There’s something quietly nostalgic about “Dreaming,” the latest single from San Francisco’s Michellar. With a guitar riff that feels plucked from a 60s spy film and a clear nod to the psychedelic pop of that era, the song sets a familiar mood: cinematic, moody, and reflective. But at its core, “Dreaming” is more personal than stylistic. It’s a song about losing sight of what once felt possible—and what it means to still hold onto that spark, even when it’s dimmed.
“elvira” doesn’t hide behind distortion. That’s the first thing you notice. While most shoegaze and dream pop tracks bury the vocals beneath layers of reverb and haze, The Links make a different choice. Jack Morrison’s voice cuts clean through the mix—not in spite of the fog, but in command of it. That clarity makes this song hit harder, not softer.
Ainsley Costello’s latest single, EXLESS, feels like a big, colorful, high-energy anthem tailor-made for blasting in the car with the windows down. It’s confident, polished, and effortlessly catchy—so much so that you might feel like you’ve already heard it before, in the best way possible.
John Deering’s return to songwriting wasn’t planned—it just wouldn’t leave him alone. After years of focusing on family and career, the creative itch became impossible to ignore. “Strip Mall Jesus” is the result: a high-energy, restless rock track that feels like a long-overdue release of pent-up ideas. It’s skater rock with an anxious edge, a song that moves fast without ever losing control.
Lady Gaga has never been one to settle. Over the past fifteen years, she has redefined the boundaries of pop music, oscillating between avant-garde spectacle and raw, unfiltered artistry. But with her latest release, Mayhem, the 13-time Grammy winner is making a seismic return to her dance-pop roots—while offering a stark reflection on fame, reinvention, and an industry that both exalts and exhausts its biggest stars.
MARTO is making a statement. Born in Thika, Kenya, and now rooted in Seattle, he’s an artist caught between two worlds, pulling from both as he carves out his own lane. His latest track, “LEFT MY PHONE”, feels like a late-night haze—blurring the lines between afro-infused rhythms and the moody, atmospheric sound of modern hip-hop.
Kat Marcella’s “F*ck Closure” isn’t a song that lingers in the past—it’s a song that lets go, whether the heart is ready or not. As the second single from her upcoming EP, Love Makes Me Cry, the track pairs its bittersweet subject matter with a sleek, modern sound that floats between indie pop and alternative grooves.