"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.

Amidst the chaos that has been this year, the things that we hold on to have the power to keep us sane. For fans of decompressing with new tunes, Empress Of (aka Lorely Rodriguez) brings us to a headspace that transcends houses and apartments with the release of her third project I’m Your Empress Of. “Love Is A Drug” is a standout, both produced and written by the ever-talented Rodriguez. Even at the start of the track, it’s hard to not get hooked by the lively production–capably filling your head with urges to get up and move. It’s catchy and danceable, like so many of her projects, with expertly placed synths that transport you to that perfect night out. And once you pair the instrumental foundation of the song with Rodriguez's gorgeously chilling vocals, there’s no way you can escape the addiction that is Empress Of. Along with club-ready “Love Is A Drug,” I’m Your Empress Of holds so many musical gems that you can stream now!

On Future Generations’ new single, “Down and Out,” Eddie Gore yearns for a mere moment of true relaxation, an escape from the daily grind, as he describes the rewarding feeling of kicking back and really choosing to do nothing. Right about now, a lot of us are wishing for that feeling; because while quarantining doesn’t exactly feel like “moving a million miles an hour,” most would not describe it as carefree, either. Luckily, by the time Gore has finished describing the way he wishes he could “let his mind just wander,” the instrumentals have already shifted reality, and suddenly it’s summer. Sunshiny keys and splashy drums evoke a slow seaside bike ride or an afternoon picnic in the grass, and we are there too. “Remember summer?” the guitar riff seems to say. “It’s almost here.” And if you take a deep enough breath, you’ll probably even get a glimpse of July, regardless of the actual weather. So much for being down and out.

Brooklyn-based duo TOLEDO, comprised of long time friends Daniel Álvarez de Toledo and Jordan Dunn-Pilz, have returned with their new single "Lovely." The charismatic track is the first bit of new music from them in a year. "Lovely" has a light and intimate vibe to it, giving it a somewhat happy ballad feel. The track is the band's attempt at a happy song and explores the feelings that arise after meeting someone who changes your worldview. The cozy single begins with samples of barking dogs, subtle fluttery horns and ad-libbing—sonically painting a sunny, spring day. Full of pulsating drums, driving rhythms, glitching guitars and sensitive lyrics, "Lovely" is a song that will get listeners thinking of the people who mean the most to them.

“Dazed,” the latest release from San Diego’s Postcard Boy is a mesmerizing meditation on the artist’s connection to his own art. The track opens with lush, open guitar chords that evoke vistas and far off horizons, perhaps echoing the artist’s own myriad thoughts. This track is overflowing with vocal treatments, moving in and out of characters that reflect the conflicted state of mind described by the lyrics: “Pushing me away / Is it even loving like that? / Pulling at me again / How can I keep loving you back?” By layering these vocals over a beat that defies the listener not to groove and a wide, distorted synth bass, Postcard Boy successfully creates a melancholy, romantic sonic world with space for thoughtfulness. It’s a space in which he “chose to be a ghost / in hopes that I could relearn how to love you right.”

Canadian alternative-pop artist, Emily Krueger, has just released her latest single “Gum.” Previously a part of the experimental duo Zoology, Emily is now fully focused on her solo career. This latest release further explores her love for pop melodies, while still staying true to her roots as a seasoned guitar player. The bounce of the electric guitar on this tune has you singing along without a word being sung. Just as the lyrics tell the story of being stuck on someone and not being able to move on, they do the same by getting stuck in your head. The line, “I found your gum in my pocket now I’m thinking of you,” is a great example of how even the slightest reminder of someone can have you right back in the palm of their hand. This is Emily’s fourth single release and sets the tone for an EP release set for later this year.

Distance between two people can be caused by a number of circumstances. Breakups, faraway homesteads, required or voluntary travel, state-mandated lockdowns, death. The reason for separation in “Lipstick Song” is not evident, but it seems to be driving the narrator of the story into madness. This barely three-minute vignette of modern love portrays what we’ve all experienced at one time or another: clinging to tiny objects for comfort in a loved one’s absence.

