“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.

The Vernes aren’t growing up without a fight. The Philadelphia band's newest album, Maybe I’ll Feel Better When I’m Dead, is practically a coming-of-age tale — filled with lyrics about still living at home, fond moments of nostalgia and panic at the fact that things just aren’t as good as they used to be. The opening title track sets the stage immediately, as it only takes a minute for the band to confess: “Some things never change / But I don’t feel the same / And I don’t feel a thing,” before coming to the conclusion that “maybe I’ll feel better when I’m dead.” Although there lyrics lean towards the melancholy and even morbid, the track's arrangement betrays the band's words. The guitars are soaring and insanely catchy; these are the sounds of an indie band prepared to fill stadiums. If their newest project is any indication, they aren’t far off.

In “Unravel,” Los Angeles husband-and-wife folk duo Jim and Sam imagine an ancient drum machine and put to it the words of their deepest insecurities. “I’ve got secrets / Too big / To hide under floorboards in my head,” they worry together, placing these skeletons, too large for their floor, firmly in their closet. In a panicky chorus, we see Jim and Sam “unraveling, unraveling,” and we expect the song to swing in the same direction, but the locomotive of a beat never lets up. And it is this unrelenting normalcy of the outside world that makes our inner quirks seem so irreconcilable in the first place. “But I / Convinced / Myself of this,” they sing, an admission that maybe it isn’t so strange to be so strange. When they ignore the rest of the world and all of its external pressures and definitions and expectations, as they do in the striking final chorus, there is a magic that just the two of them share. It's clear that each of them has found someone just as broken as themself, and it’s not strange, it’s beautiful.

Valley Maker, the moniker of Seattle singer-songwriter Austin Crane, recently released one of the best records of the year with "A Couple Days" being the opening track. Crane wrote Rhododendron while also pursuing his PhD in Human Geography — his fans are well familiar with how Crane's education ties into his music, seeing that his debut album also doubled as his undergrad senior thesis. Eight years later, Crane is not only older but also experiencing the transitions of life which is seen in his music as "Rhododendron speaks to how the places and moments we occupy become reflections of ourselves." 

The more you listen to "A Couple Days" the more you'll want to know the story behind it. The earnest desire to understand hard concepts is heard as questions are turned into the lyrics, "How much of you is who I’ll be / How much of us is in between / What is and what is yet to be / And can I hold the mystery / I cannot hold the mystery." "A Couple Days" was produced by Toro y Moi, who also happens to have a spot on Buzzing Daily today, together these old schoolmates and friends created an introspective and winsome track that becomes a catalyst for an excellent record.

Angelo De Augustine has released "Time," a single off of his album Tomb coming out January 18 off of Sufjan Stevens label Asthmatic Kitty Records. The 12-track LP was produced by Thomas Bartlett, aka Doveman, who has worked with artists such as albums St. Vincent, Sufjan Stevens, Glen Hansard and Rhye. Doveman is well known for his ability to bring a sweeping warmth into an album, and recently accompanied St. Vincent on piano for her new stripped down album MassEducation.

From lyric to sound, "Time" provides listeners with a wonderful example of Augustine’s past work. The track’s narrative is centered around the idea of waiting for a love to return and battling with the feeling that someone will always be in your heart even if they are physically distant, “Now your heart has been broken / And you're miles off away.” Although this topic can be initially read as desperate or hopeless, Augustine acknowledges the light in the dark, seeing time as a gift rather than a curse in the story between the two lovers, “Time keeps on learning / About you and me / I'll keep on loving / Someday she'll love me.” Augustine’s feathering voice, accompanied by the generously kind instruments throughout the track, creates an intimate sound in the work. We're very excited to see where Augustine will go with the themes seen on Time, and expect Tomb to be a truly lovely piece of work.

Indie-folk supergroup Glorietta consists of Matthew Logan Vasquez of Delta Spirit, Noah Gundersen, Kelsey Wilson of Wild Child, David Ramirez, Adrian Quesada, and Jason Robert Blum. Their first self-titled record together came out recentl and the band hit the road soon after to start playing shows. "Lincoln Creek" is one of the softer songs on the record and it features Noah Gundersen in his signature story-telling folk style. He sings, "Somewhere singing is free, a dime and a couple of twenties is all that they need / Somewhere someone is singing for free, thank God it ain't me." As he bears the weight of the darkness his songs usually touch upon, the band joins him lightening the load and back him up with harmonies like a small and gentle choir. Be sure to listen to the rest of the album and discover the gems on it like the tender "Lincoln Creek."

