Claud’s Super Monster is their debut album and the first release on Phoebe Bridgers’ Saddest Factory Records. And while must both of those statements must come with immense pressure and vulnerability, it certainly isn’t felt on "Pepsi." A deeply personal and delightfully bold opening lyric, somber as the line might be, wipes away any notion that Claud can’t handle this moment. Instead, Claud brings us along as they come to terms with what a specific relationship is, and painfully, what it isn’t. A crack of the can sends us dancing into the chorus, playful pop sounds rounded out with a fun bass line. Layered with subtle harmonies, Claud considers all the ways they could’ve changed themselves to fit this relationship better. A dangerous line of thinking, one so easy to slip into—just like this song, light and fun with heartbreak underneath it all. The bridge feels intimate and personal, even with added vocal layers begging you to sing along. Claud manages to pack a lot of power into this song, finding distinct and loving ways to share through the tough times. By the end, after dancing our way through it, we can all sit back, crack another "Pepsi," and feel a little more at ease. Chock full of beautiful moments, Super Monster is a cohesive debut worth your time. Photo by Daria Kobayashi Ritch.

When it comes to picking singles, the goal is usually to identify a track with an element that will really stick with a listener and keep them coming back for repeat listens. “Octopus,” the newest single from London-based rockers ISLAND, does not leave you guessing as to what that element is for long, as the harmonic-heavy and bright guitar riff that serves as the track’s selling point is the first thing a new listener will hear. After the riff registers a few times, the rest of the instruments unfold neatly from their hiding places—and once the bass and guitar kicks have settled into the mix, it becomes evident that “Octopus” is a slick, summery indie rock anthem, one that would have been poised for radio domination during the genre’s chokehold on the airwaves in the late aughts and early 2010s. ISLAND brought producer Mikko Gordon on board as their first outside producer, and his slight variations on an already winning formula gave way to a song strongly reminiscent of a warm, carefree afternoon. Photo by Christian Cargill. 

The indie pop trio Middle Kids burst onto the scene in 2018 with their debut album Lost Friends, garnering critical attention and solidifying them as a standout in the rising Australian rock scene. This band has proven themselves to be an act worth hearing, touring with the likes of Cold War Kids and Bloc Party, not to mention their talk show and festival appearances.  "Questions" is one of three singles Middle Kids has released in preparation for their second full-length album Today We're the Greatest, dropping March 19.

This band continues to dole out punchy, fun indie rock songs. "Questions" in particular is a hard track to ignore, as it breathes new life and creativity into handclaps and provocative lyricism. This song escalates and explodes into horns and percussion at its pivotal moments, adding drama and feeling to the stream-of-consciousness questionnaire of lyricism. All of this song's musicality points at the inner turbulence and growing desperation of the speaker: "And I've got questions / and you've got answers / and I'm not sure if they're fact or fiction." The redundancy of beginning each line with "and" is an expression of inner conflict, the speaker's brain spinning around the proverbial tilt-a-whirl of "what ifs" in a relationship.

"Questions," alongside "R U 4 Me?" are exciting introductions to Middle Kids' forthcoming record. You can listen to "Questions" anywhere you stream, and Today We're the Greatest comes out March 19. Photo by Daphne Nguyen.

Flyte, the indie British rock band, has released another single from their forthcoming album This is Really Going to Hurt, dropping April 9. "Under the Skin" is the fifth single Flyte has released since May of last year. This series of sincere and thoughtful singles have tapped into a deeper, more intimate part of Flyte's songwriting. From the heartbreaking and cutting "Losing You" to the contemplative "Never Get to Heaven," their next LP is bound to launch the London-based trio into the indie spotlight. 

"Under the Skin" is a perfect representation of what Flyte does incredibly well as a band: it's excitable, catchy rock music with contemplative, nuanced lyricism. But similar to the themes of the song, it's not a tune that's asking you to take it too seriously. The speaker begs someone to not give up on them, to not look their issues too hard in the face, but instead to let them in. "Under the Skin" serves as a lighter break in the stream of singles that we've heard from This is Really Going to Hurt, but it's hardly pulling any punches, and it stands alone as maybe the strongest single they've put out for the record thus far.

The writing for their upcoming album is laced with echoes of a turbulent time for the band. The singles' themes have varied from impassioned storytelling to melancholic longing. This ability to balance various themes and produce a cohesive piece of work is part of what makes Flyte so exceptional. Their premiere album, 2017's The Loved Ones, was a romantic and explosive introduction to their round indie rock sound. A band with a break-out album that self-actualized doesn't have anything to prove, but these latest releases have proven that Flyte has nowhere to go but up.

Stream "Under the Skin," and be on the lookout for their upcoming LP This Is Really Going to Hurt. Photo by Jan Philipzen.

Brooklyn duo Jordan Dunn-Pilz and Dan Alvarez, better known as TOLEDO, have just released their highly anticipated sophomore EP, Jockeys of Love. After the release of multiple atmospheric singles such as “It’s Alive!” and “Challenger,” it was clear that listeners could expect loads of goodness from TOLEDO. “Sunday Funday” is a song wrapped in catharsis—it is a recognition of the desire to hold space for someone dealing with alcoholism. Within this track is a sort of gleam effect, with shiny sounds of layering voices and enchanting, light-floating riffs. While singing about a very tender situation, fraught with discomfort, TOLEDO has a way of making the dismal truths of addiction sound glossy and a little bit easier to sit with while still addressing despondency. Photo by James Lynch.

