On “Reaper,” a song off their recently released album Mirage on the Meadow, Pine Barons combine psychedelic instrumentals and vivid lyrical imagery to deliver a haunting track that truly rocks; perfect listening for this, the spookiest of seasons. The tone is firmly established within the first few seconds, as a series of long atmospheric tones from the synth drape themselves over the drum and guitar lines. Before the lyrics come in you have already been set on a meandering walk through the dark forest in your mind. 

Songwriter and vocalist Keith Abrams cleverly illustrates the concept of scattered thoughts in the pre-chorus where, utilizing different production effects, he plays two intertwining inner monologues: one perpetually questioning, and one confident in its defeatist statements but not offering any answers. From this back and forth bursts the hook, which delivers everything you could ask for in a great rock chorus. It’s melodic, it’s powerful and it stays with you long after the song has ended. For much of “Reaper” there is an expertly curated sense of movement, like some physical manifestation of inner anxieties is stalking you at a distance. The closing guitar solo and coda, which layer in melodic callbacks from earlier sections, bring about a feeling of envelopment, like that fog of fear has finally caught up and engulfed you. Photo by Chris Sikich.

“Adeline,” the cozy, new single from indie-folk artist John-Robert, feels like coming home. A gentle synth and soft, warm guitar line open the track, sweeping you up in comfort and nicely setting the mood for what’s to come. The reverb-soaked arrangement compliments John-Robert’s angelic vocal; sweet and clear, it’s a calming force at the front of the track. His falsetto guides you through with ease, and when he sings, you might feel like nothing bad could ever happen to you. The nostalgic lyrics add depth and longing to the hopeful instrumental: “Oh Adeline, take me home / walk me through the barren streets I used to roam / say you never saw us growing old / we can still live young.” “Adeline” is a gorgeous and evocative debut.

Since their humble beginnings, psych-rock project, Crumb, has been making the music of dizzying dreams. After the warm reception of their first two EPs, they are set to release their first full-length album, Jinx. One of the first tracks ahead of the album, “Nina,” invites you into a dazed, ethereal realm that seems to be detailing a hazy brain map. “Nothing makes much sense,” sings vocalist and guitarist, Lila Ramani, as an electric piano descends into the rabbit hole. Ramani is at the helm of the band's hypnotic songwriting. As she describes the distortions of the realities we create for ourselves, cadences swirl around in reverb, anchored by a tittering drum beat. “Nina” is a mystifying track. Pulling back its layers uncovers the surface of Crumb’s smooth consciousness, dripping with kaleidoscopic color and triggered by an expanding mind.

Hembree’s new single “Heart” has an intro that echoes in the ears and the mind. Lead singer Isaac Flynn’s resonant vocals pair well with the diverse, high-energy instrumental backing. There’s a longing in the lyric, a wish for time to turn back. At the same time, the song’s cool and energetic presentation allows listeners to have an ambiguous selection of moods. "Heart" easily entertains—it ebbs and flows, builds and falls, as it takes us on a short, immersive musical journey.

Drinker’s “Wave” experiments with highs and lows starting with deep ambient noise and brightening slowly as it progresses. The rich synths provide a deep fullness with little moments of light coming in through meticulously placed guitar riffs and nuanced harmonies. The experimental pop duo explores the cyclicality of life and its endless searching through the metaphor of the moon’s influence over the tides as Aaron Mendelsohn repeats, “who is this? / I’m stuck inside a wave.” Ariel Loh’s production aids in the cyclical quality without falling victim to boring repetition. Much like the ocean, it is slow, steady and relentless, but it is riddled with moments of surprise— a spirited yet subtle shaker, a quick riff of high hats, and ethereally manipulated harmonies. The song builds slowly on itself ebbing and flowing from one complex interconnection of sounds to the next until it hits its brink. It does not slow as it ends as much as it just finishes leaving the listener waiting for more. “Wave” is the fifth single from Drinker’s upcoming debut LP, which is due out May 3rd via B3SCI Records.

Sven Gamsky, best known as rising indie-funk superstar Still Woozy, is the definition of DIY. Part new-age R&B, part psychedelic pop, and part experimentation, his sound doesn’t fit neatly into a box. He has yet to come out with an album but has steadily been releasing hit singles since 2017. He writes, records, and self-produces all his music in his garage-turned-studio space in Oakland, California. His artwork is weird and vibrant, and it’s all made by his partner. Most notably, he’s unsigned, yet his Spotify monthly listenership currently resides at a cool 2.3 million. For all his unconventional methods, his success isn’t a mystery—his groovy, chill tracks are easy listening for music-minded ears. Gamsky's newest single, “Lava,” is no exception. It’s a vibey, sun-soaked jam that begs to be blasted on good speakers. Dreamy synths and a wavy guitar line cast the song in a warm, shimmery glow, while the swinging bass and tight percussion maintain the funky, head-bopping beat. Gamsky’s vocals are soft and pleasing even though he’s singing about a riff with a loved one, nicely complimenting the atmospheric arrangement and proving his sound is something of an unstoppable force. “Lava” is another smooth, abstract jam from the master of transcending genre. Keep an eye out for Still Woozy's debut EP, Lately, set to release on May 8th.