Tim Atlas stays true to his DIY roots on “Cold Shoulder,” a lo-fi tune that questions what vulnerability is worth. Penned, produced and mixed entirely by Atlas, the single teases his upcoming third EP, which will be his first as a fresh signing to Nettwerk Records. The R&B-saturated pop track blends ever-so-slightly dissonant chords with an animated beat as Atlas comes to terms with the end of something ambiguous, perhaps not worth calling a relationship, that was doomed from the start. “Drinking in the basement / Sinking in my own self doubt” has Atlas asking himself if he was the fool all along for leaving himself unguarded, if a shoulder to lean on was really so much to ask. For me, I’ve all but forgotten how to talk to people this year, much less forge intimate connections in an already vulnerable state. I see myself “scroll the web just to feel closer” all the time, and feel Atlas’ regret in letting someone in. It's barely a whisper, the way Atlas distorts his voice to confess: “I wish you'd call just to say hi to me." “Cold Shoulder” perfectly encapsulates the ennui and introspection that so characterizes bedroom pop.

Neo-soul collective Glasshouse Worldwide break hiatus to introduce “2001*," a nostalgic love note laced with the bitter back end of a summertime shandy. Jazzy piano tremolos drone beneath a spacey synth while they ponder one simple question: "I just really wanna know what love is about." Despite saying “she took my breath just like asthma,” it’s an undemanding infatuation, mirroring the out-of-body stillness of an endless drive to nowhere. It’s a mellow euphoria, more meditative than manic, as the love “feels like nirvana and you didn’t even try.” “We got the best sunsets,” they say, and you can almost see the pink haze over their native Baton Rouge skyline. "2001*" marks their first single since dropping Altitude in 2019, via BIP Records.

It’s 2020 and by now there is an undeniable Cape Francis sound, a careful simplicity around musical arrangements that allows for big cinematic feeling without ever broaching the realm of dramatic. “Home” is this year’s third single from Kevin Olken Henthorn’s solo project, and it slides easily into place. With the signature finger-picked electric guitar and soft horns lent by The Westerlies, the gentle heartbeat of percussion keeps every element grounded while we, the listeners, are transported to somewhere a little calmer, more reflective of the past and future.

The winds of change are blowing and I’m reminded of the age-old allegory about the two trees weathering a storm, the story that councils us to bend, not break when faced with adversity. "Home" follows a similar idea, acknowledging what can’t be fought and that sometimes it’s best to let yourself be led down the path the universe has chosen for you, regardless if that path is hard and full of unknowns. We’ve all heard it before, it’s about the journey, not the destination, and sometimes that’s how the notion of ‘home’ can be defined as well. Pierced by lyrics like, “Standing out like a lightning rod / still aflame by the burns I’ve got,” it’s important to be mindful that we’re all grappling with our own trauma, and each of us is carrying our own baggage until we get to a place where we can finally put it down.

After many years on the east coast, Cape Francis will become an LA-based project by the beginning of September 2020.

Teaming with hazy and melancholic harmonies, “It Was” from ØZWALD’s latest LP Head Movies is simultaneously haunting and serene. The subject of the song—if one does exist—is impossible to determine given its enigmatic lyrics, yet, the shadow it casts can’t but help to garner the attention of those who listen.

“It Was” employs limited, but purposeful, instrumentation, ensuring that the most central element of the track is the meditative atmosphere it creates through the resurgence of its lingering chorus. The vocals are delicate and airy, yet seeped with unambiguous urgency—encouraging us to question our initial sonic perceptions and insinuating that what we hear is just the tip of a conceptual iceberg.

After five years’ time, My Morning Jacket has freely given the kin-songs of their album The Waterfall with the release of The Waterfall II. Included in this release is a track called “Beautiful Love (Wasn’t Enough)” which draws on the notion that even when someone gives their all in love, it is not always liable to fulfill in the way that love is often promised to do. Starting off with a romantic and celestial piano solo, the track exemplifies what it feels like to drop into the mystery of love with another person. However, it takes on a new shape once the vocals come in. Things become heavier as the notion of not feeling the same way settles into the bones of the track.