Sometimes what you really need is a slow song about sad days. Sometimes only the sound of a guitar strung slowly and the folk vocals of an indie assemble can save you from a dark and cold winter night. The German have a word for the melancholy caused by the state of the world: Weltschmerz. And that world maybe perfectly captures what The Collection gives us with their new single "Blue Day." The North Carolina-based septet wrote, recorded and released the perfect manifestation of that sneaky feeling of sadness that you just can't shake. When even in beautiful days, that feeling that something is wrong and the blues are just at bay lingers. The Collection spent 2020 making music that perfectly represents the uncertainty of our times and the feeling of figuring yourself out when nothing is the way it used to be. "Blue Day" is the epitome of that and it already rises our expectations about what 2021 will look like for the band. Photo by Cory Wood. 

Contrary to what the title may suggest, Faerie’s “White Noise” is far from static. A sonically lush and textured synth-pop delight, the song comes out of 2am, her short but sweet EP debut. The song balances an intimate, electro-pop sound of the likes of Caroline Polacheck with a contrasting sense of dramatic, colorful synth-pop reminiscent of artists like CHVRCHES or MS MR. “White Noise,” which delves into getting over a past relationship, doesn’t lament but instead celebrates being satisfied with one’s own space. By the time the song’s hook comes in, “Give me a minute / My space to breathe,” you’ve already stood up to dance. Filled with synths, background vocals, and satisfying beats, the song takes whatever space it needs. The title is then a possible reference to that dreadful silence heard when a phone call goes unanswered, but Faerie turns that around, coveting that silence rather than fearing it. In the end, she pulls through triumphantly, “I don't need your love to feel at ease,” she concludes. 

Behind Faerie, there’s Christine Joyce Lam, a promising NYC-bred singer-songwriter whose combination of imaginative, colorful songwriting and powerful, cunning vocals make for an ideal artist to look out for. The song is co-written by two collaborators: Christian Young (ImTrying) and Jonathan Atkins (wavcat). Together, they make this deeply enjoyable and satisfying track, which makes for an ideal quarantine listen—a fun and perfect dance party for one. Photo by Brian Scagnelli.

Dorvin Borman’s latest single “Pressure Valve” carves a unique sonic space somewhere between Blue Öyster Cult and Real Estate; dream-pop with a timeless, yet loose, psych-rock energy. Self-written and recorded in isolation, Borman’s hazy vocals wrapped in hypnotic lo-fi riffs capture the essence of the days we have all wasted, at one point or another, on the couch with takeout, wrapped in our own existential dread. Halfway through, the beat picks up and mirrors the feeling of racing thoughts as it takes on a groove slower yet similar to Peter Bjorn and John’s “Young Folks.” The last lines of the song hear Borman echo a sentiment familiar to anyone who’s experienced this kind of hours-melting anxiety binge, with a sigh of resolve: “I’d be happy to be fine.” On days when it feels like there’s not a lot to celebrate, having no complaints can be more than enough. Somedays, simply neutral emotions are welcome—and so is the music that reminds us of this. Photo by Felicia Lim.

Crafted from an analog of songs originally written over a decade ago, Bird Fight has dropped a five-track EP called Hugshake. It's a vibrant and experimental collection of intelligent production and intricate vocalization. Using household, commonplace items for varied instrumentation and percussion, the producer and vocalist duo of John Katona and Christian Ohly make music that feels progressive and kinetic. "Traffic Lights" in particular possesses an ethereal and haunted energy. It's a delicate embodiment of their self-proclaimed genre "folktronica;" The song's movement and sound have a more pronounced electronica element, while the subject and tone contain folk sentiments. This track is a lover's lament that frustratingly pleads with its subject to reciprocate the speaker's efforts in the relationship. Hugshake dropped on February 12. Give it a listen wherever you stream!

Turbulent times call for self-discovery on "Peace At Last," the first 2021 single from California-bred Tim Atlas. Syrupy-sweet vocals soar over fine-tuned retro production while LA-based duo honeywhip lend their lo-fi sensibility to the track, laced with new wave synths and a bouncing bassline. On a blind listen, "Peace At Last" is a joyful exploration of personal identity when Atlas sings, "Just trying to be myself / But who is that?" to open the song's chorus. But these lines run deeper than that, as Atlas alludes to the events, perceptions and external pressures that have shaped us in the year 2020. We wonder if we'll ever see the end—to COVID, to senseless systemic violence on the Black community, to collective political anxiety— and the future is daunting. While many of us have fought for distractions and felt forced to stay productive, "burning the candle at both ends," Atlas insists that it's always possible to come out stronger. "Taking [my mind] apart to the first draft" is an invitation to start over, and "Peace At Last" is Atlas' reminder that we are more than the pains we've endured. Photo by Tim Atlas.

A tale of two boroughs. Harlem-based producer Air Volee and Brooklyn-based indie artist GOLDEN pen a bright story with "Eye." While the original version carried a more airy sound, the inclusion of Air Volee brings a fresh retro pop flare to a track where we're taken into a new tier of self-reflection. Both artists are distinct in style but balance each other well. There’s a sense of levity one can feel with the heavy percussion that defies space, capturing motion into a song that pleases the ear and sends an almost chilling sensation through the veins. There’s a saying that eyes are the gateway to the soul. With this track, that element plays out to make one discover a moment within that they weren’t even aware of, that there’s no authenticity in themselves. The question of "who am I living for and as," essentially. It’s a personal moment for GOLDEN, almost written as an autobiography, and Air Volee amplifies all the right focal points of her narrative. Photo by Kevin Condon.