On "Survive With Me," Michael Flynn finds a perfect balance between mischievous fun and severity. “Tell them that the world they love is never coming back,” he croons, “guess they should have put their faith in scientific fact.” It’s rare for an artist to manage such masterful sarcasm, but Flynn does it with ease. By setting little quips like “The paint is peeling off the moon” and “we’ll build a nest of thoughts and prayers,” over a classic Americana-style rock band, Flynn makes it clear that, while he is fed up with the hypocrisy of our times, he is still an American who intends to make it through. Maybe even to thrive, with some luck. Flynn’s voice is welcoming, almost chuckling at the absurdity he’s describing. The guitar’s distortion is just warm enough to make us feel like we’re at a local show. “Survive with me,” he invites us. Somehow, it might be the most hopeful message we’ve heard lately. 

Flynn's full album, Survive With Me, is out on October 13. Photo by Nathan Baerreis.

Oddly prescient lyrics and red hot vibe as well. An apocalyptic déjà vu in the club. Punk-funk from Manchester grafters See Thru Hands. It's catchy as hell, so danceable and alludes to the end times we're living in with an accuracy you'd call "on the nose" if it hadn't come out [last year]. — Alex Cameron

Alex Cameron is a gifted storyteller; he crafts colorful cinematic narratives that explore themes like masculinity, sex, guilt and failure, while mixing Springsteen-like nostalgia with self-aware kitsch.

One of the most delightful parts of music is how easily it facilitates connections between people. Striking up a conversation with someone else at a show, swapping CDs with friends, even tuning into a livestream with a thousand strangers — music has a talent for bringing people together. That’s before even getting into the songs that make you feel seen. Understood. Even loved. "Permanent Maniac" is a dreamy exploration of that infatuation with the first artist that made you really feel. The lyrics flow like a diary entry, full of affection that is simultaneously naïve, intense and genuine: “I have him close to me, since I met him on the radio.” The thing is, it’s not quite a fantasy. Sharing music, even between artist and fan, is an emotionally intimate experience. As someone who’s been on both sides, it’s kind of beautiful the way that another person can let a piece of art so close to your heart burrow so deep and close to their own. The fact that people you don’t know will let your songs slip into their ears, take up space and coil itself around memories that you barely had a hand in creating? It’s beautiful. It’s a sense of sharing so intimate and organic, it almost makes boundaries feel blurry. GRAE’s track pirouettes on that boundary, floating above bouncing bass, buoyed by innocent harmonies. “And he’ll never, never know." It’s not a bitter declaration. It's respecting the relationship for what it is — a message in a bottle tossed out to sea. If it suffers abuse in its journey, it’s a bitter feeling when it shatters. But when that mutual connection is respected as the delicate, transient offering it is? It sparkles. Photo by Lizzie O'Donnell.

Summer is over but fear not, Brijean’s latest single, the appropriately titled “Moody,” will have you swimming in a warm, electronic groove so smooth and cool, you’re gonna want to jump right in again. Even if you are not familiar with Brijean Murphy, you’ve heard her beats before. The Oakland-based musician is the highly-coveted percussionist behind artists like Toro y Moi, Poolside and U.S. Girls among others. In her latest musical project Brijean however, Murphy collaborates with producer, bassist and composer Doug Stuart. Together they mix a chill blend of conga and vintage electronic rhythms tinged with shades of house and synth-pop. Topped with a soft, bossa nova-like vocals, “Moody” makes for a very easy listen but its layered production of percussions, bass and synth is so addictive that, if you're not careful, the track will have you reach out for your second or even your third caipirinha. Listen responsibly. Photo by Jack Bool.

"Prayer Beat" by LOMELI is a slow-burning slice of a vibration born out of some heartfelt, emotive pangs only an artist entangled in a messy love affair with melody and soul could make. The sheer longing in the vocal is enough to make the same face Jay-Z made when Timbaland pressed play on the final "Dirt Off Your Shoulder" beat. Yet, it's the unwavering, tasteful production built on several of the prettiest harmonies this era of neo-soul has offered the world. Now, where's the IDM edit?

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It only took three minutes for a few of the golden leaves to gently annex themselves from the towering oak tree outside of the girl with the view of the park's window. She counted the leaves nevertheless. She even had a laugh over the viral video of a man counting numbers, then regained her composure as this was serious business, counting the number of leaves and all. Autumn was her favorite season, after all. It had been the hottest summer in the planet's history, and the fall felt as calm and crisp on her skin and mood as a freshly cracked open frozen can of soda pop. She could only count a few leaves before they stopped falling, some humorously reluctant to detach from the wood and the bark. When she stopped counting the leaves, her senses alerted her to the sound melting into her studio apartment's walls and floor. It reminded her of days at the lake with him, walks through the park with him, nights watching movies with him, runs up the mountains with him, dawns in the kitchen with him, drives from airports with him and dusks in the dark with him. She caught herself swaying to the song before the vocals came in. Once they did, she started to saunter her way towards the speakers. She caressed them with her palms. She put them together to mutter a silent prayer for more lazy evenings like these to give her more than enough solace to last her a billion lifetimes. That was when he knocked on her door and startled her so much she jumped into the air, face flushed red. She had to grab the corner of her desk to restore her balance before she walked towards the door to open it, to find him there on one knee. They married that fall and were a family of three by the next summer.

