NYC-based singer-songwriter Murielle is choosing to put herself first with "Felt Cute (Might Delete Later)," a self-love hymn she describes as her "reclamation." By invoking a meme in the title typically used to shame confident women on social media, Murielle reclaims the joke for herself, shattering the notion that women should be humble or coy about their looks. Featuring cadenced production by Swami Sound, the track fuses world music with pop-R&B synths and atmospheric elements, such as birds chirping to mimic the start of a new day, one that has her "feeling some type of way." Ambient harmonies further the anthemic quality of the song, as she makes a simple, yet revolutionary choice to "give her [ego] a twirl" even if she "didn't get laid / No, I didn't get paid." The music video features Murielle in various rooms of an empty building with a group of double-duty background dancers and admirers. The satisfaction of asserting her confidence, "Something that I worked for," is a feeling well-earned.

“So Cold" is one of the many chilling ballad's off Cat Clyde's recently released album, Hunters Trance. The Ontario alt-country artist leans heavily into her blues influence as she croons, “why are you so cold / whoever told you you could act like that?” She’s not letting this person off easy. Clyde is not mourning—she’s calling them out without being abrasive or cruel. "So Cold" abounds with honesty. It’s eerie and toned down compared to other songs on the album, showing Clyde’s impressive range as a lyricist and vocalist. The forlorn, floating guitar riffs allow the vocals to hold the spotlight until the chorus when everything builds to emphasize the track's lyrical message. Clyde’s voice holds a deep bluesy grit that makes every word hit hard. Nothing is thrown away. Every word and riff has a purpose and completes it.

Michelle Zauner, AKA Japanese Breakfast, has created a world of dark and dreamy soundscapes on her newest single, a cover of the 1985 Tears for Tears track “Head Over Heels.” The track’s original, almost anxious pulse has been slowed down and stripped back to its raw, moody essentials, proving that sometimes, power in songwriting is about restraint, not force. A glistening piano lures you in above faint white noise with an eerie sort of seduction, building up to Zauner’s clear, haunting vocals. They, like the rest of the arrangement, are soaked in reverb to gorgeously ethereal effect. Lyrically, the song is about delirious love, and Zauner gets that across with a straightforward sort of urgency. She sings the line we all know, “Something happens and I’m head over heels,” but there’s a purity in her cadence that makes it feel new. The song’s minimal arrangement, just vocals, piano, and that otherworldly synth, is so deceptively simple it’s actually striking; it forces you to focus on a feeling, rather than a complex array of sounds, and that’s where its true beauty lies. “Head Over Heels” is Japanese Breakfast at her best. Plus, a portion of streaming proceeds will benefit the ACLU, so don’t be afraid to play it on repeat.

“He was on vacation and he texted me he was coming home the next day and he never did.” The unexpected passing of a friend, as she said in a press release, was the focal point of Stef Chura’s 2017 full-length debut, Messes. A near-eponymous standout track, “Sweet Sweet Midnight,” from her follow-up, Midnight, revisits the tragedy several years later in the form of joyous catharsis. The Detroit rocker’s voice occupies a space somewhere between the sweet croon of Julia Jacklin and the stilted howl of Hop Along’s Frances Quinlan—as she is both blessed and haunted by the presence of her friend in her quietest moments. At times, though the song carries its relentless energy throughout, she herself seems almost unable to complete her thoughts, to wrap her head around what has happened. “Last time I saw you / You said you’d be home / You said you’re, you said you’re still coming home,” she sings, grasping at meaning. Midnight was produced by Car Seat Headrest’s Will Toledo and this track, more so than any other on the album, is a true collaboration more than it is a simple feature or production credit. The beeps and boops, the auxiliary instruments and the seemingly random off-key guitar lines that made his own Twin Fantasy such a treasure trove give the song its own unique character. And it’s when they sing together, their unintelligible howls the absolute highlight of the song, that they reach some semblance of moving on.

Sasha and the Valentines is a five-person, indie pop dream team based in Austin, Texas. With a strong synth production, the project is a perfect patchwork of talented musicians. Sara Addi is the lead vocalist and synth player, her ethereal voice flows lightly through your ears like a pleasant dream. The group's use of guitar, drums, and other percussive elements work together to create a laid back vibe, which is akin to a female-voiced Mac Demarco. This is strikingly apparent in their first EP, Green, that was just released in time for summer playlists. They successfully create a complete sonic picture for their songs, imitating the endless ups and downs in the search for modern love. Each track is seemingly more catchy and soul-bearing than the last, while still filling you with ease as you sway along to the rather consistent surf-rock tempo.

This is especially true for the song “Green”. The piece starts off with strong guitar chords, which cut through and remain consistent throughout the song in both speed and strength. The track steadily builds as drums and various percussive and synth additions chime in. Giving way to the vocals, "Green" continues to capture the idea of chaotic harmony with the music flowing perfectly in sync. This song in particular shows off the talents of every member in the indie pop project and gives an accurate taste for the rest of the songs on the EP.

New wave pop meets 90s nostalgia on “Playground,” the new single from alt-pop duo More Giraffes featuring Sweater Beats. This track is infectiously fun; fresh and colorful melodies glide over smooth hooks to conjure up sun-soaked images of summer on film. It’s full of immersive, sunny soundscapes that are surprisingly intricate and consistently interesting, and it bops to a funky beat that begs to be played on repeat. Meant to embrace the little kid in all of us, “Playground” celebrates freedom and wonder and basks in that warm, joyous feeling of summer break. “I got rocks in my shoes / We’ve got nothing to lose / We live the life that we choose / Come to the playground.” Add “Playground” to your summer soundtrack, and look out for More Giraffes’ debut EP, Bermuda, later this summer.