"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.

London trio Girl Ray have dropped a new single to set a groovy tone for their upcoming sophomore LP. "Show Me More" tells the story of a classic back and forth, when things feel right but "your boo is playing savage games." Lines like "Don't give me these highs then leave" capture the will they/won't they energy of an unhurried summer fling that simply needs a nudge to evolve into something more. The chic tune gravitates towards a mainstream hook and poppy bassline, aided by the springy production of Ash Workman, whose credits include Christine and the Queens and Metronomy, for whom Girl Ray will be opening this fall. "Show Me More" is polished and sleek without losing the handcrafted haze at the heart of Girl Ray. Girl is due out on November 8 through Moshi Moshi Records.

Common Holly delivers another take on human growth and restlessness with the second single, “Joshua Snakes,” from her forthcoming sophomore album When I say to you Black Lightning. Montreal singer-songwriter, Brigitte Naggar doesn’t shy away from the self-delusion and pain that manifests in her own head. "Joshua Snakes" embodies the search for a calm and peaceful place amongst constant chaos and self-doubt. Naggar’s airy, smooth vocals coast along as she lets out her poignant lyrics, “I’m tied against the tracks / But I can’t figure out the ending.” Things step further into disarray as the instrumentation becomes more brash and bold toward the latter half of the track. Punchy guitar kicks in and uncertainty seems to be circling as Naggar leads us to the end, asking “Can’t get enough, can we?” In the end, we’re left wondering who really wins in this back-and-forth, an inner fight with ourselves that we've all experienced in one form or another. When I say to you Black Lightning is out on October 11 via Barsuk/Solitaire.

Breezy indie-pop duo slenderbodies’ new single, “arrival,” is as lush and atmospheric as a drive through the Redwoods. Awash in warm soundscapes and soaked in reverb, the arrangement is vibrant and tranquilizing; you’ll happily lose yourself in its calm, swaying beat. The opening notes are a sun-soaked rush of autumn air to your senses. Surreal, spacey synths set the mood, followed by slenderbodies’ signature silky vocals and lyrics that perfectly fit the bigger picture: “Bend around the road / I give away my silhouette / Nothing holds you like the sun / I'm youthful in the morning light.” Breathy and distinct, the harmonies are hypnotic. The clear, thoughtful production creates accessible clarity and allows you to hang onto their every word—even if you can’t always understand the lyrics. Relaxing and smooth, “arrival” is the definition of “chill vibes,” and is the perfect song to ease you into fall.

Leading up to the release of her first-ever solo album Jaime, Brittany Howard’s newest single “He Loves Me,” delves deep into Howard’s psyche through her relationship with religion. With her signature smooth musical stylings, Howard combines powerful preaching with her compelling vocals as she examines her positive relationship with God. With lyrics like “He still loves me when I’m smoking blunts,” Howard casts God in an all-loving, all-accepting light. Partnering sermon excerpts and thoughtful lyrics, “He Loves Me” provides a deeply personal outlook on religion—one that stands in contrast to how religion is so often portrayed today—and does so in an enchanting way.

Bon Iver meets The 1975 on “I’d Rather Lose a Fist Fight,” the electrifying debut single from Minneapolis songwriter and producer Bobby Rethwish. The hook-filled indie-pop track opens on an intimate note, with a muffled but sweet piano and one softly sung line to draw the listener in: “I’d rather lose a fist fight.” Suddenly, after a burst of white noise, the arrangement opens up to a colorful and energizing palette of sounds. Part dance-rock, part electro-indie pop, the song transcends genres. The instrumentation is lush with cheerful, atmospheric synths and samples; a pumping percussive beat on top of a persistent classical piano line; and capped off with a vibrant guitar solo. Rethwish’s vocal, reminiscent of Matt Healy’s, is grippingly pleasant; his passionate delivery and colorful array of harmonies force you to lose yourself in his words, even if you can’t always understand them. “I’d Rather Lose a Fist Fight” is a bright, invigorating mid-tempo jam that will appeal to a wide variety of tastes.