(Sandy) Alex G reflects on lives lost to the opioid crisis in his newest single "Hope." The sped-up acoustic track covers a lot of ground in just two and a half minutes. His straightforward lyrics already highlight the message by the end of the first verse as he sings, “He was a good friend of mine / He died, why write about it now?” Though the song tells the story of just one life lost, it finds universality through specificity as he discusses waiting by the bedside and hoping for the best while preparing for the worst. There is an undercurrent of anger and sadness displayed through the lyrics, but the instrumentation and production add a sense of optimism. Recognizably a (Sandy) Alex G track from the start, it's wobbly and idiosyncratic—leaning heavily into his signature sound while still allowing for growth. It is the second single from his upcoming album House of Sugar.

Within the folds of the bottom middle half of the brain, there exists a small, seahorse-shaped organ known as the hippocampus. As the apparatus responsible for learning and long term memory, the hippocampus is one of the most studied parts of the cranium. It’s also the brainy buzzword guitarist Nathan Stocker latched onto after seeing the term in one of his psychology textbooks back in 2013 when he and his fellow bandmates were forming their group Hippo Campus—the pop-rock outfit that’s planted its name in every indie enthusiast’s long term memory, fan or not.

Now, the Minnesota-originated five-piece has released two collections of demos featuring early and alternate versions of songs from their sophomore album, Bambi. Having amassed a dedicated slew of fans since their South days, the demo tapes allow an intimate look into the process of rough drafts that eventually become an album and headlining tour. One rough draft that sticks out in particular, is “No Poms,” (or ‘No Pomegranates’) which didn’t make the cut for Bambi but remained a faithful setlist resident and fan favorite during live shows. Nihilistic musings wrestle against a backdrop of fast-paced, surfy garage rock before exploding into a starry smattering of what can only be described as, if Rainbow Road from Mario Kart became an alt-rock ballad.

Villagers’ upbeat new single “Summer’s Song” is like an invigorating burst of vitamin D to your senses. With a breezy, optimistic melody and catchy psychedelic hooks, the track is lively and fun, and it’s their most pop-leaning release to date. Spacey synths, energetic horns and upbeat, slapping percussion create an atmospheric introduction that kicks up the tempo to a head-bopping beat. Villagers’ distinctly smooth vocal paints a colorful picture of a carefree summer through vivid lyrics: “Wherever you go, I will follow / We'll leave it all behind / So alive / We'll climb the sunlight one beam at a time.” Magical horn and flute arrangements emulate shimmering sunlight and bright, warm afternoons, seeming to drive home the message that in the summer and on the open road, anything is possible. “Summer’s Song” is a sun-soaked, groovy pop song from one of indie folk’s loveliest voices.

Bon Iver is releasing new singles! Praise heaven and earth and whatever god he's singing about on 22, A Million (his genre-shattering 2016 LP.) Following his singles "Hey Ma" and "U (Man Like)," comes "Faith," the newest single in a series of releases that can only mean a new album will be dropping in the coming months. A bit quicker paced than his two previous releases, "Faith" follows this fresh Bon Iver formula that consists of organic, atmospheric lyricism and soul-touching sound that is quite difficult to describe. The only thing we can wholly describe is the way it makes us feel, which seems to be precisely the point of Justin Vernon's music. Some poets and musicians have the uncanny ability to reach the heart of a matter with perfect language. As a succinct and visceral artist, Bon Iver falls under this category. His song "Faith" does not fall short—it's evenly exceptional, emotional, and lovely. Bon Iver's music speaks to everyone differently, making him one of the most influential and transcendent voices in music today.

“Soren” is a hushed, yet mighty serenade of love from the lips of Bea Kristi, aka beabadoobee. This stripped-down version of the track, which appears on her album Loveworm (Bedroom Sessions), was recorded in her bedroom with just her lullaby voice and acoustic guitar. The 19-year-old singer-songwriter is refreshingly prolific, releasing this acoustic version of her album Loveworm, which was released months before, with even more work on the way. With her bold colored hair and her sincere charmingness, Bea invites us into her space to hear of her muse, “Soren."

"Moon Pie" is a silky, sweet love song from Parisian pop duo Papooz. The two look like soft-rockers sucked from a time warp—with long shaggy hair, exaggerated collared shirts and flare jeans, their vibe is dripping late '60s / early '70s. Their musicality isn't a dead ringer for this decade (or era), but it's just as solid. While most of their music carries softer, indie pop vocalization (similar to Perfume Genius), this track is far more simplistic and stripped down, in a vintage rock kind of way—think Mac DeMarco but closer to the mic. Some of the harmonies are so pleasant and attention-grabbing, they rival the likes of Simon and Garfunkel or Flyte for a more contemporary reference. The duo's vocal chemistry is particularly evident on their track "Dorothy Says." That being said, Papooz remains far from cuddly by keeping an ostentatious, hard-rock front in making the cover art of this single a cartoon version of themselves blowing out candles on a boob cake. Whatever your initial impression of them may be, Papooz undeniably feel like a summer staple band. Play "Moon Pie" while you're winding down tonight. You won't regret it.