A gem from her debut EP, Melanie Faye’s “Jump” is a minimalist tune that sits in the space between labels, aching in longing while looking for a way out. Co-written by Natalia Kills and Cautious Clay, the simplicity of her rhymes meld into a yearning guitar-driven melody. "Awkwardly timin', my nodding and smilin' / Don't say too much, don't make you run," she sings coyly, before she becomes the one who gets away: "I'll jump, jump, jump, jump, jump." The extended instrumental outro showcases her guitar prowess as her repeated falsetto “jump” bounces in the distance like a farewell kiss blown to a lover before a free fall. Having gained traction with more than a few masterful collaborations under her belt, the Melanie Faye EP follows singles like “It’s A Moot Point” and “Eternally 12” with Mac Demarco, quietly asserting her presence in today's neo-soul scene.

Swedish-Greek singer-songwriter and producer, Plási tells a story of passionate self-discovery on "Where I Belong." Channeling a yearning that is universally relatable, Plási takes the listener through his search of finding his place in the world—in old passions and new—with his signature folk riffs. The accompanying video is nostalgic (if not dream-like) in nature, making us long for home, whatever that means for each of us.

After the sun goes down,

and all that's left is the dried salt on your skin,

you choose your words more carefully. 

They linger now, 

like sea glass in the sand where a wave once stood.

Together, and all at once, you come to understand:

the castles you built will be here, still,

even if the fragments return back to the tide,

even if you stay.

Half-Filipina vocalist, songwriter and self-proclaimed shapeshifter, Lianna Vanicelli concocts ethereal tracks with a tropical twist. It’s a little Grimes, a lot Beach House. Xelli Island paints us familiar scenes from a normal day, presumably February 20, 2020. Hustling downtown on the train to make a shift, racing to someone else’s door. The beat is well-paced to a sense of urgency. “Try not to think about it, what could go wrong,” she sings, as if trying to prevent an endless feedback loop of anxieties and pressure that accompany being young and trying to make it in a city. The glitchy feedback that disrupts the pre-chorus is a nice touch. According to Vanicelli, the synth-heavy track is about experiencing serendipity, and “thinking about the millions of little things that have to work properly in order for anything to happen.” Stay tuned for an EP dropping later this year.

One thing about Sufjan Stevens is that there is basically no telling what his new music will sound like. This has been true now for two full decades. Sure, there are some elements you can predict pretty safely. It’s pretty likely that the song will contain earnest and somewhat poetic lyrics scattered with Christian mythological imagery. It will almost certainly feature his iconic sandpapery vocals, and it could very well be anchored by its interesting rhythmic patterns. Other than that, part of the joy of a Sufjan release is the lead-up to inevitable surprise. Where will the new release lie in the field of artistic breadth that he has always tended to so methodically? Will the track break down into unpleasant screeching guitar after a 9-minute chant? Or will it plod on with pleasant banjo or piano for two minutes and call it quits? Will it sound basically acoustic with sneaky subtle electronic effects? Or will it bleep and bloop all over the place like a robot fever dream?

In my estimation, “Video Game” is the farthest Stevens has gone down the rabbit hole of melodic electronic music since his 2010 album, Age of Adz. And, in the iconic words of Bernie Sanders, let me be very clear: I am super here for it. Although I was originally hooked as a teen by the lush and folksy orchestration in albums like Michigan, I’ve always held a special place in my heart for electro-Sufjan. In fact, it is my suspicion that the world of electronics is where Stevens feels most comfortable, most able to invent. In the case of “Video Game,” the effect is something like "faux futuristic,” and the “faux" feels intentional to me. Maybe that’s because the lyrics are also focused on fakeness—specifically, renouncing repeatedly all the fake value of celebrity. In a statement about the song, Stevens says, “I think we should all be doing our best work without looking for accolades or seeking reward.” That genuinely sounds really nice, and I think there is truth in it. But also, Sufjan, if you’re reading this: I really, really like your new song. Will you sign my t-shirt?