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.

Julia Jacklin’s cover of “Someday” by The Strokes is a stripped-down, sultry take on the garage rock-revival energy of the original. A dreamy rock ballad for lonely, wandering nights, the arrangement is slowed down but kept in its traditional 6/8 tempo, so it moves at a gentle, swaying pace that maintains its momentum. Jacklin’s emotional sound, which exists at the intersection of indie-pop and alt-country, lends itself nicely to the moody, angst-ridden pulse at the heart of the original arrangement. Her performance is mellow but just as raw and sonically immersive—not to mention it was recorded live, which pays homage to garage rock in its own right. Most captivating of all is Jacklin’s control over the vocal melody, which feels and sounds like it was written for her. Silky, crooning, and evocative, her voice commands the arrangement and your attention. Jacklin’s cover of “Someday” is a quiet and captivating force that holds its own against the original.

"Away from you" is a dance-pop deviation from slenderbodies' usual psychedelic jazz style without losing their trademark sound. This track reminisces upon unresolved feelings from an ended relationship with lyrics that make it evident that slenderbodies have broken into a fresh space as songwriters. "It's a lonely world, yeah, I'm on my own / The memories they sell you / You told me that you felt it, it's over here / I don't let it go now"—words drawn from personal relationships of all kinds have become the focus of the band's latest work enhanced by their already stellar musicality.

Smooth R&B meets plucky indie-soul on “Too Much to Ask,” a laid-back new groove from LA-based trio Moonchild. With its thoughtful lyricism and delicate, sharp production, the track marks the beginning of a new era for the group, as it’s the first single from their upcoming album, Little Ghost. Crisp and clear, the arrangement, reminiscent of Noname, exemplifies a fun and seamless blending of sounds. Clicking and snapping work together with a drum pad to create a tight percussive beat that feels close-knit, like you’re right there in the room while it’s being recorded. Nice, 90s-inspired electro keys, bursting synths and a faint guitar round out the instrumentation, invoking a sound that’s part soul, part jazz, and entirely immersive. Similarly, lead singer Amber Navran’s vocals are like smokey honey; sung barely above a whisper, her lyrics about unreciprocated love seep into you like a love spell. “Is it too much to ask for you to love me like that? / Is it too much to ask?” Hopeful and mature, “Too Much to Ask” is easy listening for the digital age that sways to a perfect summer beat. Little Ghost, which Moonchild calls their “most thoughtfully crafted and complete work to date,” is set to release on September 6.

“Dance Through It” is a lyrically cinematic story of a woman with unfaltering intrigue carried by a palpably fresh sound. This track breaks the typical style boundaries of Twin Peaks’ music with a full take on funk. The Chicago-based indie-rock five-piece gains even more flavor for their repertoire of tastefully crafted, age-old music for the modern world. With lyrics reminiscent of a dancing Uma Thurman, this masterpiece is riddled with soulful keys, sprinklings of brass, and naturally, looming trouble.

With her upcoming album Anak Ko ("my child” in Tagalog), LA-based Melina Duterte, better known by the moniker Jay Som, has reinforced her title of queen of bedroom pop. "Tenderness," one of two singles currently released from Anak Ko, is a lo-fi dream. Like her first album, Everybody Works, the song maintains a shoegaze sound with hushed vocals, breezy keyboard parts, and light jazzy guitar riffs. "Tenderness" ruminates on meeting someone and wondering if something more will become of it—“Tell me / Did you fall in at first glance? / Do you think you’ll take a chance?” The chorus perfectly encapsulates that rush of hope, fear, and vulnerability you feel when you meet someone new. Duterte croons, “I’m feeling like we’ve just begun / Nothing’s ever good enough / Tenderness is all I’ve got.” Just like the repetitive thoughts of someone overthinking a new relationship, the chorus repeats several times until the end of the track. Get your fill of “Tenderness” to hold you over until the full album is released on August 23.

(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.