“He was on vacation and he texted me he was coming home the next day and he never did.” The unexpected passing of a friend, as she said in a press release, was the focal point of Stef Chura’s 2017 full-length debut, Messes. A near-eponymous standout track, “Sweet Sweet Midnight,” from her follow-up, Midnight, revisits the tragedy several years later in the form of joyous catharsis. The Detroit rocker’s voice occupies a space somewhere between the sweet croon of Julia Jacklin and the stilted howl of Hop Along’s Frances Quinlan—as she is both blessed and haunted by the presence of her friend in her quietest moments. At times, though the song carries its relentless energy throughout, she herself seems almost unable to complete her thoughts, to wrap her head around what has happened. “Last time I saw you / You said you’d be home / You said you’re, you said you’re still coming home,” she sings, grasping at meaning. Midnight was produced by Car Seat Headrest’s Will Toledo and this track, more so than any other on the album, is a true collaboration more than it is a simple feature or production credit. The beeps and boops, the auxiliary instruments and the seemingly random off-key guitar lines that made his own Twin Fantasy such a treasure trove give the song its own unique character. And it’s when they sing together, their unintelligible howls the absolute highlight of the song, that they reach some semblance of moving on.

Sasha and the Valentines is a five-person, indie pop dream team based in Austin, Texas. With a strong synth production, the project is a perfect patchwork of talented musicians. Sara Addi is the lead vocalist and synth player, her ethereal voice flows lightly through your ears like a pleasant dream. The group's use of guitar, drums, and other percussive elements work together to create a laid back vibe, which is akin to a female-voiced Mac Demarco. This is strikingly apparent in their first EP, Green, that was just released in time for summer playlists. They successfully create a complete sonic picture for their songs, imitating the endless ups and downs in the search for modern love. Each track is seemingly more catchy and soul-bearing than the last, while still filling you with ease as you sway along to the rather consistent surf-rock tempo.

This is especially true for the song “Green”. The piece starts off with strong guitar chords, which cut through and remain consistent throughout the song in both speed and strength. The track steadily builds as drums and various percussive and synth additions chime in. Giving way to the vocals, "Green" continues to capture the idea of chaotic harmony with the music flowing perfectly in sync. This song in particular shows off the talents of every member in the indie pop project and gives an accurate taste for the rest of the songs on the EP.

New wave pop meets 90s nostalgia on “Playground,” the new single from alt-pop duo More Giraffes featuring Sweater Beats. This track is infectiously fun; fresh and colorful melodies glide over smooth hooks to conjure up sun-soaked images of summer on film. It’s full of immersive, sunny soundscapes that are surprisingly intricate and consistently interesting, and it bops to a funky beat that begs to be played on repeat. Meant to embrace the little kid in all of us, “Playground” celebrates freedom and wonder and basks in that warm, joyous feeling of summer break. “I got rocks in my shoes / We’ve got nothing to lose / We live the life that we choose / Come to the playground.” Add “Playground” to your summer soundtrack, and look out for More Giraffes’ debut EP, Bermuda, later this summer.

Plastic Picnic’s newest single “After You” holds true to their seamless integration of 80s synth pop nostalgia and guitar driven indie rock while showcasing their maturation both sonically and lyrically. It is a tender exploration of the fear and exhilaration of an unknown future, which is illustrated in the pre-chorus, “do you think it’s time / for us to go / start a different life/ one that we can grow?” The Brooklyn indie quartet finds strength in their newfound vulnerability and ever-present hopefulness. "After You" finds space to pull back and push forward by layering then stripping warm synths and delicately placed guitar riffs to emphasize each transition. While synths and guitar depict change, the bassline and drum beats hold everything together giving a strong foundation for the vocals and lyrics to shine through. “After You” is the first single from the band’s sophomore EP Vistalite due out July 19th.

Just north of Miami, there’s an oceanside promenade that runs the length of Hollywood Beach. During the daytime hours, bikers and rollerbladers whiz by, clad in swim trunks and bikinis; come night, the neon signs flicker on, and smoky open-air bars give way to salsa dancing among tourists and locals alike. Leave behind your wallflower inhibitions and allow Salt Cathedral, the Brooklyn-based tropipop duo comprised of Bogotá-born Juli Ronderos and Nico Losada, to pull you into this very scene with their new single titled, “muévelo." Literally translated to move it, the bilingual “muévelo” assumes the personification of coastal breezes and cheeky hair tosses for a groove that altogether begs your feet to, well—move it. Losada and Ronderos, no strangers to weaving their own culture into a sound that feels globally accessible, fuse together elements of synth-pop, merengue, dancehall, and reggaeton to achieve their notably tropical effervescence. “muévelo” in particular does this by giving nod to El General, a sort of founding father whose hits like “Tu Pum Pum” and ““Muévelo, Muévelo” helped push reggaeton to mainstream notoriety. While paying homage to its history, there’s one thing for sure: Salt Cathedral is also paving a path forward for the future of Latinx pop.

Kishi Bashi is nothing if not an optimist. Comparisons to Andrew Bird are unavoidable, completely warranted and just a little bit unfair. Both balance virtuosic violin playing with fantastical whimsy in their music, and neither allows the complexity of their loop pedals and classical influences to obscure the craft of pop songwriting. Both took a deeply political turn with their most recent albums, Bird singing that the current era “feels like 1936 in Catalonia,” and Kishi Bashi places himself squarely in that time with a concept album about Japanese internment. The list of similarities is indeed revealing, but it is Kishi Bashi’s optimism that separates him from Bird’s sometimes apocalyptic cynicism. Whereas Bird urges revolution (“bloodless, for now”), Kishi Bashi preaches compassion. The name of the album, Omoiyari, stems from the idea of empathy — “I gravitated towards themes of empathy, compassion, and understanding as a way to overcome fear and intolerance,” he wrote. Apart from the lyrics, it would be impossible to deduce the subject matter of “F Delano,” as the cheery la-la-la’s belie the depictions of harsh desert conditions at internment camps, unspeakable mistreatment of women and echoes of the failures of the modern day justice system — “innocence without a proper fight.” He urges understanding as a means to battle intolerance. Bashi chose FDR as the song’s namesake in order to illustrate the complexity of history—that a president often remembered for carrying the country through The Great Depression and World War II is also the clear villain in another story.