Originating from South Africa, the now Melbourne dweller and singer-songwriter Ruby Gill has a voice that's distinctively her own. In "Your Mum" she sings out her frustrations with a strong-willed and emotional tone that quickly goes from assured to heartbreaking. While at one point her voice is leveled and steady at other points it's erratically emotional. The main line Gill repeats is "I'm sorry I don't cook like your mum" but it's clear that the undertones of this pain are about more than just home-cooked food. Still the way, she uses this argument to release her insecurities both sarcastically and genuinely are breathtaking. With just an electric guitar and a powerhouse voice gone soft she sings, "I know I don't cook like your mum but I'm trying to love her son." Offering her voice, story and self-doubt wrapped up in a song, Ruby Gill has truly given us something of value and substance.

Largely evocative of nature, Cautious Clay’s “Joshua Tree” brings Clay’s musical talents front and center. The simple intro of chirping birds and a backing percussion gives way to his smooth-as-silk-vocals. Gracefully he explores the emotions so seldom discussed in the face of love versus loneliness with a climactic chorus that blooms beautifully into the harmony “I don’t wanna be loved." The slightly haunting and more pensive bridge contrasts the chorus and displays his lyrical and musical versatility as the song comes together.

A talented multi-instrumentalist, Clay is known to play guitar, but perhaps more surprisingly, he’s skilled on the flute and saxophone, both of which make appearances in many of his songs. “Joshua Tree” in particular, showcases his many talents. The song ends with his powerhouse vocals in the chorus, upstaged only by an unlikely, yet brilliant saxophone solo, giving way to the previously extremely subtle jazz undertones throughout the song. His ability to thread sincere lyricism and unlikely musical elements together in such an artistic way is why it won’t be long before Cautious Clay will be a household name.

Haley Heynderickx is the kind of tender, open-hearted songwriter that crafts her material patiently and assiduously — much like one would carefully turn a plain spool of yarn into a beautifully knit piece of cloth. Her latest collaborative EP with Max Garcia Conover, an equally honest songwriter, proves that this kind of stripped down, radically heartfelt writing is precisely what is needed in the world of indie music. “Slow Talkin,” which also happens to be the only single released off the EP, encapsulates the ways in which both Heynderickx and Conover effortlessly convey a poetic nature in their lyrics. The weight of their words paired with the pureness of their voices is sure to give you goosebumps — the warm and fuzzy kind rather than the kind induced by fear or discomfort. The song tackles subjects like desperation, self-doubt and the bitter-sweetness of leaving a place or a person to better benefit the both of you. In the chorus, Heynderickx sings, “If you wanna make em’ happy, you’re gonna have to go,” capturing a human sentiment that is numbingly familiar to many of us: wanting the best for someone and knowing that you may not be it.

Los Angeles's Loyal Lobos aka Andrea Silva is a new kind of indie artist. Her lyrical songs, milky vocals and the pop influence reflected in her music show a multi-dimensional artist on the verge of a breaking out. In "Wrong" Silva reflects on the end of a relationship reveling in the regrets and emotions that come with heartache. She relates the aftermath of this relationship to being on a long journey starting off the song with the line, "More than five hundred miles since I started walking..." As if extending an olive branch to her ex she sings, "I can't wait to stop walking here / I want to lay down / will you lay down with me?" As she tires of treading through the unknown of life without this person, she asks for rest, for their armor to be brought down. There's no doubt about it, "Wrong" is a beautiful and metaphorical song that showcases Loyal Lobos as an artist and storyteller.

Imagine the combination of Western style, Icelandic aesthetic, and Brooklyn beats and you’d be spot on describing the music of Brooklyn based indie pop duo Misty Mtn. With their dark synths and soft folk stylings, the band, consisting of Montana native Morissa Trunzo and L.A. native Luas Segall, have been consistently creating tracks with their signature “dark mountain pop” sound, including their latest track “Guess Who’s Back.” The is track comprised of dark and synthy beats, catchy guitar riffs and keys, and smooth and smoky vocals that touch on feelings of nostalgia and the memories that get triggered by those feelings. The duo have successfully weaved together their influences from their Western roots, Trunzo having grown up singing at rodeos in Montana and Segall in indie bands in his hometown of Los Angeles, to create a unique modern electro pop sound that fans love.