Payton Odom's latest EP Sightlines is a sonic escape. “Hinterland,” the last track off the EP, is laced with instrumental chords from guitars and horns that create a gorgeously rich jazzy background to accentuate his vocals. Having lost his voice in a fluke some time ago when first starting up as a solo artist, the focus on the depth of feeling Odom's voice is able to bring out in the listener never gets old. With a slow pace and beautifully placed lyrics, the song's build matches that of any of his past pieces and sets the tone for his future ballads. "Hinterland" is simple, meaningful, and funky.

Britney Spears’ iconic pop hit “...Baby One More Time” turns 20 this year, and to celebrate, psychedelic indie-pop group The Marías has released a dreamy cover. An amalgamation of jazz, indie, and funk influences, “...baby one more time” is a softer rendition of the original and swings to a smooth, sultry beat. Lead singer María’s vocals, sung just above a whisper, are velvety and sweet, guiding you through the arrangement with sweeping attention and ease. Her intonation, particularly in the “Oh baby, baby” backing lines, is even reminiscent of Britney herself, turning the nostalgia level up a few extra notches for good measure. Still, the light, delicate synths behind the vocal work with the jazzy percussion give the track a timeless feel. The original is planted firmly in the 90s, but “...baby one more time” transcends decades and genres.

Indie singer-songwriter Arlo Day has arrived on the scene to break your heart. Arlo Day, a moniker for London-based Alice Barlow, has released her second track, “This Love” from her upcoming debut EP, Bad Timing. In her new song, Barlow invites us to follow her down the rabbit hole that is a toxic relationship, describing the addictive nature of a love you can’t quit. Gloomy, electric guitar strums and grounding, hypnotic drum beats play underneath yearning vocals—creating a mesmerizing sound that has you feeling like you’ve stumbled into a private and painstaking moment. “This Love” combines dark, enchanting melodies with a knack for storytelling to pull you into an inner turmoil before you can realize it’s happening. Barlow returns again and again to her mantra, “This love, I won’t do, I don’t want to be apart of it,” seemingly trying to convince herself just as much as her audience. Her voice climbs and wavers and fades on every “This love,” making the word entirely inescapable throughout the song. In the last line, Barlow makes a slight edit and sings, “wish I didn’t want to be apart of this,” suggesting a relapse that leaves us aching as the song ends quietly. Arlo Day’s Bad Timing EP is out this Friday, May 31st via Domino and is sure to be a bewitching debut if “This Love” is any indication.

HÅN’s latest single “Gymnasion” is wistful and enchanting. The Italian synth-pop artist named the song after the Greek word used for high school in Italy, which ties in the nostalgic feel of the track. "Gymnasion" is an homage to a certain person from her past, but also the past itself. Even though it's brooding and mysterious, the mid-tempo brightens it up a bit. It is the perfect song for driving at night with the windows down. Reminiscent of a Lorde track, it ebbs and flows as 22-year-old Giulia Fontana sings, “you can go ahead and tell me what I used to be / but who cares.” "Gymnasion" is a song about being only slightly detached from youth. You can still remember the people and the places from back then and they aren’t so far away, but they are starting to drift. It is soft yet upbeat, nostalgic without being sad, and hopeful without feeling trite. The tone of Fontana’s voice allows for emotion without succumbing to it. “Gymnasion” is HÅN’s first single of 2019 and the first track from her upcoming sophomore EP, which will come out this fall.

“A Lonely Shoulder to Cry On,” the smooth new single from slack-rock quartet Brother Son, pulls from a variety of classic indie influences to evoke an entirely new genre of easy listening. Two years ago, four very different dudes bonded over the likes of Mac Demarco and Alabama Shakes and then decided to start a band. Since then, they’ve developed their own sound, but their favorite bands will always continue to influence it. Such is the case in “A Lonely Shoulder to Cry On.” The light, pinging keyboard and soft, intricate percussion are reminiscent of Mac Demarco and give the track its gliding feel, while the guitar’s bluesy rock influence is all Alabama Shakes. Vocalist Francis Harrington’s voice is easygoing and pleasant; he holds a subtle but certain command over the lyrics and your attention, even when what he’s singing is just “La di da di da.” More than just a mashup of good sounds, “A Lonely Shoulder to Cry On” is a catchy, genre-bending slow jam, and you’ll want to play it on repeat all summer long.

Dublin singer-songwriter Sorcha Richardson downplays her own emotions in her newest single “Don’t Talk About It.” It starts small with just a simple beat, electric guitar, and Richardson’s smooth and mysterious voice. She lilts seamlessly into the refrain where everything builds as she sings, “hey ok we don’t have to talk about it/ it’s only love / I guess we’ll live without it.” Richardson has come a long way from her bedroom-pop days with this certifiable indie-rock track meant for blaring and shouting along to. It’s anthemic in both its composition and central message. Sometimes speaking feels impossible like it will ruin everything. Maybe love is too scary. Maybe the other person isn’t ready. They may never be, but Richardson seems to want to keep them around even if it means the most important things are left unsaid. Maybe it will all be ok if we just don’t talk about it. “Don’t Talk About It” is the latest single from Richardson’s debut album First Prize Bravery out this fall.