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.

We all have an imaginary place of escape. A setting that lies somewhere in between make-believe and a place we’ve actually been. It’s nearly impossible to jot down or sketch on paper. This perfect place exists nowhere besides in our own heads. French producer, Zimmer, and Sydney-based singer Panama’s recent collaboration, “Wildflowers” takes a different approach to this very concept. Instead of aiming to tell us exactly what each of their made-up settings might look like, they tell us what it feels like to enter that abstract space. The track seethes with astral textures, layered synths and lavish yet earthy percussion. It cultivates an ideal balance between rich, maximalist production and a stripped-down sound that evolves organically with each passing moment. “Wildflowers” is feeling like you’re walking barefoot on a warm, cloud-like surface only to look down and realize you’ve been walking on cold concrete with heavy boots. It’s racing towards a feeling of deep exhilaration while sitting still. Have a listen and re-enter that place.

Ginger Root, aka Cameron Lew, released his third album Mahjong Room this past June. The last track on the work, "Ohio," is a nod to the oldies which initially inspired Lew to begin making music. Although the work can be defined as indie bedroom pop, what largely sets the album apart is the soul influence heard throughout each of the songs. "Ohio" manages to compress all of these songs into two and a half minutes of indie soul pop, with a sound similar to a mix between Vulfpeck and Stevie Wonder. Lew, a film major turned rock star, performs the majority of the instruments on the track, while also doing the engineering, mixing, and mastering. For an artists so clearly dedicated to precision, “Ohio” is a laid back song with a vocal hook that seems to float over the sounds that he is creating.

Even during the most illogically cold autumn days, Elujay knows how to warm the soul. "Little Thangs" is a classic display of funk and soul, driven by a deep bass line and the Oakland, CA singer’s definitive swagger. The song’s ear worm bridge and hook — a shameless declaration to coming over late to chill — would sound right at home on the latest albums of other modern R&B hybrids such as The Internet or Buddy. There’s a familiarity in Elujay's romanticism and warm vocals that is immediately inviting. But it’s the verses in between that add a refreshing depth to the number, as Elujay details an imperfect relationship full of escalated moods, outside temptations and late night reconciliations over voicemail. He makes it known that there are no lasting, euphoric proclamations of love without also learning to celebrate the tiny, sometimes infuriating human details that define who we are...the little things.

Certain performers possess a kind of earnest delivery — one that meets our ears in a deeply harmonious manner and allows us to better understand both the world and ourselves. Portland musician, Katherine Paul aka Black Belt Eagle Scout is one of those artists, and her debut album, Mother of My Children belongs to that rare breed. The record is a reflection of self/identity, loss, and what it means to belong to a place and a people whose face has been tainted over time. What does it mean to grow up within a group that so genially protects Mother Earth, when society has inflicted so much harm onto it? How do you identify as a member of this community when you too are constantly evolving? 

The third single off the album, “Indians Never Die,” probes these kinds of questions. Paul transforms anguish into something powerfully eternal. When she cries out, “Do you ever notice what’s around you? / When it’s all there, in the wake of you,” she is declaring the immortality of her people. Even though her ancestors don’t physically live forever, the customs and teachings they passed down are boundless. “Indians Never Die” works to reshape the way many of us think of heritage, identity, and human connection. The track is anchored by one ceaselessly repeated phrase, “wastin’ away.” It is through the unfeigned repetition of these two words that we can begin to understand why Indians never die.

COTE, the project of Brooklyn-based singer/songwriter Taryn Randall, has released a new single bound to leave you feeling warmer on these cold fall days. “Meet Me in the Morning” is a song which we have given the responsibility of holding onto warmer weather sweetness. The work begins with a soft acoustic guitar, low bass and a sharp drum beat, and is later picked up with the plucking of an electric guitar accompanied by Randall's witty lyrics. As her voice gets higher and more instruments begin to enter the song, the tune becomes increasingly popp-y. In this way, Randall is rocking us into a very catchy and uplifting indie bop, taking over the room with a happy go lucky nature. The songs is soft and jovial in nature, putting a smile on our faces during these dreary late fall days.

