Chicago-hailing Chase Walsh, popularly known as Worry Club, waltzes back into the scene with an impactful new release, “Bleach." The song welcomes listeners with a languid guitar that appears to hypnotize into a state of dubious bemusement, setting the tone for this reflective piece. The track attests to growing pains, bringing to life those overwhelming urges to transform one's identity in the midst of undergoing a whirlwind of issues. On the track itself, Walsh shared: “I really wanted to capture the nostalgia associated with a fleeting childhood. The idea of growing up has always scared the shit out of me.” In his plight to unearthing deeply-rooted childish nostalgia, Worry Club manages to create a single capable of tapping into one’s past while taking a contemplative eye to the current reality.

A lanky yellow character seems to front the digital project, godz. Aside from the intriguing ambiguity of the project’s identity, their most recent release, “kids,” catches attention by weaving nostalgia into a fresh and modern sound. Appearing across a series of NFTs, their social pages and the music video for this track, the ambiguous yellow figure is on an explorative journey, sometimes dancing, shapeshifting or even swimming. No matter the situation, there’s one thing the yellow figure consistently finds themself facing: a sense of loneliness or being outcasted—distinctly different from those around them. That impression can be found within “kids,” too. After a muted acoustic guitar welcomes in the softly-spoken introductory lyrics, the bass builds into a sonically enveloping chorus that hums, “And the kids / They have it good / Their love is real.” “kids” combines elements of synth-wave and funk with dynamic lo-fi production, making the track is danceable and engaging. And while who the kids are and why our friendly yellow animation feels so different from them is left relatively uncertain, godz is sure to leave their response as accessible as their Instagram bio, signing “some beg to ask the question, does it even matter?” However you’ve arrived in the psychedelic mystery world of godz, “kids” will leave you feeling a little less alone, and with a catchy beat stuck in your head. 

"Going Nowhere" opens with a cute, whimsical riff that delicately catches your attention from across the room. It’s a song drifting through the air at an open mic that makes your thoughts stop in their tracks, ears hanging on what happens next. Warm bass introduces gentle support, leaving plenty of space for the sparkling fantasies painted by Elise’s voice. Meandering through the mundane, the lyrics call out a desire for a grand adventure. Whatever shape it takes doesn’t matter- as long as it’s extravagant and far-flung. Light harmonies fill out the space between reality and the fantastic dream-world the lyrics strive to manifest. As with the best fantasies, the track closes with a momentary reconciliation with reality before taking off into the air again. The track is a sweet taste of what is sure to come with Maya Elise & The Good Dream’s album, Songs for the Breakdown, due this summer. Until then, let the new music video for "Going Nowhere" transport you to Maya Elise's whimsical world. Photo by Bradley Jacob Cox.

With “Shining,” Amsterdam-born and Lancaster-based artist Kala Boti delivers a song perfect for sunbleached summer days. Like the love child of Anderson. Paak and Michael Kiwanuka, Boti’s soulful voice, funk-influenced, treble-heavy guitar riff and a bass groove are a match made in heaven, while the Afrobeat-inspired percussion and the song’s catchy melody are guaranteed to have the track stuck in your head. Paired with the instrumentation’s joyful feeling are lyrics of hope that a loved one will come back once the sun is shining—a line fitting of both heartbreak and hope that captures the feeling of countries opening up post-pandemic. For a musician whose first release was in the second half of 2020, Boti’s production and songwriting skills are like those of a veteran and promise a bright (no pun intended) future. Boti plans to release his latest EP this summer, and you don’t want to miss out on what this talented artist is going to bring.

During lockdown in the UK, Tiberius b’s debut EP, Stains, was born while the London-based artist moved to the Welsh countryside to care for their grandmother. While living there, the singer and producer had an artistic discovery contemplating the loss of relationships, heartbreak, sexuality and isolation. The melodic closing track "Tears into the Sun" captures the loss of near and far relationships throughout time.

Woven through the layers of synth-pop beats and guitar, the artist’s echoing vocals ask the listener questions like "How come we cannot drift away from it?” and "How do we have fun?" The song allows you to feel the heightened complexity of their drifting, emotive questions about those near and far from them. "Tears into the Sun" will certainly leave a lasting, euphoric effect as you reflect on the artists' questions unveiled. Photo by Dexter Lander.

There's something about juno roome's whole aesthetic that inspires warm feelings of nostalgia. The Brooklyn-based musician uses a dreamy photo of clouds for the background of his website, leaving the visitor with an immediate feeling of familiarity; it almost seems like roome is an old friend from our past, one we may not talk to regularly, but who maintains feeling of closeness through his music. 

roome's latest single “gardens” evokes multiple elements of those warm and happy memories of yesteryear. From the single's playful photo of a woman posing happily in front of a window perhaps made to look like an old snapshot, to the song's dream-like beat, coupled with roome's soft and almost breathy vocals, “gardens” is like coming back home no matter where you've been, a feeling heightened by roome's repeated and reassuring refrain of "I'll be here." 

On the other side of the song's familiarity and warmth perhaps lies the very reason why the song's narrator may need a bit of nostalgic reassurance; Roome also channels a collectively relatable felt sense of anxiety, singing, "I don't want to be inside / I don't want to lose my mind," before pivoting back to a comfortable wistfulness, bringing peace back to the forefront. juno roome's ode to returning to the well-known instead of constantly feeling trapped by the unknown will bring listeners back to basics, with no sense of pretense or apologies. Photo by Ann Feletto. 

Sudanese and Scottish singer/songwriter Eliza Shaddad is building a catalogue of intricate, intelligent rock songs. Her latest single "The Man I Admire" finds her in a dream, standing in a burning home, waiting for this man to "save her from the smoke, but he takes off his shirt instead." The sincere intersection of desiring protection and mutual affirmation from a man, all the while understanding your own legitimacy and ability to protect yourself, is a subject rarely broached in feminine songwriting. Eliza executes this masterfully here. This song is an empathetic peek into the heart of a woman standing in front of a man and asking him to adore her with no caveats. It's true vulnerability, and the lyrics of the first two verses—feeling scared of the dark and being alone in a burning room—illustrate this beautifully. The theme is so succinct and yet totally complete. That's what makes Eliza's poetry so excellent. 

Shaddad's first LP, Future, was released in 2018. "The Man I Admire" is one of four singles released this year ahead of her second album The Woman You Want. Pre-order The Woman You Want here, and look out for the UK-based singer on tour this summer. Photo by Flore Diamant.

Through her deeply personal and introspective lyricism, Olivia Kaplan’s songs stick with you. The latest track from her upcoming debut album Tonight Turns to Nothing showcases her talent as both writer and musician. With fuzzed-out guitars and a bass-heavy groove providing the perfect backdrop to Kaplan’s enchanting vocals, “Ghosts” is a track you can dissolve into. The song ponders on an ill-fated relationship and the external factors that affect our loves with the wisdom of hindsight. Both people’s inhibitions are explored in the hook with a heart-rending lyric: “I’ll watch you dance with your ghosts / If you say you love me the most.” The song’s instrumentation follows the dynamics of the story being told, ending with a glitched-out solo and a haunting shadow of regret as Kaplan belts out, “I sit and blame conditions / when I could have loved you if I tried.” Photo by Michelle Simunovic.