"Do you think I’m strange? I don’t blame you,” Victoria Reed’s voice spills like liquid silk across “Same Way," the opening track off her second album Aquamadre. “I’m still learning what to do / when you learn the whole world / wasn’t made for you” she croons, expressing a feeling of disillusionment we know all too well by now. What do we do when our perception of reality changes? The only thing we can, which is to adapt and grow into the new version of ourselves we need to be. “Same Way” describes the place between stagnancy and momentum; the growth of a person as they watch themselves through the eyes of another, a mirror into the future. Four years after her tarot-inspired 2016 debut Chariot, Reed stays true to her celebration of the mystical by drawing heavily on the visionary and healing aspects of Aquarius, the water bearer. Often mistaken for a sign of that element, Aquarius is actually an air sign, one that brings forth a new age of enlightenment. If water is emotion, then air is the sign’s ability to carry it without becoming overwhelmed. Aquarius diverts the flow of emotion by way of language to reach an understanding of the truth, which is clearly what Reed has set out to do with her album. 

The song “Same Way” shows her beginning to see an admission of love as strength, not weakness. In a lustrous voice akin to Lana Del Rey, she sings “Or maybe it’s that I’m not strange enough / Cause I’ve never been brave enough / to simply be myself," a concession towards self-acceptance.  Like anyone, she wonders if her affection is reciprocated, but chooses to repeat, “I think of you every day," because the only thing that matters is being true to how she feels. “Same Way” encourages us to push aside any internalized shame and embrace our own vulnerabilities, because self-acceptance is the only way to make space for compassion and healing in our lives. Both magical and haunting, Reed’s Aquamadre weaves dreamy synths with gauzy production in order to create the much-needed restorative atmosphere for staying at home and focusing on our more-than-skin-deep self-care.

Like a gentle breeze or a soft sunset glow, “Golden Days” is a sweet song that feels comfortable and familiar. The quietly emotional new single reminisces about the golden days of early love while maintaining a pleasing lightness that exposes indie rock band Plastic Picnic’s softer side. The instrumentation is lovely and lush, invigorated by light, uplifting guitars and distant, pulsing drums that give the track a subtle energy, like floating purposefully through time. Singer Emile Panerio’s voice sounds vulnerable and sweet over transient synths that bathe it in warmth and add a layer of nostalgia, while a heavy, hazy reverb makes everything sound like it’s happening inside a dream. The perfect antidote to the January chill, “Golden Days” is subtly psychedelic, enormously cozy, and even better than a dream because you can play it on repeat.

With a sincereness of heart and a voice that cuts through the movement, monotony, and chatter of life, Andy Shauf tells his listeners a new story throughout his new album Neon Skyline. Meandering through moody clarinet, he introduces to the storyline of this album the unprecedented, yet familiar reflection of a character named Claire, in his single "Living Room." The track invites the listener into a local bar to engage in a listening of the story of a woman who verbalizes her attempt to reconcile the lack of care that her father had with her through the parenting of her own son, however, her story brings her clarity enough to come to terms with the harrowing fact that she resembles her father. Toward the end of the song, Shauf repeats a poignant lyric: “I mean how hard is it to give a shit?” drawing the story to a close. With this single, Shauf does not only introduce something with an alluring sound, but also a brilliant cascade of meaning masked in simplicity.

The Districts continue their string of releasing vibrant, exciting new singles with the tricked-out track “Cheap Regrets.” This catchy rock anthem is the second release from their upcoming album, You Know I’m Not Going Anywhere, due out March 13th via Fat Possum Records. Explosive electric guitars and spacey synths are at the front of a grand arrangement that evokes a lavish sort of recklessness. The track expertly toes the line of overwhelming your senses without ever fully crossing it. Pumping drums and tight production keep the momentum alive and the instrumentation loud without being too heavy, and vocalist Rob Grote’s performance is raw, energizing, and totally transfixing. Like a guilty pleasure you just can’t kick, “Cheap Regrets” is addicting and evocative through explorative soundscapes and cool, electric hooks. You’ll lose yourself in it and love every second.

Irish-Iranian songwriter and producer Glassio’s newest single “Are You Having Fun Without Me?” is a melancholic dream-pop rumination on the slow evanesce of an old friendship. The Queens-based artist combines storytelling with synths in a believably nostalgic way as he asks questions he will likely never know the answer to: “are you having fun without my love? / are the problems gone without me? / or have they just begun?” His voice sitting soft and low amongst the dance-pop production adds a level of authenticity. It’s confessional and honest without leaning too far into the melancholy. Though it may be a little too soft to dance to, it is perfect for a late-night drive spent thinking. “Are You Having Fun Without Me?” is Glassio’s first release since his 2019 debut EP Age of Experience. It is also the first single off of upcoming debut album due out this spring.

Every song by Chicago's Ratboys can be traced back to the dormitory friendship of singer Julia Steiner and guitarist Dave Sagan in the first days of school at Notre Dame. Sometimes the lineage is literal, as with their newest single, “I Go Out At Night,” in which they lifted a guitar part from the skeleton of a song they wrote in that era. But more often even than that, a Ratboyssong will faithfully capture the wide-eyed sense of wonder endemic to that period in one’s life, exploring emotional territory usually reserved for late nights on a futon. Multiple guitars bash against the walls of the song’s structure, trying to break free in the abstract way that an adolescent dreams of being free. “What if I never come home?” wonders Steiner, but the band shows immense restraint, never forcing that thought to develop beyond the daydream that it is. Steiner’s biggest strength is in her tactful vocal delivery, whispering where others would shout, allowing her melodies to shine through the noise.

What begins as a chaotic, tense guitar solo glides seamlessly into a slow, sultry rock tune on “Look Back On It,” the second track off of New Brunswick indie-rock outfit Zoochie’s debut album Honey. Lead vocalist Libby Kallins tells the tale of that first date we all know too well: one that you want to be over before it’s even started because the connection just isn’t there. She sings, “Snap, it’s gone in a second / Every minute left with you, I guess it could be depressing / But it’s not, it’s gone in a moment / And I don’t know what I’ve got until it’s left me uneasy.” The song is dynamic, taking us on a sonic journey through strong, powerful interludes and softer, more thoughtful moments. Drawing inspiration from artists like Hiatus Kaiyote, Cage the Elephant, and Frank Zappa, the group clearly showcases their passion for creating music that listeners will want to feel and dance to. After three years in the making, Honey is the compilation of songs composed from stories wild, calm, and heartfelt that the band has personally experienced throughout their time together. With its infectious energy and vibrant colors, “Look Back On It” is the perfect glimpse into what Zoochie has to offer.

Following her popular first record Clean, Soccer Mommy (aka Sophie Allison) continues to release songs with hooks that’ll replay over and over again in your head. Like her two previous singles, her latest track “circle the drain” retains her signature guitar-driven soundscape. She mixes it with emotionally revealing lyrics that are delivered through angelic vocals. Her voice flutters inside your ears, tricking you with its warmth—making it easy to gloss over the depth and dissonance in her words. Wrapped up in her cheerful sounding production she sings, “Hey I’ve been falling apart these days / Split open watching my heart go round and around,” the duality of her artistry floating out in the most beautifully subtle way. Allison’s work is perfect for staring out the train car window during your commute and reminiscing about the times that have already passed you by. Her new album color theory comes out February 28 and you can also catch her on the road when she starts her international tour in March.