British R&B singer Pip Millett pays homage to Otis Redding with her newest single, “Try a Little Tenderness.” The cover retains the soul and spunk of the original while bringing in modern sonic elements that nestle it firmly in the 21st century. Millett swaps Redding’s horns and piano for a heavy bass line and a soft, clapping hi-hat that groove behind her vocals. Smooth and sure, Millet’s voice is the standout element of this song. It’s got a soul-appropriate swing that feels effortless as it carries you from one verse to the next, and her crooning, lo-fi cadence, which feels a little bit indie, hooks you onto her every word. The lyrics stay true to the original, though the fact that they’re being sung by a young woman — the subject of the song — turns the meaning on its head in a great way. “Try a Little Tenderness” is beautiful and deceptive in its simplicity, and it’s only the sixth song Millett has ever released. We can’t wait to see what’s next from her.

There must be something in the water in Brooklyn making our music scene better than ever.  Adler Hall, this five-piece from varying musical backgrounds, is no exception to this phenomenon. The band has restructured following their 2016 album Tourist, which plays around the edges of synth and experimentation while centered around the folk-like focus of storytelling. Coming together to write and record their unique take on modern chamber-folk  Adler Hall is back with their newest single "Teresa."

"Teresa," the lead single off their upcoming LP, Beware the Water, keeps much of the band's narrative foundation alive with lyrics like, “Tired of the fortunes you seem never to appear in / you smile at me, your teeth stained gray with the wine that I poured for you / though it’s nice you ask, it won’t change anything I see.” “Teresa” is clearly an important figure as these lyrics help portray a long and complex love story, one that has swung up and down and though the singer has run away from their love, she always seems to comes back. Wedding love ballad it might not be, but nonetheless, it is lyrically a beautiful song. Composer, Henry Hoagland builds upon the typical guitar-led folk song with a more strategic approach, incorporating electronic elements as well as fully utilizing the keyboard which they had only touched upon in their previous release. Beware the Water is expected to release this upcoming October and we're excited to see this continued development from the amalgam that is Adler Hall.

Most of us in NYC have been experiencing the woozy side effects of this scorching early-August weather, but for a moment let’s attempt to conjure the pleasant aspects of summertime (outside the city…). An ice-cold cherry red popsicle melting on your lips as you dip your toes in a perfectly chilled swimming pool while listening to Summer Like the Season’s latest track, “Wakey.” No other song by the electro-art rock quartet so fully personifies their name and general essence. The lead singer, Summer Krinsky has turned a tired name joke into a fresh sound, a dreamy sonic collage of floating synths, quivering bass, and warm, willowy vocals. The chorus’ lyrics, “It’s time to sleep / I’m wide awake in a daze,” remind us that we’re all living within the spinning wheel of our memories, and each day that passes is just another entry in our rotary index of diary entries. Like all of us, the Detroit-based group is trying to figure out how to get by and make some sense of the world in the best way they can.  Their aural patchwork of haunting melodies and nuanced harmonic textures is a testament to the creative capacity of sound. Sweater weather is still not in sight, so might as well embrace the heat and listen to Summer Like The Season’s “Wakey”.

Husband and wife duo Noel Heroux and Jessica Zambri of Mass Gothic are back again with their whimsy track “How I Love You” from their upcoming album I’ve Tortured You Long Enough. Sung by Zambri, the track is a pure love song featuring spare and simplistic guitar chords and endearing lyrics. In a dreamy and deeply personal tone, Zambri sings of how much she loves her partner and the pain she feels in her heart as she watches him leave for the day. Zambri's lush vocals serenade the listener when singing, “You wave goodbye just to be safe / I count the ways that I love you / I watched you go out my window / and count the ways that I love you.” Midway through the song, as distorted drums and synth are added, the feelings of deep love and pain amplify, keeping listeners in an emotional and dream state, like Zambri's as her lover recedes into the fade out. This stunning and fantastical goth-pop ballad will hit listeners hard and makes for a perfect addition into any out-of-the-box love song playlist.

After the passing of her dear friend, Pam, Jocelyn Mackenzie sought out to write a song to Pam's grieving husband. "Love Begets Love" is the beautiful product of Mackenzie's efforts, a song about the consistent readiness and availability of love. As if an echo of Pam's heart, Mackenzie spreads a personal and universal message about how love can grow and foster in the midst of hardships. Mackenzie's voice has healing elements in and of itself, but it reaches to new levels when accompanied by the colorful background vocals which in a way sound like a united band of caring friends reaching out to a loved one in a time of need. While the pain of loss will never be truly erased, this song is a reminder that there truly is consolation and hope in love. "Love Begets Love" is featured on a compilation album dedicated to Pam's memory called Songs for Pam which can be found on Burst and Bloom Records's bandcamp. New Yorkers, be sure to see Jocelyn Mackenzie during her residency at C'mon Everybody in Brooklyn on August 11, September 16, and October 13! 

