The new EP from LA-based Scarypoolparty (solo project of Alejandro Aranda), Doom Hologram, opens with “Return2Sender”—the first of an eight-track story, meant to be played in order. Lingering just under five minutes, “Return2Sender” encapsulates the feeling of watching raindrops roll down the window, as golden candlelight flickers and once-fresh flowers on the table slowly wither away. Throughout the ethereal track, the scent of broken promises is as fragrant as wilting roses, leaving the listener to once again taste the words they wish they’d said to someone (“You take my words and break me down / I wrote you letters just to say ‘I love you’ / And now I know that you would tear them all apart”). The track allows Aranda, an American Idol alum, to flex his pop sensibilities and brings to mind the exact inspirations referenced in the release’s press statement—that he “channels the prodigious dexterity of John Mayer overlaid with the ethereal pop of The 1975.” Aranda’s hurt is undeniably palpable, and this candor is the heartbeat that drives the song through its melodic turns and an aching acoustic interlude. But, as great art is so often made, Aranda turned heartache into a glowing and visceral connection with his listeners — and one they won’t soon forget. Photo by Nicole Busch.

Summer is inching closer, and Laszlo and the Hidden Strength’s latest album came just in time to accompany picnics in the park and late night drives alike. Their Weezer-meets-Fall Out Boy sound is passionate and relaxed all at once while maintaining the perfect amount of post-punk ambiance. In the track “Chastity Seatbelt” the NYC-based band puts a specific imagery in the minds of listeners—one of vintage automobiles and cruising the open road. Songwriter Laszlo Horvath who is also on vocals and guitar has a way of taking the religious virtue of refraining and using it as an oxymoron. The song gives an overall feeling of escape and needing to break free. In times like these when many feel isolated and in desperate need to get away, this song delivers what present-day listeners need.

Hope Waidley’s new release is intimate and contemplative, inviting you into the sweetness of young, carefree love. “It Rains in Michigan” is aptly named—it's the perfect song for gazing out a window on a rainy day. It's full to the bursting with that feeling of comfort you get when you find someone who feels like home. “It's no longer a secret like it was,” she almost whispers to us, “I'm in love. I don't know what I'm doing, do I?” Waidley’s simple guitar arpeggios, amid layers of hand percussion and a grounding folk-rock beat, all speak of an incredible ease. The whole arrangement cradles Waidley's stunning vocals—she somehow brings the powerful grunge of Amy Winehouse and the chill indie warmth of Cat Power—like a nest. “I fell too fast for 20 years old,” she sings and we can't help but fall too fast as well.

TATYANA arrives from London in spectacular fashion with "Wild Card." A single that is both lush and haunting, "Wild Card" excels in its monumental moments as well as it does in its sparsity. Background vocals welcome with warmth, TATYANA following shortly behind, expertly balancing the moment. The chorus peels back all that’s familiar, allowing for new silence, while the bass and drums breakthrough with an edge. TATYANA also takes the chance to spotlight the harp, fluttering through, sparkling in space. A moment to fantasize about this relationship in the future, TATYANA shares those earnest hopes with the listener, giving more urgency and credence to the passionate chorus. The harp returns, glistening in the sunny bridge, elevating it all to a dream. TATYANA takes that vulnerable moment and smashes right through it, coming back so powerfully with vocals flying in from every direction, each adding such valuable texture and charm to the song. It is a masterful performance across the song but in this final scene, it is undeniable.

Adeline Hotel has a way of putting you at ease. Living on the axis of psych-rock and indie folk, the music is loose and calming, but also entirely intentional. On “Trace,” a track from the upcoming album, Solid Love, Dan Knishkowy leads the project with the strength of his songwriting, telling a tale of transition that is equally driven by moments of love and connection as it is by total unknowing. The band, headed by Knishkowy and joined by guitarist, Ben Seretan, bassist Andrew Stocker, pianist Winston Cook-Wilson (Office Culture), drummer Sean Mullins (Wilder Maker), vocalists Brigid Mae Power & Matt Kivel, and a host of others, come together to blend their unique songwriting practices. As Knishkowy puts it, “Five people with loud playing personalities, playing as quietly as possible,” each musician creating their own moments of tenderness, trusting themselves and the process. Because of this, “Trace” is a slow-building wave and at it’s crest lies a beautifully jagged ending jam. The recipe of musical ambiguity, intimacy and clear warmth earns Adeline Hotel a sound that serves reflection as well as much needed sighs of relief.

This track was released quite suddenly by indie-pop group, Wet. The song was set to be released on their first studio album in 2016, and then again on their second album, but ultimately didn’t fit either project. In my opinion, there is something truly beautiful about this song being released as a stand-alone, as it is an appreciation of the self and where you are in this moment. “This Fog” feels like a gradual understanding that there can be both sorrow and joy in being alone, and that in accepting this fact we begin to experience everything more earnestly. As I listened back more and more to this track, I was reminded of a poem I wrote a couple of years back, in which I reflect on something similar.

Wednesday’s Sermon

The wind hit my back in the way

you would want it to – 

there was no sense of urgency –

it served only as a reminder

that energy is all around.

“Paradise” is a warm introduction to CoCo Zandi, solo project of Alexander Beggins (Wild Child). Cheerful ukulele with an emphatic heartbeat-like rhythm catches your attention and forms the foundation of the whole track. An increasing number of layers wrap around Beggins’s voice, resulting in a song that has a million details to fall in love with. There’s warm bass and strings that sweep you off your feet. Whimsical backup vocals pay homage to every single Disney “awwww they’re falling in love!” song simultaneously. Bells and twinkly keys add sparkle and bright, tuneful countermelodies. Lyrically, the song tells a story of love at first sight and every sight after. It’s a sweet, musically complex track that effortlessly wraps you up in the warm fuzzies. “Paradise” is the perfect soundtrack for waltzing around your room, putting away your laundry, and fantasizing about the day you'll get whisked off on your own romantic fairytale adventure.

Our first Quadio pick of the week is “Warm Bodies” by U of Michigan songwriter Lily Talmers. The track is not only a beautiful take on electric folk—it’s also a wise and winding reflection on the magnetic physiology and mysterious transience of love. Talmers’s voice is undoubtedly the musical centerpiece here, possessing a rare warmth that could combat even the harshest Michigan winter. Meanwhile, her understated versatility on the guitar creates the perfect wistful backdrop for the big ideas she’s singing about. Throughout the song, she frames romantic attraction as the result of seeking something godly. It’s a beautiful sentiment, and it also makes it all the more understandable how earth-shatteringly disappointing it can be when the connection dissipates. It makes you think: is there anything godly in each of us after all? Or are we all just “lonely, aching bodies”? After building tension between these seemingly competing questions through each verse, Talmers finally hints at a bittersweet answer: yes.