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.

“Painted In The Sound” is a blissed-out head banger of a single from indie folk artist Justus Proffit. The track is off of Proffit’s upcoming album L.A.’s Got Me Down, out March 8 from Bar None Records, and it explores the tumultuous depths of the singer’s love-hate relationship with Los Angeles, the city in which he was born and raised. The track’s groovy, sunny guitars paired with Proffit’s crooning vocals might remind listeners of Real Estate, or perhaps Elliott Smith in his Heatmiser days. His blatant desire to get loud comes through in all the best ways, like the carefree crashing of the hi-hat in the choral drums or the uplifting rhythm of the electric guitar, but the controlled, even production proves Proffit is a master in the studio. “Painted In The Sound” is an ode to garage-rock that should reassure fans of his 2018 EP with Jay Som that the best is yet to come.

Molly Sarlé, one of the ever-charming, flute-like voices of Mountain Man, takes a step out on her own on her recent release, "Human." A swaying, danceable ballad, "Human" is an effervescent collision of Sarlé's folk roots and swirling alternative rock. Featuring warmly nostalgic layers of piano and guitar, the core of "Human" is Sarlé's voice, one which seamlessly delivers the nuance of both the ethereal and confessional grit. Despite the tune detailing the memory of love lost, and the ways that our projections onto love interests can sour a relationship before it truly has time to root in reality, Sarlé finds hope in the midst of loss and looks towards the  joy of new beginnings. “You know I’m nothing other than human,” is an open-hearted assertion, a reminder than human love is imperfect, as well as perfect example of Sarlé's candid songwriting. Aptly described as “west coast incantations with a warm, Appalachian glow,” Sarlé's entire catalog, both past and forthcoming, is a meditation on a life-time of feeling and doing so deeply. "Human" is a beacon of light and a sweet sneak peek of all the magic in store as Molly Sarlé dances into the spotlight.

NYC based trio BAILEN bring their sweet sounding harmonies and soulful demeanor to their first single “I Was Wrong.” The band, made up of fraternal twins Daniel (vocals/bass/synth/guitar), David (vocals/drums) and younger sister Julia Bailen (vocals/guitar), sing of arguments, learning from new perspectives, swallowing one’s pride and admitting that your wrong. Their voices swing with a settle and twang — “If chaos is the law / We’ll keep on falling down in the same way / Something can be done / But nothing’s gonna change ‘til we all can say / I believe that I was wrong.” The siblings together have created a track that not only pulls at listeners’ heartstrings, buts also only inspires unity, contemplation and respect.

Throughout the past ten years, Emily Reo has put out a handful of releases that all depict an artist that who has a vast range of sound. In "Strawberry" Reo sings of the dilemmas women face in today’s society ranging from always feeling endangered to being treated as property. Lyrics like, "Over my headphones / I hear you telling me to smile / and then you reach for me / bit in the ocean bleeding / where is your self-control?" accurately represent the every day ins and outs on the receiving end of toxic masculinity. The song sounds happy in nature, ironically playing to the idea of always wanting women to “grin and bear it,” — still don't be fooled by the bubblegum pop feel, behind the cheeriness is a truthful look at an ongoing problem that Reo's uses her music to address. With her upcoming album Only You Can See It being released via Carpark Records this April, we're pumped to see what's in store for this dynamic artist!

“I got a bad habit / Of holding my tongue," Rosie Tucker sings in “Habit,” a new single deftly demonstrating their masterful lyrical penmanship in order to process the memory of a relationship broken by the inability to say what needed to be said. The song’s unconventional 5/4 time signature not only serves as a backdrop for the newly formed rift in the relationship — the feeling that things are not the way they were and that that stability was taken for granted — but also allows Tucker to serve each verse with unexpected emphasis, catching the listener off guard with every syllable. “I woke up bereft / With no poetry left,” Tucker sing-speak-slams, so the words flow out in a refreshing cadence, perhaps one more representative of actual stream-of-consciousness speech. Tucker never sacrifices the emotional depth of their lyrics to achieve the song’s manic poetic structure or vice-versa, so the song is filled with expertly constructed, devastating stanzas: “Weeks like these / I wish we were still speaking / Are you pleased with the pieces of me you’ll be keeping?”

