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.

“Places/Plans” is not a song you would expect from a band named Skullcrusher. The soft and sweet rumination on the fragility of existence and friendship is LA-based songwriter, Helen Ballentine’s debut single. The indie-folk track begins with a narrative of friendly gossip, “You told me your friend’s in love / with a guy she looks up to” before launching into something more introspective as she sings, “Can I make it out there as I am / without my name on a door or a headline band.” Reminiscent of The Weepies, the softly strummed acoustic guitar carries the track through as piano and a looming atmospheric sound perfectly accompanies Ballentine’s vocals that echo through gently. It’s beautiful in its simplicity as it weaves through a message that changes with each turn never relying on repetition, but breaking new ground with each line except the last, “I don’t have any plans for tomorrow.” We couldn't be more excited to premiere this exciting new act's debut! Be on the lookout for Skullcrusher's debut EP—coming out later this winter.

When you have been best friends with someone for the majority of your life, it sometimes feels like you can read their mind—even when it’s different from what they say out loud. This kind of deep connection is the subject of Eliza Shaddad’s “Girls,” a track told in second-person, addressed to her friend during what sounds like a particularly difficult time. As Shaddad reminisces, she paints a sweet portrait of this kind of real friendship: it’s made up of sweet memories like listening to “Tracy Chapman on repeat” in her friend’s “old room,” but also memories of “shit times” and “fistfights.” The airy effect of Shaddad’s instrumentation and echoey vocals play with time so that the link between childhood and the present feels impossibly small. Though on one level the song is fiercely personal, it also provides a useful reminder for all of us. It’s easy to forget, but sincerely shared memories can have a uniquely grounding quality even in the darkest of times. “Girls” is about the importance of taking care of those closest to you when they can’t take care of themselves.

LA-based indie-pop artist Tim Atlas trades his relationship fears for newfound confidence on "Crime of Passion," a single from his self-produced EP, Together Lonely. Atlas' airy timbre breezes over a mechanical drumbeat, which insistently mimics the urgency with which he professes his love. Where trusting a new lover can be driven by blind faith, Atlas likens the act to a "crime of passion," assuring them that  "I don’t do this often / But I know that I can for you." When talking about the song Atlas says, "This confidence I have in this specific relationship isn’t something I’d normally possess," says Atlas. "A crime of passion is the notion that I’d do whatever it took to be in that person’s life.” As he sings of "the gravity I save for you," we're reminded that when one lives with an underlying feeling of social anxiety, sometimes all it takes is one person to be a grounding force.

Gabriel Birnbaum (also known as lead vocalist and songwriter of Wilder Maker) released a solo album smirkingly called Not Alone in November. Like its title, Not Alone is at turns darkly humorous and legitimately humbling. Each reflective half-story provides a healthy, balanced tincture of grim irony and earnest nostalgia. Lyrically, “Mistakes” is a regretful realization, a retelling of a past too blurred with booze to have been fully witnessed by its antagonist in real-time. Birnbaum’s careful relationship to language provides a number of delicious images throughout the track, culminating in the compelling line that gives the song its name: I saw the way the pieces fit, / mistakes I dug my toes between like bricks / How do I know that they were mistakes at all? But in contrast to Birnbaum’s meticulous approach to his text, he has an experimental jazz musician’s relationship to instrumentation. From the first glorious moment that “Mistakes” stumbles into existence, each instrument already sounds happy-drunk on its own bottle of wine, as ragtime piano and country guitar blend with jazzy drums to create something fresh and yet unnamed. Overall, the ensemble manages to create a satisfying, controlled chaos that honors a whole host of American musical traditions, including country, rock, jazz and everything in the dusty cracks between.

Nu Deco Ensemble brings a full-bodied sound to their reimagining of Kishi Bashi’s “Honeybody.” This new version trades synths and electronic beats for a 30 piece hybrid orchestra started by two Juilliard graduates. It leans into the joyous nature of the song—adding staccato piano to perfectly accompany Kishi’s rhythmic vocals as he sings, “Hey you, Honeybody / When you coming out for gameplay? / I got my Checkers out, Chess, Parcheesi.” The strings section adds a dramatic levity to the already lighthearted and fun track. Its sonic maximalism is impossible to listen to without smiling and dancing along. This orchestra for the 21st century proves that classical instruments have a place in modern music. “Honeybody” is from Nu Deco Ensemble’s self-titled debut album, which was produced in full by Kishi Bashi. Check out the live music video here.

December 25th is quickly approaching, so get yourself into the holiday spirit with FEET’s “Vegetarian Christmas”! The playful tune brings us through the countless joys of Christmas day—walking down icy sidewalks, spending time with extended family, and eating a nice meal together. As the title suggests, the story is all about what it’s like to be a vegetarian during this festive time, and how we might alter our eating habits to create new traditions that will be beneficial for our future. Lead vocalist Jeep sings, “Sent to the garden shed to get those extra seats / Already anticipating what the grandparents think a vegetarian eats …Wholesome at heart / Playing your part / Vegetarian / Nothing’s a tradition until it starts / Vegetarian.” Sleigh bells ring and choir-like voices sing, yet the signature retro-rock style of FEET still shines throughout the song. With musical influences like Parquet Courts, Frank Zappa, and King Gizzard and The Lizard Wizard, FEET sounds like the glorious lovechild of King Kruleand The Growlers. This is the first track the group has released since their debut album What’s Inside is More Than Just Ham, and we are excited to see what’s in store from them in 2020.

Melbourne duo Kllo have created a perfect late-night in-your-feelings vibe with their new track “Back To You.” On paper, the musical formula of the song seems almost untenably simple: the drum machine beat is basic, and the few keyboard licks are short and subtle. But the mysterious addictive power of the song can be traced to a single repetitive vocal sample which fades in and out of the background but remains ever-present, like a restless ghost. In conversation with this apparition, the candle-lit vocals of Chloe Kaul create a paradoxical mood, undeniably drowsy yet also packed with energetic tension. “If we missed the boat,” she asks, “would it come back someday?” Lyrically, Kaul grapples out loud with the disorienting push and pull of an off-and-on relationship, one that at times feels inevitable but whose ultimate direction is still largely shrouded in mist. Overall, on “Back To You,” Kllo show us that a true vibe is way more than the sum of its parts.

"Fool’s Gold" is the latest Lucy Dacus original; it is evocative of an all-encompassing warm, muted light from the very beginning. With soft piano notes, Dacus invites us into the end of her New Year’s Eve party. In a quote shared on her Instagram, the Richmond local expresses how cathartic the releasing of this EP was for her. Dacus recorded a handful of covers relating to different holidays, ending the EP with this last song, which is her own work. Each track gave her something to look forward to during the holidays, a time wherein many people struggle to find themselves in a posture of celebration. Her clear voice over the light and frolicking acoustic guitar carries us through a discourse on cynicism in the most delicate and graceful fashion.