Porches front person Aaron Maine admits he’s put himself into a trance thinking about his beloved then does something not typically advisable: “Like a symbol I rode to the mall / Slow motion, I picked out a shade / Fantasy, I slid it across your lips.” There’s only one reason to buy something as personal and individual as a tube of lipstick for someone who may never receive it: to continue living in denial that said person is gone. It’s masochism at its sweetest: a longing that hurts so good, you never want it to end. Maine’s trance is lovely to listen to. The production is thoughtful and carefully balanced, beginning with a simple bassline melody and building to a carnival of electronic instruments and vocal harmonies by the second chorus. Even at its peak, there are no extraneous parts. While the most prominent synth lines are heavy and almost aggressive, together they weave a beautiful, heady spell. After listening to “Lipstick Song” while quarantined at home, you may feel compelled to scavenge around for your own relics of the past.

Amid the hellscape that is 2020, Purity Ring is here to soothe your quarantine blues. The duo teased “peacefall” on Facebook, calling it a song “to keep you company.” After years of radio silence, Purity Ring is on the cusp of releasing their first album in five years (WOMB drops today, April 3rd). Megan James and Corin Roddick from Edmonton, welcome back. The first releases of WOMB (“peacefall,” “stardew,” “pink lightning,” and “i like the devil”) show the duo sticking to what they do best: producing glittering, synth-forward pop that plays with syntax and swims through your ears. These are songs to listen to alone in your bedroom when the insomnia hits. More avant-garde than another eternity (which featured tracks like “push pull” and “heartsigh") early signs suggest WOMB is a return to the Shrines era Purity Ring—albeit with a more refined sound. "peacefall" is a gorgeous tale of finding peace in darkness. Hypnotic vocals by James are supported by backing vocals from Jonna Bjerre, “Ride like a maniac / Into, into the light.”

Despite being a vast and difficult to define genre, indie music in the 21st century has occasionally had to battle accusations of pretentiousness and self-seriousness. “Sway,” one of the standout tracks from Kansas-based indie upstart Jordana’s freshly released LP, Classical Notions of Happiness, stands in direct opposition to these claims. The woozy synths and subdued bass playing contrast well with the sharp hi-hats and clean guitar sections; altogether, it feels like a natural accompaniment to Jordana’s demure vocals. Her melody is so effortless that it feels like it could have been a first take, but the delivery is far too polished for that to be the case. The languid pacing of “Sway” meshes perfectly with the hazy, somewhat unstructured atmosphere Jordana carefully crafts throughout the duration. It is more difficult to create a meandering but purposeful piece of mood music than it seems—a track lacking an earworm chorus or real attention-grabbing piece of instrumentation can easily get lost in a modern music scene that is increasingly geared towards those with the shortest attention spans. “Sway” stands in stark opposition to these trends, an engaging piece of music made from a place of personal desire rather than one brought about by external forces, and the result is an effortlessly fun R&B-tinged romp from an artist who is thankfully just getting started.

Runnner’s latest release, “Ur Name on a Grain of Rice," is a melancholic but self-aware confessional that sweeps across the part of your chest reserved for heartbreak. This LA-based, seven-member ensemble could have walked straight out of the indie-folk scene of 2009, harkening back to the glory days of Dr.Dog, Iron and Wine, and Death Cab for Cutie’s acoustics. Sloping, winding vocals, reminiscent of Andy Shauf, are stretched over the steady pulse of the drumline and the chirping twang of a banjo. Met with the powerful swell of sax, horns, and vocal harmonies (including Helen from Skullcrusher), the layers build gradually over the length of this mesmerizing five-minute track and culminate in a euphony of textures, the singer repeating almost defiantly “I’m shouting it now, cos I can’t write it down, I’m letting it pour out the sides of my mouth.” With cutting observations like “I can’t stand to be alone, because it’s so easy to ignore me,” there is more than just yearning to the lyrics, there’s humility as well, underlining the all too familiar duality of doubt and desire. “Ur Name on a Grain of Rice” is a lush track that reminds us of the ways love teaches us personal growth; It’s something we want to deserve, but maybe aren’t ready to yet.

Melanie Faye charms on "It's A Moot Point," an intimate, new tune whose sickly sweet sound attempts to patch the holes in a flawed love. Her lush vocals shine on the track, driven by a relaxed backbeat as well as the jazz guitar prowess that made Faye viral in 2017 through a cosign from SZA. Contrary to the laid back nature of the song, Faye's lyrics expose her pain, allowing us to ponder exactly what the moot point in the relationship might be. "I hold on foolishly / To the only thing that means everything to me," she laments, suggesting that they had run their course. However, pleading in the chorus with "Give me one more chance babe and your mine now," Faye lands on a more hopeful note. While her Instagram is brimming with videos of guitar and bass riffs, clips of her singing are much less frequent, making the song a pleasant surprise to fans now hoping for more.