Lolo Zouai adds to her collection of stunning songs with her newest EP, Ocean Beach. Lyrically and rhythmically the second song on Ocean Beach, “Jade,” has a soothing but bittersweet quality to it. Zouai’s elegant wispy vocals give a buoyancy to the quiet rhythm that finally gives in to an escalation in beats as soon as Hynes’ (Blood Orange) comes in with paired vocals. Playing with her Parisian roots, there are literal whispers of French throughout the song, enhancing the sense of longing and intimacy that is impossible not to get lost in. Its the perfect R&B collaboration, as the sound’s attraction is driven home by the elusive story the lyrics can tell by themselves. "Powerful and real, "Jade" is the perfect example of the genius that earned Zouai and Hynes their respect throughout the music industry so quickly.

The shoegaze pop collab between Matt Messore and David Carey, have released their new self titled album, Cathedral Bells. The nostalgia washed aesthetic which plays throughout the work is best heard on the song "Time Capsule," the second piece off the album. Cathedral Bells sounds like a 2019 version of New Order meets Beach House, with hazy guitars, a dominant bass line and the synth melody line of contemporary indie rock. The song shimmers in and out of headphones, while Matt’s voice sounds something like a narrator for an indie movie dream sequence. "Time Capsule" perfectly captures all that is 2019 nostalgia, with a sprinkling of 80’s and 90’s aesthetics, and a strong penchant towards roll the window down bedroom pop.

Josh Gilligan is always cooking up some new and exciting project—whether it be collaborating on music with Liza Anne and Model Tenant, or writing and producing comedy sketches and short films. The Nashville-based singer-songwriter’s musical identity is as diverse and extensive as his multi-media creative vision. For this reason, it comes as no surprise that his latest, low-key love song, “Quiet Together” is just what you need this Valentine’s Day whether you’re celebrating with a partner, friends, family or on your own. The heart-filled ambience of “Quiet Together” melds elements of traditional jazz, synth-based sounds, and Caribbean-inspired instruments and harmonies. What results is a song about love that strikes the perfect balance between overly sentimental and lighthearted. Take the time today to find that quiet space and get some breathing room from the rest of the world. Have a listen to “Quiet Together.”

Few artists are on the come up like Izzy Olive, the indie singer-songwriter who performs as Half Gringa from Chicago, IL. She has slowly yet surely been gaining attention from indie artists and publications alike. The artist’s most recent release, Gruñona, was named the third best album of 2017 by the Chicago Magazine and in 2018, Half Gringa opened for Le Butcherettes and The Flaming Lips. "Teggsas" is a song that builds through the intensity of its instrumentation and lyric, coming to crescendo in a heartbreaking chorus of “How could you?” The opening lines of the tune, “I can see the end of everything/ You say that it used to be an open prairie/ When will you say other things that scare me,” are blunt and poetic, with melody floating above a simple yet piercing acoustic guitar line. Layers of guitar and synth stack on top of one another, culminating by the end of the song into a full ethereal orchestra. Half Gringa is a band that we have been watching for many years now, and "Teggsas" only further excites us for whatever is up next for this budding artist. Make sure to watch out for upcoming Half Gringa appearances in Chicago this spring.

Los Angeles singer-songwriter Jack Symes releases his debut album tomorrow but today we're giving you a sneak peak into the record. "City Fog" is steeped in folk, from Symes's distinct voice to its simple production. The title is a familiar concept to any Angeleno, but Symes's comparison of the city fog to disappearing memories is clever and endearing. Musically the song starts out with Symes’s voice accompanied by an acoustic guitar and then introduces us to Brittany Hanson's vocals, which color the song with harmonies and vocalizations. The horns add warmth to the sound and keeps us from thinking that this meant to be solely a "sad song." While the concept of memories fading and love dying are definitely melancholy in nature, we also get the idea that this is just part of life, and at times good for us. Sometimes we want to hold onto the memories, other times it's too painful when they're still so fresh in our heads. Symes seems to speak to both sides — not wanting to let go, but also knowing that when you do, moving on will be easier. Though the indie-folk scene is heavily saturated, with an entrance like this Jack Symes is sure to stand out. Take a listen to his debut album Songs For Mom out tomorrow!