I’m sitting here listening to a ghost rise from my speakers while my body responds physically to the familiar sound of distortion pedals; with every whine of guitar, an old tremor of hormonal angst climbs up the ribcage to my heart while my arms slowly and rigidly begin crossing themselves. Before I know it, 15-year-old me is huffing and puffing at the door, and she’s back with a vengeance. I spent my teens like a lot of isolated kids do, scribbling in my journal, rolling my eyes at anything that moved and crushing on boys and girls who looked straight through me. The only method of keeping the unpalatable world at bay was the pair of headphones secured tightly around my ears blasting the Yeah Yeah Yeahs, BRMC and The Killers on heavy rotation. That is to say, in a time before kids my age had any sense of self beyond malaise and wretchedness, we had early 2000s indie. 

“Impossible Weight,” the title track off of Deep Sea Diver’s forthcoming October album, embodies that era. It’s The White Stripes meets Sleater-Kinney, meets a cool glass of water with a cruel and jagged lip, meets a hole I want to crawl into headfirst, partly because of nostalgia, and partly because I'm so glad you can still find it somewhere. Frontwoman Jessica Dobson’s vocals prick like needles alongside the jaunty four-on-the-floor drumline. They dance through the verses, pushing the sound up and out towards the epic. A meek wail of guitar is layered in and around the chorus right before Our Lady Sharon Van Etten enters, her steady rich voice ringing out and grounding us against the bouncing instrumentals. The two singers move together in harmony before the music strips down once more, this time to only Van Etten’s low murmur—then the layers build back up again into a thunderous bridge. There’s something about the way that she draws out the last vowel in the line, “So I’ll just let you down now,” that creeps me out and electrifies me at the same time. Kind of like looking back at how formative music from a certain timeframe can be to a generation, how it accompanied us during that period and therefore shaped us as well. Yes, it’s true time (and therapy) heals all, but that doesn’t mean I didn’t run to preorder the LP from my local record shop immediately after listening. Photo by Matt Wignall.

Fresh off of her Ivor Novello rising star award, Mysie has released her second song of 2020, “Bones.” It’s an intricate piece with Mysie’s crisp yet smooth vocals at the forefront. Starting with her low and rich vocals, she sings, “I never would have said that I get phased / but now I’m enraged.” It feels contained at the beginning before opening up at the chorus. The track is held down by steady but intricate instrumentals—leaning heavily into the bass, which highlights the deep smoothness and intrinsic rhythm of Mysie’s voice. “Bones” shows off her wide variety of influences from R&B and jazz to pop and indie and gives us a small taste of the greatness that is yet to come from Mysie. Based in South London, she is currently working on her first album. Photo by Chio Fernández.

I love this track. The lyricism is brilliant and the production is cool to the point of inebriation. The lens moves from black masculinity to slave plantation ultraviolence to wistful reflection, to anywhere it need go and back. I've been walking around Brooklyn playing it again and again. Fantastic. — Alex Cameron

A crucial part of Alex Cameron’s sound comes from Cameron’s long-time collaborator Roy Molloy who, fun fact, is not just a hero on the alto sax. Molloy once jumped off the rocks to save a drowning boy in Rockaway Beach in 2018. “Sax practice and keepin the beach safe are not mutually exclusive,” Molloy tweeted about the incident.

Ela Minus is, in the best way possible, a guerrilla tech geek using machines as a poetic extension of her anti-capitalist ideology in the EDM world. Heavily influenced by the likes of Kraftwerk, Minus talks enthusiastically about the special relationship she has with her synthesizers, the unique quality they each have and how she cares for them like friends. When you understand that she has built and programmed most of them herself, the idea of a personal connection with a machine begins to make a lot more sense. We’ve grown used to seeing artists and DJs on stage, lurking behind the faint glow of an Apple logo, but Ela Minus is uninterested in using a laptop to arrange her music. She writes, produces and performs on an analog rig covered in neon pink tape. Her pedals, synths and voice are the only tools she uses to create her hypnotic techno-pop beats. Gabriela Jimeno, the one-woman whirlwind behind Ela Minus, is no stranger to the DIY scene. Jimeno drummed for a hardcore band in Colombia from the age of 11 to 18, eventually making it to SXSW in 2009. She then left the band and her hometown of Bogotá to double major in jazz drumming and synthesizer design at Berklee College of Music. It was there that Ela Minus was born, first as a moniker for her graphic design, and then later as the solo music project now releasing subversive singles such as “el cielo no es de nadie.” 

In a low whisper reminiscent of Billie Eilish, Ela Minus peels back the layers that separate the peaceful intimacy of your bedroom and the anonymity of a packed dance club in Berlin, making them somehow indistinguishable. “el cielo no es de nadie,” like most of her songs, is about empowerment, and rejects the notion that lovers must go to the moon and back for each other. In a breathy voice that barely rises above the strobing backbeat, she tells us the only person who can give you what you need is yourself. Fitting for someone who would spend her college weekends going out to clubs—not to hook up, drink or do drugs—but just to close her eyes and dance.

Ela Minus's forthcoming album acts of rebellion is out October 23 via Domino. It is of course performed, produced and recorded entirely by herself. Photo by Teddy Fitzhugh.