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.

After a whirlwind year, Cautious Clay hit the ground running in 2019 with the second single from his forthcoming EP, Table of Context. "Honest Enough," produced by Medasin, re-introduces Clay’s unmistakable sound, swirling with new elements like Medasin’s innovative beats and hallmark lo-fi style. Clay’s distinct falsetto takes center stage on this ethereal and pensive track as he echoes the lyrics, “Honest enough/We could play the blame game too/Patience in the words I say” complimented by a heavy R&B backing that drives the feeling home.

Clay remarks, “I feel like it's easy to be 'honest enough' or to not tell the whole truth to someone. You can skate by knowing good and well that things are not stable.” The song focuses on personal relationships and the cycle of drama within them brought about by blaming, avoiding confrontation and staying for too long, — avoiding any more honesty than is necessary to keep things the way they are. With an explosive 2018 behind him, and even more in store for the future, Cautious Clay has a promising year ahead.

We're excited to share Sofia Wolfson's new single, "Nothing's Real," the first off of Wolfson's new EP (set to release...soon)! Sofia's candid, down-to-earth songwriting is relatable in a way that resonates. Produced by Marshall Vore, the track also features Harrison Whitford and Jorge Andre with Anna Butterss accompanying Wolfson. "Nothing's Real" paints a candid picture of the mundane, every day moments that we can get caught up in — especially when we're "spinning like a wheel." Sofia talks us through how the writing process mirrors the song's sentiments: "Nothing’s Real" is both about growing pains and feeling unproductive — the feeling that everything is moving really fast around you and it’s impossible to catch up. The irony of it all is by writing the song, I was doing something productive...a lot of the upcoming EP is about learning how to grow up and be independent." If "Nothing's Real" is any indication of what's to come, Sofia Wolfson's new EP will help us feel a little less isolated, a little less stuck and a little bit better.

Sasami Ashworth (aka SASAMI) is a young queen of the modern age. Although she is still in the early stages of her solo career—having released a total of three songs — her latest track, “Jealousy” proves why you should keep the songwriter/multi-instrumentalist on your radar. Ashworth not only wrote and produced the eclectic lead single off her debut album (out March 8), but also wrote, edited, and co-directed the comically disturbing music video that comes with it. The video features Ashworth creepily dancing around with her sidekick in a spooky, low-brow witch’s costume while a set of individuals are released from their self-inflicted obsessions. The song floats elegantly above the images. At first, the arrangement is like a lovely stroll on a sunny day — both smooth and unassuming. Then suddenly, the acid hits and kaleidoscopic colors roll over this once pastel world. Ashworth’s staggered, lo-fi vocals lilt over wavy guitar and cinematic synths as she repeatedly sings, “Jealousy, jealousy, jealousy!” Like  SASAMI's sound, the track is new but timeless, free yet controlled, distinctive but modest, and that is just the beginning…

Britnee Meiser and Eddie Gore, the lead singer of Future Generations, have released their first single as mini golf titled “hold me.” The band’s bedroom pop vibe is simple in its sweetness, the overall tonality being lightened by Meiser’s clear and piercing voice. The song starts with a upbeat synthesizer, and becomes increasingly layered as it draws inspiration from a Mac Demarco-esque tonality and the jovial sounds of ALVVAYS. The indie pop duo from Brooklyn, NY are making music that sounds intentional and welcoming, allowing listeners to follow their work from start to finish.

"Everything" by Seamstress is a slow burning telephone call, the whirling inner monologue as you grasp for the right words to say. A melodic breath of exhaustion, Seamstress weaves watery electric guitars and echoing vocals with into a floating yet forward moving ballad, the sonic equivalent of a shimmering silk garment with no seams in sight swaying in the breeze. Weighing the balance between sadness and hope is not easily achieved, but Seamstress, comprised of members Gabriella Chavez & Charlie Sztyk finds a kind of peaceful motion away from the violence of love lost. "Everything" never arrives at a happy ending, as a piano counts its way out of the tune, a flourishing, reverberant voice repeats “it’s everything / everything,” a mirror reflecting back to us the moments in our lives when the things that meant everything to us seem to fall away.

