“California” serves as the final single from Drinker’s debut album Fragments. The song explores the reality of giving up the past in order to move towards what the future will hold. "California" is softer and sweeter than the first two singles—starting off with fingerpicked guitar and fuzzy vocals. The added element of layered female vocals contributes to the track's sweetness as Aaron Mendelsohn sings, “dreams so real it keeps me from sleeping.” The production fills out more about two minutes in as the synths come in to keep the song from falling flat in its tenderness. "California" is gentle in its sadness. It’s not a visceral pain, but more of a sweet nostalgia with an element of subtle hopefulness when Mendelsohn sings “follow the leader until you’re born again.” He is looking forward to the future but tentatively, dipping his toes in instead of diving in headfirst. There’s a hesitant optimism like maybe California will be the answer. Maybe this place really is as good as it seems.

Indie folk singer-songwriter Mackenzie Leighton used to play keys in a classic rock disco group. Her newest single, “After All,” channels her genre-crossing musical roots, bringing a bright and refreshing burst of color to the track’s folk-leaning heart. A vibrant, reverberating guitar and easygoing bassline sweep you into the song, and you’ll immediately start swaying along with the fun, easy-going tempo. Leighton’s vocals, doubled to a light, breezy effect, carry the melody over dreamy, whispering synths with effortless ease. She sings the line, “God it feels so good to be alone,” with the sweet release of somebody who truly means it, and in those moments, her bliss is contagious. “After All” has a catchy melody and nice beat, but it’s Leighton’s gorgeous voice that makes the song one to remember.

With their newest single, “Silver,” self-described "dark mountain pop" duo Misty Mtn just released a song that could reasonably be interpreted as an ode to a tryst with a werewolf. It’s a pretty on brand move for the Brooklynites-via Montana and LA, to be honest. With its full-moon over pine trees cover art, sizzling trap hats and lyrics like “but if you don’t say I love you / blame it on the moon,” the song is, at the very least, an homage to the innate sensuality and strength of night. The most well-executed, spooky mood setters in "Silver" are the legato hums that weave in and out of the chorus line. It’s all very spectral and magical and perfect for warm night walks through the park.

The words “once upon a time” invite you into “Wasted,” a genre-bending track full of lush, warped soundscapes that flow through a breezy, laid-back melody. The song clocks in at just over two and a half minutes, bops to an odd time signature, and has an undeniably mathy influence, yet is completely immersive. The intricate production of the arrangement is nicely complemented by the easy-going tempo and Old Cob’s smooth vocals—allowing you to acknowledge the weirdly wonderful synths without losing the beat. The vocal layering effect, reminiscent of Dr. Dog, adds a pleasing layer of warmth to the more technical sonic elements. At the heart of “Wasted” are the carefree banjo strums. Old Cob’s decision to add a banjo to a song flush with spacey synths is a good metaphor for the song itself: strange, but exactly right.

Rising indie-pop artist Trafton’s newest single, “Winter Blues (Demo),” is a hauntingly beautiful rumination on toxic relationships and seasonal depression. Bathed in hazy reverb, the arrangement is deeply and effectively atmospheric. Delicate piano notes tug at your heartstrings while Trafton’s wistful vocal guides you through a snowy landscape. His lyrics are a lullaby packed with soothing imagery and sung next to a warm fire: “Deep in the dark as the light snow flurries / my body warm your vision blurry / want more baby don’t you worry.” Born and raised in the northeast, Trafton is no stranger to bleak, chilly winters, and “Winter Blues (Demo)” is a vivid, emotional portrait of the season. It’s the softest track Trafton has released thus far. Marked as a “demo” to single out its raw, stripped power, this track proves that sometimes quiet songs speak the loudest.

Okay Kaya turns Cher’s soaring anthem “Believe” into a quietly contemplative bedroom-pop track with her newest release. Unlike the dancey pop ballad, this cover finds its strength in stillness and emotion making it feel like a whole new entity. The steady bassline drives the song as quietly ethereal synths come in to fill in the gaps. This pared-down version allows you to focus on the heart-wrenching yet valiant lyrics as Kaya emphasizes the melancholic undertone of the song. The King Krule collaborator has a way of uncovering the core of a song and highlighting it in her own unique way. This cover highlights the inherent sadness of the track without losing the hopefulness of the original. Okay Kaya took something powerful and overwhelmingly popular and was able to push aside all previous conceptions to make something that's completely her own. She reinvented the anthem while still honoring the original. This is the Norwegian-born, New York-based artist's first release under Indiana-based label Jagjaguwar and the follow up to her debut album, Both.