To find solace in a song is a gift, and when that song is by Phoebe Bridgers, it hits differently. Bridgers’s new song off of her highly anticipated second solo album, Punisher, encapsulates the intensity of a relationship and the magnitude of what it means to be human. 

“I See You” is the breakup ballad that chronicles more than just feelings, but a learned appreciation for a relationship, even though it has come to an end. Chaotic, almost stress-inducing instrumentation leads to a pleasant, quaint release once Bridgers sings the words, “But I feel something / When I see you now.” The song pauses just as time seems to pause when a certain person is around. 

“I See You” is Bridgers doing what she does best—describing experiences that we, as sentient beings, often cannot find the words for. “‘Cause I don’t know what I want / Until I fuck it up” is her being transparent and raw, and “If you’re a work of art / I’m standing too close / I can see the brush strokes” magnifies an admiration that goes beyond a casual fling. Her ability to produce lyrics that pinpoint unspoken, yet relatable truths about life as we know it make “I See You” more of a sanctuary than an audible experience.

Eliza Bagg, also known as one half of Pavo Pavo, has taken a side step to recenter and introduce herself as a solo artist. Taking the name Lisel, Bagg uses the space the solo project provides to digs deeper into her talent as a vocal artist and creates intricate sounds and rhythms using her voice as the lead instrument. Accompanied by timely pitched synths and tones, one thing is certain: experimental pop and Lisel are clearly a good fit for one another.

“Ciphers,” Lisel’s first single off her upcoming debut album, possesses traits that let her time with Pavo Pavo shine through. Like her work with the band, the sound is heavily comprised of airy whisps and slow builds with clever lyrics—but now, the focus on her voice is what sets her music apart. She pushes her vocal cords to the most alluring and haunting limits as those lyrics climb and the chorus swells. Bagg’s vocals are eloquently layered to develop this dreamlike state of heavy chords and soft weightless words. Like a heartfelt lullaby, the song draws you in from the very start, and by the end, you’re left craving more.

Vampire Weekend’s fourth full-length record was forged amidst a sea of changes—in the band and in the world. Lead singer Ezra Koenig moved to LA and had a son with his partner. Producer and multi-instrumentalist Rostam Batmanglij, who had a heavy hand in the band’s signature sound, left to start a solo career. Climate change and persistent political apathy were (and continue to be) a huge threat to the planet, and are therefore at the forefront of many minds, including Koenig’s. “This life / And all its suffering,” he sings on the track “This Life,” indirectly asking the question: what’s the point of it all?

On Father of the Bride, Koenig addresses existential ennui by coupling it with issues of faith, the passage of time, and physical belonging amidst a backdrop of sunny, quirky alt-pop melodies, offsetting the themes with a healthy dose of optimism. Each track is uniquely atmospheric, incorporating elements of 60s surf rock, 70s psycheledia, 80s disco pop, and more. Perhaps the most delightfully out-of-the-box is one of Steve Lacy's featured tracks, “Flower Moon,” which pulls from a South American jazz-style influence. It opens with a gorgeously hypnotic, vocoded vocals over layers of acapella harmonies: “Flower moon / Curse the night / If the sun don't make things right / Then it's gonna take a year.” Steve Lacy’s presence is made apparent in the guitar tone and, later, in a low, crooning vocal. With Brazilian-style percussion and a variety of strange, intentionally random sounds in the bridge, the song culminates in a mood that feels busy and carefree. “Flower Moon” is an upbeat and surprising stand-out track on an album full of happily self-aware songs.

English singer-songwriter Jade Bird leans into her folk side with “Side Effects” off her self-titled debut album. At first, it’s pretty bare with just acoustic guitar and minimal percussion, but it builds gradually as a full band comes in after the second verse and Bird's voice reaches its peak in the last chorus. The upbeat song holds the desperation and optimism of young love as she sings, “Give me a sign and we’ll go / if it’s tonight baby please.” That being said, there are some indications that the relationship may not be as good as she wants it to be and that she doesn't like the person her lover has turned into. The tried and true trope of running away together is the through-line of the track. There’s this idea that maybe if they get out of here, the bad things will fade into the rearview mirror. Maybe they could leave all their troubles behind. Jade’s trying to convince both herself and the person she loves that everything will be ok.

The Canadian indie rock legend Mac DeMarco recently released "All of Our Yesterdays"—the second single from his upcoming album, Here Comes the Cowboy. Following the release of "Nobody," the album’s first single, it's clear that DeMarco will be touching on some of his classic somber themes of loss, aging, and moving on.

"All of our Yesterdays" is reminiscent of his last album, This Old Dog. In many ways, it is also very representative of what makes Mac DeMarco, Mac DeMarco. The slow build is something he’s always been known for, using a steady beat and simple chords to create a chill vibe that attracts the listener. He's the master of writing sad songs that aren't outright melancholy. With the layering of several harmonic elements floating beneath his lax vocals, he succeeds in pushing the lyrics to the forefront of his listener's mind as he draws out emotions of longing and loss.

The acoustic guitar and lyrical brevity is not only beautiful but also uplifting within the sad context of the song. Though he’s singing of his loss of yesterdays, a line that was inspired by Macbeth and an old episode of Star Trek, he urges that it does not mean it's over. Throughout the chorus, you can hear him pointing this out “And that don't mean your dream is over / And that don't make your heart beat slower/ Such a shame to complain” Even with his generally bleak tone, he so often alludes to a silver lining. DeMarco isn't afraid to acknowledge that there’s a brighter side to it all. This goofball performer is full of wisdom in sometimes surprising ways, and we can’t wait to see what’s to come on Here Comes the Cowboy.

Originally only available as a 7-inch vinyl at concerts, “Little Trouble” was released digitally as a gift to fans last month—and a gift it certainly was. Phoebe Bridgers and Conor Oberst, the sad-indie rock duo behind Better Oblivion Community Center, sing some of their best, and definitely most upbeat, harmonies yet. The thrashing drums and throbbing guitars set the tone for the song’s carefree attitude; immediately, no matter where you are, you can’t help but start bopping to the beat. As always, the compellingly dark lyrics are delivered with matter-of-fact charm, reminiscent of Bob Dylan with a full band. “Well, tell me, baby, what’s your biggest conceit / Is it that you did it, or you did it with me?” Complete with a tiny, grungy guitar solo, “Little Trouble” is a fun and fitting addition to the band’s debut album, which they released in January.