SG Goodman’s new single “Old Time Feeling” is a roots-tinged indie rock ode to her homeland: the South. Goodman says she chose to record her upcoming album (of the same name) at Jim James’s La La Land Studios in Louisville, KY because it possessed three of her favorite things, “a creek, a big porch, and a kitchen,” probably the second most Southern thing I’ve ever heard—right below Beyoncé’s “I got hot sauce in my bag.” The guitar effects on this track are totally stellar and bear the clear watermark of Jim James’s sound circa My Morning Jacket: thick like Kentucky air, tones melting together like Blue Bell ice cream on a cake cone—and just as delicious. In the chorus, Goodman sets forth the track’s important central message: despite stereotypes, the South is “not living in that old time feeling” anymore; instead, it is on the crux of change, and change always comes out of healing old wounds. As André 3000 famously said at the 1995 Source Awards, “the South got something to say.” Twenty-five years later, SG Goodman is one of a diverse cast of talented independent artists continuing to prove him right.

This single release from New York-based multi-talented indie-pop artist Denitia begins with a beat that builds as if it were underwater, swelling to the surface before engulfing us in its rhythmic and full-bodied sound. A singer, songwriter, producer, and multi-instrumentalist, Denitia single-handedly uses a blend of electropop, psychedelic, and R&B elements along with her disarming and reverberating vocals to create a dreamlike soundscape on “Forever.” An 808 drumbeat pulses throughout the song, perhaps in homage to the human heart, as other sounds loop in and out around it. The instrumental ebb-and-flow evokes images of waves and currents as Denitia sings, “I am a river / You are the ocean / We go together / We could just flow in.” Referencing “flowers under the sun” and “the moon and the tide,” the lyrics are filled with earthly imagery, highlighting the ways in which we are all connected, to each other and to nature, and the paradoxical illusion of any concept of “Forever.” Accompanying the song’s release on Bandcamp is a blurb from the artist that reads: “Our existence among each another can seem so complicated in our modern lives, but then you realize we are so inextricably connected to each other and the natural world. We are both infinite and impermanent at the same time.”

If you took Phoebe Bridgers to a club on a sweltering Saturday night and sweetly encouraged her to get her groove on, the triumphant result would be "Lonely Boy" by Becca Mancari.

Mancari delivers the perfect track for the summer, clocking just under two-and-a-half minutes; a decadent and triumphant pop song, which wouldn't be out of place if it were featured on the soundtrack to a beloved teen drama from the aughts. She takes her lonely subject on an upbeat ride, trying to figure them out. 

Getting a lonely person to contemplate their loneliness would normally seem like a daunting task, but Mancari goes easy on them as she spends the majority of the song gently asking "Are you a lonely boy?" Mancari is intent on driving the question into her subject's mind, to the point where they're unable to avoid figuring out why they're always a loner—but they get a bit of a pass because this "lonely boy" still tries.

Becca Mancari's first album since 2017, The Greatest Part, will be released on June 26 via Captured Tracks.

The staggering genius of Sean Bowie emerges immediately upon pressing play on their fourth album as Yves Tumor, which opens with “Gospel for a New Century.” Tumor’s own brand of brilliance survives in their own mystique, which shapeshifts in kaleidoscopic, sonic morsels that fleetingly reveal themselves through flashing emotional windows—into which Tumor allows us to momentarily gaze. “Gospel for a New Century” unfolds with a vintage horn sample that sounds freshly plucked from a James Brown or Edwin Starr song, soon supplemented by a full chorus of brasswinds fit for a 1970s spy-noir film score. By the time the bassline and Tumor’s vocals kick in, we’d be tempted to enlist the song as a masterwork in psychedelic, anthemic rock—but this is where we’d be wrong. Often the best art shocks and shakes us in unquantifiable ways, without grasping at labels or ticking genre boxes, and this is exactly how Tumor’s opus pierces our senses. In neon orchestral flares we can discern a host of influences from Prince and Lenny Kravitz to MGMT; yet, this recognition leaves us as rapidly as it arrived. Tumor’s “Gospel” is a roaring rhapsody of experimental funk-rock distortion, layered so finely we could spend ages dissecting it—but by the time we do, Tumor will have already entered another unexplored aural landscape.

The quiet inside of me could never match the stillness 

outside, even on nights like tonight, when the world

stops and offers me a chance to unwind.

Of all the things I carried home

and secrets left behind,

there lives one in the neon chrome

waiting for her right time.

Alone with you, the truth comes soon,

exposed in afterglow.

I'll save it for the perfect moon —

when it's my time, I'll know.

A bassline groove sets the scene for Tayla Parx’s high-pitched glossy vocals to steal the show in this sparkly, nostalgic number as she sings of not wanting to “Dance Alone.” We’ve all been there—the night is nearing its inevitable end, but we’re not quite ready to go home. We want to keep on dancing (just not alone), and we’ll do anything to keep the party going “until the lights come on.” Whether you hear this as a metaphor for clinging to a doomed relationship, or a literal ode to and reluctance to leave the dancefloor, this single by Tayla Parx, in all its glitter and glory, will definitely keep you dancing for at least one more song. 

Even if you have yet to listen to her debut full-length album We Need To Talk (2019), you’ve heard elements of her sound and style on some of the most popular songs of the last few years. From Ariana Grande’s “thank u, next” and “7 rings,” to Khalid and Normani’s “Love Lies,” to Panic! At The Disco’s“High Hopes,” to Troye Sivan’s latest release, “Take Yourself Home,” Parx has infiltrated the charts with her poignant melodic and lyrical contributions. These songs all share a polished pop sound, and it is clear in the genre-bending and infectious track “Dance Alone” that Parx sets the same high standards for her own work as a solo artist.