The passionate question on the chorus of "New Mercies" asks both the singer herself and the listeners “Is it too late for me to believe in the morning’s new mercies?” 19-year-old Taylor Janzen’s latest single gives a voice to her skepticism about the things of heaven and earth. "New Mercies" is the Winnipeg singer-songwriter’s first single recorded in a studio with a full band, which captures all the frustrated energy that brought the song to life. The song was written in a moment of disequilibrium between the feelings of Taylor's energetic soul and the faith she was raised to believe in, a discordance she has always felt but was unable to explain until now. Asking about the mercies conceived in the morning to those who believe in the Biblical God, she questions if it is too late to believe and be saved but she answers herself and her cynicism along the song. Taylor is set to perform in several festivals including SXSW and release her new EP in 2019.

"Constellate" is a song full of wonder and cosmic whimsy. Nashville-based Lauren Strahm has made a name for herself by putting out a great collection of songs that can be found on shows like Queen Sugar and Pretty Little Liars. With a voice that bridges the gap between gentle and brave, she sings the kind of songs that are full of honesty and resilience, showcased so prominently in "Constellate," her first single off of her upcoming LP Portals. With an atmospheric sound and lyrics that capture the essence of finding of the light ("We're spinning cause we know now, we survive/ and now we get to fly"), Fleurie perfectly captures that space that occurs when you finally emerge from rock bottom and get sight of land once again. "Constellate" is bound to make you feel a little lighter, while simultaneously getting you pumped for what's to come from Fleurieland.

On the surface, Little Man from the Radio’s “7” is a blissful lo-fi summer bop, perfect for enjoying the sun. However, if you really tune-in to this track, you’ll find melancholy undertones in the lyrics that may go unnoticed in its warm melodic splendor. “Never was certain, you loved me the same,” he sings, right before you’re hit with a wash of harmony and a positively catchy chorus that you can sing with a smile until you forget about the ways of an ex-lover.

Charlottesville's Juliana Daugherty is forging her way onto an emerging indie scene and while it's easy to blend here, she creates the kind of songs that won't let her. With a classically trained background and an MFA in poetry, it's clear that Juliana's relationship with music and words are rooted deeply within her. "Light" the title-track off her debut album set to release on June 1, centers on the idea of finding the light and expelling truth in the midst of the lies and darkness within depression. "Wait, it lied to you/There's nothing it won't do/There's nothing it won't steal." Juliana sings of the darkness in one line and then of the light in the next, exposing how easy it is to bounce back in our heads. Even still, "Light" ends with hope and somehow the idea in itself seems more plausible when she's singing of it. Juliana said she wrote Light in part to "strip mental illness of its power," claiming "there is nothing useful or beautiful to be gleaned from the experience of depression." Although it's easy to believe the narrative that depression should be leaned into if we want to produce anything resembling creativity, Juliana urges us to consider the opposite, making us realize how important it is to produce art that is more inspired by the hope of the light rather than the comfort of the darkness. This is definitely one album we'll be counting down the days for. 

Sofia Wolfson’s “Write it Down” is an honest profession of frustration set to a sweet and snappy tune. Wolfson is sassy and fun, and also innately good at capturing the writer’s blocks of our lives. Her lyrics surreptitiously detail the obstacles we face in our day-to-day; and, set to music, help us deal with the prospect of change. In her own words, “The song kind of deals with my frustration of feeling like I'm saying the same thing over and over in my music. I was going through some changes in my relationships and a lot of the music that came from that time was an attempt to cope with that loss and the prospects of change.” Working through our roadblocks is more manageable with Wolfson’s music — we’re grateful for that and are looking forward to hearing more from the artist.

West Palm Beach, FL native, David Urbinati recently released his first full-length album, WAVE.S, a collection of music that depicts his own emotional waves through song. "Overtake Me" is the first single off the album, with a mixture of buoyant electronic vibes and a message of self-empowerment, David creates a sound that is raw without being heavy. It's both an earnest and refreshing take on a song of self-empowerment and within it lies a steady mantra of overcoming rather than be overtaken. "I feel the fight is getting older/ Still I won't let it overtake me." Be sure to check out this song and the rest of his album on all streaming platforms. 

Nashville's Juan Solorzano is a jack of all trades. While he's usually producing or playing on tracks for artists such as Molly Parden and Becca Mancari, the release of his new song "Should've Been You" makes him the one who's front and center. "Should've Been You" organically exists in a world full of rhythmic precision, instrumental experimentations and layered harmonies that can only be created by a true song-crafter. With the common theme of a faulty romance coupled with talk of "taking trips to the nebula" one could say that there are elements of magical realism within this song making it seem multi-dimensional but yet still intrinsic. Grab your headphones for this one and see just why it's the kind of hidden treasure we love to discover around here.

Morgxn's "Carry the Weight" is an uplifting and hopeful anthem for anyone that needs a pick-me-up. The track, released a few weeks ago via wxnderlost records, makes a strong case for pushing through, sticking with your gut and making your own way in the world. A simple, but powerful message. Similarly, Morgxn's Soundcloud bio gets straight to the point: "no struggle = no process"; a powerful reminder that experiencing adversity may help us learn, grow and prosper.  

“Arrows” is the standout track from Haux's sophomore EP Something to Remember. With the synth-folk tendencies of Vancouver Sleep Clinic and Novo Amor, Woodson Black of Haux sets himself apart with his reflective songwriting and minimal production. This sub-three minute track is Black’s meditation on the permanence of death and living without regret best summed up in the closing lines of, “If you leave, don’t forget/ If you love, don’t regret/ If you leave don’t forget, all of the love that you left.” A bit of warning — this is a tearjerker and I may have cried in public writing this review. ‍‍Haux is going on tour for the EP this summer starting in Europe in May and then to the US in June.

When you think of a pop ballad you generally don’t expect a techno kick track underscoring it, but that is exactly what we get on “Who Am I to Follow Love” by Scottish producer and artist, Makeness. Though the song starts with the very industrial style dancehall beat, Makeness quickly introduces some ethereal synth elements reminiscent of the 80’s before introducing the vocals of Nancy Anderson of Babeheaven. She floats above the track effortlessly before being joined by Makeness on backup vocals and in that pairing they create a seamless wall of emotion as they ruminate on the question of following their heart. Though disparate from the rest of Makeness’ debut album, Loud Patterns which came out earlier this month, this collaboration is easily a standout track.

Australian singer-songwriter Keeskea aka Vanessa Marousopoulos knocked it out of the park with her new song "You Did." She delicately sings of being wronged and broken while also showcasing her purely poetic songwriting. When Vanessa sings, it as if she is channeling every single feeling she's had regarding this experience, making her extremely believable. Straying from normalcy, the B section of "You Did" changes the entire song completely, moving away from it's pretty finger-picked entry to a place of vocal vulnerability letting Vanessa's voice create the magic all on its own. Swaying in and out of airy falsetto, Vanessa sings "You took all her parts/ And reshuffled them/ She's not herself/ Let her rebuild again." While it's not explicit whether Vanessa is referring to herself or a loved one, the concept of needing to be rebuilt after being broken by someone else needs no further explanation. Just one listen of "You Did" will make you see why Keeskea is one artist we're excited to hear more from.