The Vernes aren’t growing up without a fight. The Philadelphia band's newest album, Maybe I’ll Feel Better When I’m Dead, is practically a coming-of-age tale — filled with lyrics about still living at home, fond moments of nostalgia and panic at the fact that things just aren’t as good as they used to be. The opening title track sets the stage immediately, as it only takes a minute for the band to confess: “Some things never change / But I don’t feel the same / And I don’t feel a thing,” before coming to the conclusion that “maybe I’ll feel better when I’m dead.” Although there lyrics lean towards the melancholy and even morbid, the track's arrangement betrays the band's words. The guitars are soaring and insanely catchy; these are the sounds of an indie band prepared to fill stadiums. If their newest project is any indication, they aren’t far off.

In “Unravel,” Los Angeles husband-and-wife folk duo Jim and Sam imagine an ancient drum machine and put to it the words of their deepest insecurities. “I’ve got secrets / Too big / To hide under floorboards in my head,” they worry together, placing these skeletons, too large for their floor, firmly in their closet. In a panicky chorus, we see Jim and Sam “unraveling, unraveling,” and we expect the song to swing in the same direction, but the locomotive of a beat never lets up. And it is this unrelenting normalcy of the outside world that makes our inner quirks seem so irreconcilable in the first place. “But I / Convinced / Myself of this,” they sing, an admission that maybe it isn’t so strange to be so strange. When they ignore the rest of the world and all of its external pressures and definitions and expectations, as they do in the striking final chorus, there is a magic that just the two of them share. It's clear that each of them has found someone just as broken as themself, and it’s not strange, it’s beautiful.

Valley Maker, the moniker of Seattle singer-songwriter Austin Crane, recently released one of the best records of the year with "A Couple Days" being the opening track. Crane wrote Rhododendron while also pursuing his PhD in Human Geography — his fans are well familiar with how Crane's education ties into his music, seeing that his debut album also doubled as his undergrad senior thesis. Eight years later, Crane is not only older but also experiencing the transitions of life which is seen in his music as "Rhododendron speaks to how the places and moments we occupy become reflections of ourselves." 

The more you listen to "A Couple Days" the more you'll want to know the story behind it. The earnest desire to understand hard concepts is heard as questions are turned into the lyrics, "How much of you is who I’ll be / How much of us is in between / What is and what is yet to be / And can I hold the mystery / I cannot hold the mystery." "A Couple Days" was produced by Toro y Moi, who also happens to have a spot on Buzzing Daily today, together these old schoolmates and friends created an introspective and winsome track that becomes a catalyst for an excellent record.

Angelo De Augustine has released "Time," a single off of his album Tomb coming out January 18 off of Sufjan Stevens label Asthmatic Kitty Records. The 12-track LP was produced by Thomas Bartlett, aka Doveman, who has worked with artists such as albums St. Vincent, Sufjan Stevens, Glen Hansard and Rhye. Doveman is well known for his ability to bring a sweeping warmth into an album, and recently accompanied St. Vincent on piano for her new stripped down album MassEducation.

From lyric to sound, "Time" provides listeners with a wonderful example of Augustine’s past work. The track’s narrative is centered around the idea of waiting for a love to return and battling with the feeling that someone will always be in your heart even if they are physically distant, “Now your heart has been broken / And you're miles off away.” Although this topic can be initially read as desperate or hopeless, Augustine acknowledges the light in the dark, seeing time as a gift rather than a curse in the story between the two lovers, “Time keeps on learning / About you and me / I'll keep on loving / Someday she'll love me.” Augustine’s feathering voice, accompanied by the generously kind instruments throughout the track, creates an intimate sound in the work. We're very excited to see where Augustine will go with the themes seen on Time, and expect Tomb to be a truly lovely piece of work.

Indie-folk supergroup Glorietta consists of Matthew Logan Vasquez of Delta Spirit, Noah Gundersen, Kelsey Wilson of Wild Child, David Ramirez, Adrian Quesada, and Jason Robert Blum. Their first self-titled record together came out recentl and the band hit the road soon after to start playing shows. "Lincoln Creek" is one of the softer songs on the record and it features Noah Gundersen in his signature story-telling folk style. He sings, "Somewhere singing is free, a dime and a couple of twenties is all that they need / Somewhere someone is singing for free, thank God it ain't me." As he bears the weight of the darkness his songs usually touch upon, the band joins him lightening the load and back him up with harmonies like a small and gentle choir. Be sure to listen to the rest of the album and discover the gems on it like the tender "Lincoln Creek."