“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.

With every corner of its soundscape filled to the brim with dreampop’s characteristic delay effects, it’s tough to make out every word of every line of Tallies’ new single, “Beat the Heart.” But that’s not really the point. Singer Sarah Cogan’s voice proudly shows the influence of The Smiths on the whole band, echoing Morrissey’s emotive depth and long syllables. The band describes this song as a rallying cry against “the lack of empathy that exists so strongly today” and hides that message in an airy earworm, hoping that it will carry listeners through difficult elections cycles and long nights post-Daylight Savings Time. Tallies announced their arrival into the world with their first single “Mother,” another entry from their new album due in January, more surf-pop than shoegaze in both sound and imagery, Tallies show that they are able to blend and contort their many influences into modern sounds.

Don’t let the perfect be the enemy of the good, says Kuinka singer Miranda Zickler, albeit with a far more vibrant energy. “Wet Cement” is a bouncy tune punctuated by Rick Astley-inspired drum fills and quick guitar trills, while low-end synths blend with Jillian Walker’s growling cello. Lucius fans will appreciate the song’s subdued dance vibe and the vocal harmonies panned out wide, but the lyrics paint a darker picture of “landmines and concrete clearing out the town.” 

“Wet Cement” calls to mind things that are never finished, never good enough or always improving, worry not if those improvements are for better or for worse. “Every wall here says the phrase / ‘Heaven wants to hold me down,’” sings Zickler, with some abstract ideal of perfection preventing others from being content with anything. Based out of Seattle, the imagery most obviously alludes to the rapid growth and gentrification of the city, but Kuinka praises the good, rather than the perfect, in all its forms. The second half of the song is a wordless celebration of the present, honoring what we have now and slowly building upon itself rather than tearing down the groundwork to create something potentially shinier.

Before you even hit play, the title of "Come By Sunday" will accurately give away the essence of this song. Easy like a Sunday morning and twinged with the nostalgic sound Major Murphy has come to master, this love song bares semblance to the folk classics. "Come By Sunday" shows us a side of a slow, down-beat song that's more picturesque and loving than sad, much like Simon & Garfunkel's legendary tunes. "I think we can go a whole long way together / Remember where we've been," frontman Jacob Bullard sings. After their debut album released this year, the band decided to pay homage to their past by releasing an EP of bedroom recordings from a time where Bullard was still honing his sound and songwriting craft. Named after the house the EP was written and recorded at, the Lafayette EP holds warmth and history within it, which is beautifully seen in its first single.

"Labor Fruit" by NYC-based indie-pop duo, Birch is out today! Listening to "Labor Fruit" feels like one insanely gratifying deep breath. The etherial quality to the music production and to singer-songwriter Michelle Birsky's voice creates a very calm inquisitive approach to a very noteworthy subject matter. We've stood here once before / It didn't go so well / We stood at the door / Knocked down the door/ Let's push down the door. / The song looks back on the feminist movement of the past and reflects on where we are today. It's about coming up against adversity and questioning whether or not you can keep on fighting. Be on the look out for Birch's debut LP femme.one coming early 2019. In the meantime see Birch live with Eyal Hai & Friend Roulette at Elsewhere on 11/17!

Nashville's Frances Cone recently released their new and noteworthy single, "Wide Awake" off of their upcoming album Late Riser. The song mixes different elements from soft-pop to electro and infuses it into one synth-filled emotional track. As Christina Cone sings the chorus the breathy echos and harmonies fill up the airwaves and resemble a mosaic, each separate piece beautifully fitting together to make a work of art. It's no doubt that her vast musical background expanding from classical music to popular music has helped her create a clear vision for her own music. Together Christina Cone and Andrew Doherty create Frances Cone's enchanting and innovative soul pop sound. Be sure to check out our Buzzsession with them from back in March and stay tuned for their new album Late Riser out early next year!

