Those familiar with the multifaceted work of visual and musical artist Yves Tumor (aka Sean Bowie) know that their music appears to always be in constant metamorphosis. Despite often being described as ‘experimental’ for their boundary-pushing body of work, the enigmatic Miami-born artist bends genre beyond its edges. Their latest record, Heaven To A Tortured Mind is a platter of sonic delights lush with electronic textures, funky basslines, and shoegaze guitar riffs all against a glam-rock backdrop. "Strawberry Privilege" stands out as perhaps a bit quieter but still incredibly layered. Consistent with the rest of the album, the song works in themes of fame, love and relationships. In the track, Bowie’s soft, high-pitch voice beautifully merges with the heavenly backing vocals of Sunflower Bean’s Julia Cumming, both accompanied by a cool and steady bassline and simple drums, all adding up to a sound of haunting beauty. As the song becomes increasingly layered, elements that were easily identifiable begin to blend subconsciously and before you know it, you’re onto the next track. As someone so casually unconcerned with genre, Yves Tumor transcends musical identities at a time when identities can be both restraining as well as liberating.

Spencer.’s newest release “Hold It down,” tastes like a whiskey sour on a cool summer night: soft and fruity on the first sip, with a tinge of heat at the bottom of the glass, and, of course, a few bitters sprinkled in between. On a first listen, it’s easy for the track’s trap-inspired beats and lo-fi harmonies to convince you of the singer’s romantic ambivalence. However, buried within Spencer.’s exaggerated vocals and tender lyrics are feelings of intense longing and desire. “Hold It down” is a slow burn in more ways than one. It’s old school hip-hop qualities gently pull listeners into their own hazy reveries, while it’s laid-back ambiance encourages one to cast their worries aside—for one more night—and have another drink.

London duo Babeheaven knows how to cultivate a mood.  On “Human Nature,” synths ease into a downtempo guitar beat reminiscent of a 90s grunge track you’d (re)discover on an old mixtape. It feels like the kind of song you’d queue up at the end of a long shift, or subway ride while walking through dimly-lit city streets: maneuvering your course while observing the people you pass by. Sparse instrumentation allows lead singer Nancy Anderson’s vocals to shine. Lyrics like “Your mask is stuck in your hollow insides” and “And although I’m there, I’m not quite here” demonstrate a conflict between public and private selves. In the band’s own words, “Human Nature” is about “the performance we do online, where everything exists in a sort of grey area. We thought that social media would lead to individualism but a new human nature is exciting in an otherworldly state. It’s about losing touch with yourself and not transmitting emotions." “Human Nature” plays at the chasm between the faces we show the world and the voices narrating from within.

“i want to share this song with you today in hopes that you can find some peace during this time. even when people can look at the world burning and feel nothing because the fire hasn't touched their skin, there are people feeling deeply and fighting in their own important way for the change that is inevitable. keep your head up and breathe and know that evil will never prevail long enough to be forever.” Orion Sun, a.k.a., Philly maker of melodic reimaginings of her discontent, Tiffany Majette shared today on Bandcamp to accompany her gorgeous song, “mama’s baby." She wrote this song after her own experience with police brutality while protesting on the streets of Philadelphia. Twice within the track, she asks the burning question so many of us are asking for the black community here in the states “who gon’ protect me?”. Through the sharing of this song, Orion Sun has opened up space for more engaging in the experience of police brutality and existing in a world where respect and freedom have been sought after for far too long. With every purchase of this song on Bandcamp today, all proceeds will go toward Breonna Taylor’s GoFundMe page.

Princess Nokia raps about a lot of different things, because like anyone living a full and beautiful life, she has always been complex and proud of it. She recently said on Instagram that she has always been clear on the fact that she was going to “live unapologetically whether people liked me, or not.” In her music and everything she creates, she represents the relentless work it takes to actually, truly keep it real. And part of that work will always be reminding yourself and others that you contain multitudes. “Green Eggs & Ham” is about your inner child: celebrating that it’s still there, and speaking truth about where you came from. In every way, Nokia powerfully captures the carefree spirit of childhood on this track. She begins and ends the track with playful Dr. Seuss-style raps about breakfast, and the bright guitar, rhythmic piano chords, and gospel clap make you want to dance around your 1990’s living room while your mom tapes the whole thing. But the sunshine doesn’t mean as much without the full story, and for Nokia, the full picture of her childhood includes the ominous cloud of police presence surveying and dispersing her hangouts with her friends. So, like anyone who believes that children should be able to be children, she says, “Fuck these cops” not once, but three times, between breakfasts.

To read Princess Nokia’s message to privileged folks on how to best help right now, check out her Instagram post from May 29.

To find solace in a song is a gift, and when that song is by Phoebe Bridgers, it hits differently. Bridgers’s new song off of her highly anticipated second solo album, Punisher, encapsulates the intensity of a relationship and the magnitude of what it means to be human. 

“I See You” is the breakup ballad that chronicles more than just feelings, but a learned appreciation for a relationship, even though it has come to an end. Chaotic, almost stress-inducing instrumentation leads to a pleasant, quaint release once Bridgers sings the words, “But I feel something / When I see you now.” The song pauses just as time seems to pause when a certain person is around. 

“I See You” is Bridgers doing what she does best—describing experiences that we, as sentient beings, often cannot find the words for. “‘Cause I don’t know what I want / Until I fuck it up” is her being transparent and raw, and “If you’re a work of art / I’m standing too close / I can see the brush strokes” magnifies an admiration that goes beyond a casual fling. Her ability to produce lyrics that pinpoint unspoken, yet relatable truths about life as we know it make “I See You” more of a sanctuary than an audible experience.