their honest take on the anxious, perplexing and ever-changing world we all currently reside in. Ode to Joy is out now via dBpm Records.

Indie psych-rock act HalfNoise, the solo project of Paramore drummer Zac Farro, just released his third album, Natural Disguise, via Congrats Records. Filled with bright, disco-inspired melodies and clear, vibrant arrangements, the album features some of Farro’s boldest, most genre-bending work to date. A standout track is “Guess,” a mid-tempo, synth-pop dance anthem with a contagiously groovy beat. A pumping bassline with colorful, reverberating guitars evokes the carefree vibes of 70s psychedelia, while bright, tight drums and a clear, affected vocal emphasize Farro’s crisp, modern production style. Spacey synths and electronic keys round out the dynamic instrumentation, adding some fun, quirky details that highlight the track’s playful undertones. Overall, “Guess” is an exciting party song with a catchy melody and an arrangement full of surprising intricacies.

Nevil oozes bass-filled 90s nostalgia in their new single “5 Year Warranty.” The all-girl rock trio from Austin creeps their way through the breakup track with a steady bassline, shoegaze guitar, a heavy dose of high hat and languid vocals. The song stays in the pocket for over four minutes—showing immense restraint as the lead singer and guitarist Emily Rose sings, “there you go making another god damn scene / as you shout ‘why is everybody being so mean’.” They chronicle a break-up in which one party feels they’ve been unjustly made into a bad guy and is constantly reappearing in search of some answers. The track is droney, buzzy and dripping in reverb. “5 Year Warranty” is a cool-girl breakup anthem. It’s the perfect example of how we all would like to hold our composure when someone is blaming us for something falling apart. "5 Year Warranty" is quiet and restrained in its angst as it leans into the annoying reality of post-breakup communication.

Liza Anne’s newest single “Devotion” is a hard-hitting break-up anthem that isn’t afraid of going full-throttle. It’s loud—glittering with synths, compelling guitar solos, and Liza Anne’s dynamic vocals all within the short span of two and a half minutes. The song nears glam-rock status at the conclusion of the first chorus as she proclaims devotion to herself, “I’ll do anything for her now, she’s my longest love / hey!” Instead of being angry or sad, “Devotion” is celebratory of the freedom that can come with the end of a relationship. It’s not just a time for mourning the loss of a connection. It can also be a time to embrace the beauty of solitude and independence, especially in the wake of a toxic relationship. The Nashville pop-rocker finds a Blondie-esque power as she sets forth on a journey of self-love and realization—singing, “find the bits of me I shook off / to appease you, oh just come on / I like the things I like / and that’s alright.” Inspired by Patti Smith's short-story of the same name, the track is perfect for blasting as you dance in celebration of your newfound independence.

Australian producer Kito enlists Lorely Rodriguez—better known as Empress Of—for the adventurous new single "Wild Girl." "It's not a secret, my heart's weakness / Is a half-smile touch, casually call you love / When your hand is enough, casually say it's love," Rodriguez trills into the airy lead-up to a club drop, but the muted bass has Kito exercising restraint in an otherwise pulsing beat. Though the track is easily danceable, being a "Wild Girl" isn't about kissing strangers on a crazy night out—rather, it illustrates being so consumed by a love that you rage like a wildfire, desperate for someone to "Gather me from one place or another." The genre-bending and subversive team of Kito and Empress Of is a match made in heaven, artfully exposing intense vulnerability through the most club-ready of songs, adding a fresh new touch to dance music tropes. The single is only a taste of the exciting collaborations and eccentric sounds of Kito's soon-to-come solo LP.

Imagine you’re in a cabin in the woods, cozy by the fire while a snowstorm rages on outside. The light is low, the atmosphere is intimate, and you’re overcome by a sense of longing you can’t quite place. This is the vibe conjured up by Loving’s new single “Only She Knows,” a lo-fi, psychedelic dream that’s as pleasing as the crackle of an old but reliable record player. The track is reminiscent of a slightly darker Whitney, with soft, wispy vocals and heavy reverb that gives the classical piano an almost ghostly presence. Dreamy synths and strangely seductive guitar lines make for a lush, hypnotic soundscape you can get lost in, while the crisp production makes apparent Loving’s appreciation for analog equipment. Nostalgic and lovely, “Only She Knows” is the perfect song for cold weather or a rainy day.