Electronic duo DRAMA starts off 2019 with the release of their latest single, “Dead and Gone.” The group comes to your ears via Chicago, the birthplace of house music. The duo’s debut LP Gallows (2016) was a fusion of funky, Chicago house-inspired beats and carefully crafted R&B melodies guided by singer Via Rosa’s inspired lyrics. On “Dead and Gone” the duo accesses a new intensity. The unsentimental opening lines set a dark mood: “Love is for lovers and old men who know when to fold and go home.” The group’s big, festival-ready sound maintains a self-contained sincerity on their new work, with the production allowing Rosa’s voice to still shine as the most integral part of the sonic landscape. Good for fans of dance pop groups like CHVRCHES and Broods. Enjoy angst-dancing to this DRAMA track and hopefully more in 2019!

“Don’t Pretend,” The Wild Reeds’ second single from their forthcoming album, Cheers, opens as a slow waltz most will recognize as reminiscent of a 1950’s Homecoming dance, something out of Back to the Future. Sharon Silva, of the three lead singers in the band, has the ability to write the most biting lyrics — she screams, “I’m capable of so much more / Than you people give me credit for” on “Capable,” a standout track from their previous album, soloing wildly on guitar. But on “Don’t Pretend,” Silva offers a more tender view of the world. She documents a difficult week in the hospital, too emotionally closed-off to accept support, and lifelong aversion to risk-taking — “Didn’t dare ask questions / Never swim in the deep end.” Having faced sickness, hardships and emotional barriers, she thinks that it must be punishment for some wrongdoing, feeling “like a bad kid / ‘Cause no one deserves this.” But Silva understands that this view isn’t fair to anyone, least of all herself. You can watch her maturing throughout the song, as it takes two choruses for her to reach the resolution, “Don’t you dare play victim / When you have the power to choose / Don’t pretend the world has never been good to you.” By the end of the song, you’ve forgotten how far the song has come from that 1950’s gymnasium, with Nick Jones’ frantic drumming closing in from all directions, before everything drops out and the guitar resolves in the major key, the surest sign of certainty.

Australian alt-pop group Cub Sport is definitely on our artists to watch list. The group recently released their gorgeous, new self-titled album that's a can't miss. The last single from the album, "Party Pill," is a trip to the past that lead singer Tim Nelson needed to take in order to make peace with it. As teenagers Nelson and his fellow bandmate Sam Netterfield fell in love, but decided to stay friends since Nelson feared coming out. Now happily married and boldly making music about acceptance and equality together, "Party Pill" is a celebration song. Not only does this song artfully depict a love story but musically it soars. Nelson's knockout voice casually goes back and forth between sexy and just downright impressive as he belts out notes full of passion and love. There's no doubt about it, we too will be loving Cub Sport for a long long time.

At the edge of his highly anticipated album, Inlet, Jackson Dyer’s “CBSKY” comes like a summer breeze. The Australian native has spent much of his time in the last few years writing in isolation and drawing inspiration from his hometown in New South Wales. His love for the sleepy coastal town is evident in this low-key tune that is as much "coastal jazz" as it is "beach-pop," both highlighted by an outstanding electric guitar performance. His trademark buttery vocals punctuate the soothing feel of the track.

Posing the question, “Was I a fool to follow an abstract feeling?” Dyer reflects on coming to terms with the inevitability of change, himself remarking that, “[He] wrote CBSKY focusing on the dramatic and often senseless changes and trials that life brings.” Check out the newly released music video that capitalizes on the vibe of the song itself with Jackson as the focal point of a coastal and visually diverse scene full of gently breaking waves, cacti, mountainous landscapes and soft sunsets over the ocean.

The last single in the release of Charlene Soraia's new album Where's My Tribe, "Beautiful People" is a trip inside of the songwriter’s deep feelings about herself and the experiences she's had while people-watching. Comparisons and self-judgment has been a part of the British singer's self-discovery and the song is a way of processing the overdrive of images and perspectives presented by our social media-obsessed society. "Beautiful People" is a way of talking about unreachable beauty standards but also a way of discussing the standards of perfection that are expected by people daily. While calling herself "insatiable, uncomfortable, incapable at socializing," Soraia, whose calm voice and soothing melodies leave a mark on the listener, shows us that the satisfaction she’s trying to reach is unattainable. "Beautiful People" is an ode to looking at yourself as the starting point of your self-realization. Where's My Tribe is out today!