We all have an imaginary place of escape. A setting that lies somewhere in between make-believe and a place we’ve actually been. It’s nearly impossible to jot down or sketch on paper. This perfect place exists nowhere besides in our own heads. French producer, Zimmer, and Sydney-based singer Panama’s recent collaboration, “Wildflowers” takes a different approach to this very concept. Instead of aiming to tell us exactly what each of their made-up settings might look like, they tell us what it feels like to enter that abstract space. The track seethes with astral textures, layered synths and lavish yet earthy percussion. It cultivates an ideal balance between rich, maximalist production and a stripped-down sound that evolves organically with each passing moment. “Wildflowers” is feeling like you’re walking barefoot on a warm, cloud-like surface only to look down and realize you’ve been walking on cold concrete with heavy boots. It’s racing towards a feeling of deep exhilaration while sitting still. Have a listen and re-enter that place.

Ginger Root, aka Cameron Lew, released his third album Mahjong Room this past June. The last track on the work, "Ohio," is a nod to the oldies which initially inspired Lew to begin making music. Although the work can be defined as indie bedroom pop, what largely sets the album apart is the soul influence heard throughout each of the songs. "Ohio" manages to compress all of these songs into two and a half minutes of indie soul pop, with a sound similar to a mix between Vulfpeck and Stevie Wonder. Lew, a film major turned rock star, performs the majority of the instruments on the track, while also doing the engineering, mixing, and mastering. For an artists so clearly dedicated to precision, “Ohio” is a laid back song with a vocal hook that seems to float over the sounds that he is creating.

Even during the most illogically cold autumn days, Elujay knows how to warm the soul. "Little Thangs" is a classic display of funk and soul, driven by a deep bass line and the Oakland, CA singer’s definitive swagger. The song’s ear worm bridge and hook — a shameless declaration to coming over late to chill — would sound right at home on the latest albums of other modern R&B hybrids such as The Internet or Buddy. There’s a familiarity in Elujay's romanticism and warm vocals that is immediately inviting. But it’s the verses in between that add a refreshing depth to the number, as Elujay details an imperfect relationship full of escalated moods, outside temptations and late night reconciliations over voicemail. He makes it known that there are no lasting, euphoric proclamations of love without also learning to celebrate the tiny, sometimes infuriating human details that define who we are...the little things.

Certain performers possess a kind of earnest delivery — one that meets our ears in a deeply harmonious manner and allows us to better understand both the world and ourselves. Portland musician, Katherine Paul aka Black Belt Eagle Scout is one of those artists, and her debut album, Mother of My Children belongs to that rare breed. The record is a reflection of self/identity, loss, and what it means to belong to a place and a people whose face has been tainted over time. What does it mean to grow up within a group that so genially protects Mother Earth, when society has inflicted so much harm onto it? How do you identify as a member of this community when you too are constantly evolving? 

The third single off the album, “Indians Never Die,” probes these kinds of questions. Paul transforms anguish into something powerfully eternal. When she cries out, “Do you ever notice what’s around you? / When it’s all there, in the wake of you,” she is declaring the immortality of her people. Even though her ancestors don’t physically live forever, the customs and teachings they passed down are boundless. “Indians Never Die” works to reshape the way many of us think of heritage, identity, and human connection. The track is anchored by one ceaselessly repeated phrase, “wastin’ away.” It is through the unfeigned repetition of these two words that we can begin to understand why Indians never die.

COTE, the project of Brooklyn-based singer/songwriter Taryn Randall, has released a new single bound to leave you feeling warmer on these cold fall days. “Meet Me in the Morning” is a song which we have given the responsibility of holding onto warmer weather sweetness. The work begins with a soft acoustic guitar, low bass and a sharp drum beat, and is later picked up with the plucking of an electric guitar accompanied by Randall's witty lyrics. As her voice gets higher and more instruments begin to enter the song, the tune becomes increasingly popp-y. In this way, Randall is rocking us into a very catchy and uplifting indie bop, taking over the room with a happy go lucky nature. The songs is soft and jovial in nature, putting a smile on our faces during these dreary late fall days.