“Honeysuckle” is a dark folk masterpiece in balance from Austin-based Margaret Chavez (Marcus Striplin). The track opens with hypnotic guitar arpeggiations that draw you in like waving wildflowers drawing honeybees. Then come the lyrics, which paint vignettes of tragedy that seem initially at odds with the cheerful guitar melody. As the song progresses, the track unfolds into a retrospective of loss and love. Each verse relays another heavy anecdote of someone the narrator has loved and lost in some form. The stories that hit the hardest are underscored with dark, warbly synths that make you feel as though you are being teleported into the world of memory. The lyrics are so heartbreaking, it would be easy for the song to sink into sadness as deep as Striplin’s beautiful baritone voice; however, the buoyant guitar lines keep the song in the realm of bittersweet. It will be exciting to see what else Margaret Chavez has in store on their sophomore album “Into an Atmosphere," due to release July 31, 2020, via We Know Better Records.

She’s young, talented, and not afraid to branch out. Maude Latour has been making music she could vibe to since high school, starting out with a passion to create and a piano she bought herself. Having moved around a lot growing up, she cites music as a place where she felt at home and understood. After releasing a short project of bedroom pop songs in 2018 and receiving more support than she expected, Latour decided to pursue music as a side gig during her freshman year at Columbia University. Her studies of philosophy and political science are subjects already evident in the last couple of singles she’s released. In “Plans,” Latour not only showcases her abilities in sonic complexity but also in sonic beauty. This song fits perfectly with her idea of being understood through music—those moments of realness that bring about a connection. By means of synth and lyric, she is able to interweave her interests with her own life experiences to create a realness that is magnetic. On the record, Latour said that she’s realized the track is more about her own experience—how she loves and what that means to her. An inner look at her new love affair and how it’s changed her, something every listener can relate to despite the subjective nature of her experience. In terms of production, Latour is not afraid to play around with varying tones and cadence, leaving the listener in awe with the vibe that flows on by. “Plans” is an infectious, heart-baring song that will help you take on this summer. Photo Credit: Lola Lafia

Proust once said, “Love is a striking example of how little reality means to us.” When we care about someone, the desire to know the intricacies of their world—what book is on their nightstand, what chips they buy at their favorite grocery store—becomes the driving force behind our affections. The possibilities cloud our rational thoughts and judgements. All we really want to know is: what’s it like to be in this person’s life? That’s the question Sure Sure asks on their newest single, “What’s It Like?” Inspired by the novel on his own nightstand, vocalist and guitarist Charlie Glick ruminates on the possibilities in the lyrics: “What’s it like / To handle your vacuum?... What’s it like / To get too drunk with you?” The melody is fun and upbeat, and like the arrangement, has an infectious sense of optimism at its core. Opening with some singalong-friendly uh uhs, a light, sunshiny synth, and tight, thrashing drums, the track immediately invites you to participate with your entire body. It never once loses its momentum; the crescendoing arrangement only gets brighter as it goes on, culminating in a cool electric guitar riff followed by one big, vibey party of sounds in the last chorus. Simply put, “What’s It Like?” is a euphoric, sun-soaked jam. It’s the last single before the release of Sure Sure’s 8-track album of the same name, out June 27th, and is one of our most anticipated releases of the summer.

What started as an online project between friends based in New Zealand, New York, and Paris swelled into a musical force that boasts two full-length albums, three EPs, extended tours, and a myriad of singles and collaborations. After concluding EP III in 2018, alternative dream-pop band Yumi Zouma followed up with their self-released single, “Bruise.”  While “Bruise” is immediately recognizable as belonging to the band, band members Christie Simpson, Josh Burgess, Charlie Ryder, and Olivia Campion described the track as “way too club” to include on any of their earlier projects. Luckily, the eclectic, shimmering bop is more than capable of standing alone. Yumi Zouma’s signature sound comes through in the swirling synthetic beats and is elevated to a full-on dance floor smash with high-energy keyboard and club-esque bass and drums. The band is known for their glittery, dreamy soundscapes but while their songs typically guarantee shoulder-swaying and head-bobbing, “Bruise” will have you on your feet in a full-on hip-shaking dance fever.

Payton Odom's latest EP Sightlines is a sonic escape. “Hinterland,” the last track off the EP, is laced with instrumental chords from guitars and horns that create a gorgeously rich jazzy background to accentuate his vocals. Having lost his voice in a fluke some time ago when first starting up as a solo artist, the focus on the depth of feeling Odom's voice is able to bring out in the listener never gets old. With a slow pace and beautifully placed lyrics, the song's build matches that of any of his past pieces and sets the tone for his future ballads. "Hinterland" is simple, meaningful, and funky.

Britney Spears’ iconic pop hit “...Baby One More Time” turns 20 this year, and to celebrate, psychedelic indie-pop group The Marías has released a dreamy cover. An amalgamation of jazz, indie, and funk influences, “...baby one more time” is a softer rendition of the original and swings to a smooth, sultry beat. Lead singer María’s vocals, sung just above a whisper, are velvety and sweet, guiding you through the arrangement with sweeping attention and ease. Her intonation, particularly in the “Oh baby, baby” backing lines, is even reminiscent of Britney herself, turning the nostalgia level up a few extra notches for good measure. Still, the light, delicate synths behind the vocal work with the jazzy percussion give the track a timeless feel. The original is planted firmly in the 90s, but “...baby one more time” transcends decades and genres.