Ahead of their highly anticipated album, New Me, Same Us, Little Dragon’s latest single, "Are You Feeling Sad?" gives a fresh, upbeat tempo in the same distinctive vein of other defining songs such as "Lover Chanting" and "Ritual Union." With a command of rhythm like no other, Little Dragon kicks the groves into high gear on this song. Bolstered further by the vocal stylings of Kali Uchis, this track's lyrics are just as optimistic as the instrumentation. Introspective lines like, "I'm happy for the sun and air / When it rains I love the smell / Happy for the love we shared / Yeah, nothing could ever compare," urge you to look on the bright side in the face of difficult situations and even loss. On collaborating with Kali, the band said they were so thrilled to work with her, remarking that, “She put her twist on it and gave the track an amazing energy. Did we mention we also love her?!” It's not hard to be optimistic with such a power team on such a creative track, one that surely builds anticipation for their upcoming album.

The latest single from Londoners, Oh Wonder is a lush alt-pop track. "Better Now" is a smooth, easy listen that quickly escalates from oceanic and cool to a stellar display of pop music prowess. Oh Wonder is the indie duo consisting of Anthony West and Josephine Vander Gucht, who garnered quick acclaim from critics and music lovers alike when they released a single every month for the year of 2014. This new single displays what the band does so well: complement each other both vocally and musically. Vander Gucht's vocalization in the last minute of the song is essential and gripping. Listen to "Better Now" wherever you stream!

Halloween may be over, but the spirit of ~spooky season~ continues with Drug Store Romeos' haunting new track, “Now You’re Moving.” The group has defined their sound as “dream pop trip-hop,” drawing influences from dub and “outsider” music, as well as 90s slowcore bands like Belly, Mojave 3, Slowdive and Cocteau Twins. Although these influences are apparent throughout the tune, Drug Store Romeos' approach is entirely unique. Lead singer Sarah Downey’s ethereal voice floats majestically above a prominent drum beat and bassline, creating a feeling that is simultaneously peaceful and hectic. The dreamy melody and trance-like ambiance are further accentuated by the song's masterful production—different sounds trick your ears by bouncing across audio channels. With just one recorded track released to date, all we can hope is that this trio from Fleet, Hampshire comes out with more.

"In the Tree Streets” begins with birdsong and ends in wistful organ, and everything that happens in between is bursting with sunshine. In this sonic playground, jangle-pop plays well with psych-rock, Andrew Beck’s vocals play tag with Ben Alvarez's reverby guitar, and maybe everything really will be okay after all. Lyrically, the track is reflective and reminiscent, flitting from memory to memory like a bittersweet butterfly but never latching too hard onto the danger of nostalgia before launching into the pithy, relatable chorus, “nothing’s the same, and nothing has changed." Behold, the friendly, sonically diverse stylings of Day Sounds, who have put together a debut single of rare polish—and with gorgeous, confident graphic design to match.

Joseph recently treated us to “Come On Up to the House,” the titular and opening track of Come On Up to the House: Women Sing Waits, an all-female tribute to Tom Waits, featuring the likes of Phoebe Bridgers, The Wild Reeds and Rosanne Cash. The original is a joyous and welcoming anthem, urging listeners to take the lemons life has given them and squeeze out every last drop — “All your crying don’t do no good / Come on up to the house / Come down off the cross, we can use the wood.” Though the gravel in his voice could only ever come from Waits himself, he sings with the weight of a choir of barflies swaying shoulder-to-shoulder with their pints in hand. It would have been easy for Joseph to follow that same stomp-and-holler formula that makes their early singles so infectious. Nobody would have asked for anything more. Instead, theirs is a somber take on the song, stunning and singular. Where Waits sounds triumphant and inviting, Joseph sounds tired and alone, almost as if they are singing the song to themselves because nobody else will. Backed by only a piano and a string section, the three sisters take turns with their lonesome verses, reserving their combined harmonies for the grand finale, acknowledging the difficulty but necessity, of finding unity where it seems impossible.

Hazel English has been relatively quiet since the release of her stellar 2017 album Just Give In / Never Going Home. Awash in surf-rock instrumentation and sunshiny melodies, the album was a fun, carefree drive down the LA coastline. Now the Aussie-born Californian is stepping up her game—she’s back with a new single, and it’s bolder than ever. “Shaking,” out today from Polyvinyl Record Co., shows her depth as an artist and ear for arrangement. Sharper percussion and full, more mature instrumentation take the track from the beach to the basement of the coolest club, where the crowd is full and everybody is dancing without judgment. The track has a continuous undercurrent of confidence, both in the energy and vigor of the instruments and in English’s soft, swoon-worthy voice. “Get down on your hands and knees / Baby beg for me,” she sings in a controlled, wispy soprano, embracing the subtle power of her femininity. Overall, “Shaking” is a battle cry for self-discovery and self-love, empowering listeners to live their lives to the fullest and embrace change.