Wild Pink’s “Lake Erie” is full of all sorts of meaningfully mundane details one has no choice but to notice while growing up in a small town. “Your body looks impossibly small when you hang your head and cry / Meanwhile people on Tumblr unpack neuroses,” singer John Ross observes. He is unable to shake the tiny details once so familiar to him — a particular intersection or the smell on a rainy day. It is as much a song about leaving as it is a song about home. “You thought you’d never get out,” Ross reminisces in the chorus before finally flipping to the first person to marvel at his own growth. The song has an Americana sound tied more to the road than to any particular place. A wistful pedal steel guitar pines over the old days on top of a rhythm section as unrelentingly steady as the passage of time, declaring that there is no going back.

Although Lucy Dacus believes Richmond band Spooky Cool should be renamed “Stupid Good,” the band currently has the perfect name to describe their haunting indie pop vibe. The newest single “Old Hair Mine” off their upcoming debut EP “Every Thing Ever” is full of nostalgic lyrics and vocal harmonies mixed with the instrumentations dis-harmonization and a constantly changing rhythmic backdrop. The product is an entertaining, intricate piece that feels timeless and futuristic. At the end of the song, the vocalists question over and over again “is anything real?” Not sure about that, but we'll keep wondering as we listen to this song. 

With a highly anticipated new record on the way, Odetta Hartman releases her last single off of the album. "You You" is the epitome of short and sweet, showcasing Hartman in all her old school charm but with a feel-good twist. While an Odetta Hartman track is usually embedded with experimental and genre-bending sounds, "You You" finds its strength in its sweet simplicity. Opening up with a hard-hitting electric guitar, Hartman's voice is a contrast of sorts with it's quiet strength and colorful timbre which remains the centerpiece of the song. "You You" is the kind of love song that doesn't feel crowded with frivolous emotions but rather heart and soul. "I want to run / to edge of the earth with you / it's perfect with you," Hartman repeats in the chorus, giving us a glimpse of her desire for an adventurous romance thats more about togetherness and less about the frills. Catch Old Rockhounds Never Die out on August 10! 

“La Cienega”, referring both to a famous street in LA that stretches out from Sunset Blvd and the Spanish term for desert marsh is a clever play on words that explores the pitfalls of the “glamorous” lifestyle many of us daydream about. The vocalists, two established Asian artists, Joji and NIKI, imply that waking up hungover after a rough night of heavy drinking and shenanigans might perhaps get old after a few weeks, months? As per NIKI's experience, it’ll have you singing, “Party’s over / Thank the lord”. “La Cienega” is one of the many bangers off of the international collective and record label, 88rising’s newest, collaborative album, Head in the Clouds. 

The song was produced and written by Joji and NIKI, who each supply their own distinctive sound and interpretations of the Hollywood lifestyle, and how to potentially escape it. Joji and NIKI's syrupy vocals are carried by the electro-dance inspired production filled with slightly gritty synths and a subby kick/ trap bass . As the track progresses, it bursts with glitchy samples ranging from buffering computer and telephone noises to what sound like bicycle bells. “La Cienega” paints a sloppy romance, glitter-puke picture that perfectly captures what it might feel like to wake up on a shallow, dry slow-moving body of water or an arid LA sidewalk…

Allow us to introduce you to rising Chicago singer-songwriter, KAINA. Not only is she making waves in the Windy City, but she's also caught the attention of big names like Jamila Woods who she opened for last year. In her three track EP released early this year, KAINA explores the richness of her sound with three songs that showcase her multi-layered talent. "Happy" is a song that is full of playful instrumentation and background vocals that are reminiscent of old 90s R&B hits. KAINA sings of the emotions she experiences when she's around a special someone and the moments she goes back to in her head when she thinks of their happiness. While the tone of KAINA's voice is smooth and confident, you can't miss the fact that she's singing of a happiness that is the color of blushing cheeks and giddy smiles. There's no doubt about it, KAINA is on our list of artists to watch out for and we're pretty happy about it. 

A slow-moving scene of a pair of lovers dancing idly in a pale lit bar. A warm picture of a group of friends sitting and singing on a porch while drinking scotch and smoking one too many cigarettes. Bermuda Triangle’s  most recent country-gospel ballad, “Till the End of Days,” distinctly evokes settings like these. The Nashville-based trio’s track is a sublime combination of rich, tight harmonies balanced with distinctive vocal timbres and lean, airy acoustic guitar.

Jesse Lafser, who wrote the song, leads the track with an infectious, no-nonsense vocal line that is nothing short of pure magic. The gentle guitar unhurriedly moves forward as Lafser tenderly sings, “Maybe God / Maybe God / Maybe God does exist / Cause the way you look at me on mornings like this.” Brittany Howard (of Alabama Shakes) and Becca Mancari pour into the song in equal measure allowing each of them plenty of time to individually tug on your heartstrings reminding you that sometimes the greatest loves — both romantic and platonic — involve the greatest amount of growth and support. For all you atheists or agnostic leaning dissenters, “Till the End of Days” will incidentally lead you the closest you may have ever been to believing. You might even find yourself praying to a God after your first listen…maybe.