At just 16, Edie Yvonne is carving out a space for herself in the growing wave of emotionally charged, confessional pop. Her latest single, I Might, continues the raw storytelling she delivered in Burn and Epitome, forming what feels like a trilogy of self-exploration and release. If those previous tracks wrestled with honesty and confrontation, I Might leans into the moment of letting go.
Kwolek’s latest single, Euphoria, is a controlled descent into chaos. A brief yet intricate piece, the track plays with structure in a way that keeps the listener slightly unmoored, mirroring its central theme: the idea of staying sane by emptying the mind.
Andi Fins’ latest EP, The Moons of Saturn, is a study in subtle emotional tension. It tells the story of someone orbiting just out of reach, never fully revealing their thoughts, leaving those around them to overcompensate in conversation or retreat into uncertainty. Across four tracks, Fins crafts a sonic world that’s warm yet slightly distant, full of lofi textures, dreamy synths, and a laid-back vocal delivery that feels both intimate and enigmatic.
“Couple(t)s Side A” by Couldn’t Be Happiers is an album that feels meticulously crafted, with a clear sense of purpose and structure. The married duo of Jodi Hildebran Lee and Jordan Crosby Lee have created a project that reflects their shared love of folk music, poetic couplets, and storytelling. The album is organized into thematic pairs—love songs, protest songs, and folk-story songs—a concept that mirrors the couplet form in poetry and, metaphorically, their own relationship. It’s an ambitious framework, and the duo executes it with precision, even if the results occasionally feel too polished for their own good.
The Afro Nick has always been a bit of an outsider. From his early days busking on the streets of Crete to forming one of the island’s first indie rock bands, he’s consistently found himself just outside the norm, using music as both an escape and an assertion of identity. His latest single, “Get There Before Noon (LA Mix),” is another chapter in that story—a raw, somewhat unpolished indie rock anthem about seizing the day, shaped by his unique background and perspective.
Ethan Gold’s new single, “I’m In The Moon,” is an introspective anthem for the introverts, a pulsating track that captures the beauty and complexity of solitude. While it’s an energetic tune, its heartbeat is in the defiance against the pressures of social interaction—a nod to those of us who carry the weight of trauma and rage quietly. Gold calls it “a hermit’s anthem,” and it’s easy to see why.
Clay Benjack’s latest single, “Melt,” is a sonic exploration that feels larger than the Norfolk, Virginia apartment where it was recorded. Despite the modest recording space, Benjack manages to create a track that feels expansive and immersive, inviting listeners into a layered, atmospheric world.
Karen Salicath Jamali’s Dreams of Angels offers listeners a unique musical journey that defies convention. This newly released album is an unfiltered expression of emotion, delivered as it was received—recorded in the early hours of the morning, raw and untouched. Jamali’s approach embraces imperfection, creating a deeply personal, unrefined work that invites listeners into a space of peace, compassion, and healing.
Andrew Schneider’s reimagining of XTC’s Mermaid Smiled is a masterclass in reinterpretation, managing to honor the original’s intricate charm while carving out space for a broader, more dynamic sound. Releasing November 15, 2024, the track feels like an invitation to step into a whimsical, nautical world where childhood wonder collides with the sophistication of adulthood.
Alice Phoebe Lou’s latest single, “Better,” released on November 8, 2024, is a testament to her evolving artistry and ability to craft intimate, reflective music. With its rich, analog-inspired production and thoughtful lyrics, “Better” feels like a modern-day ode to the smooth textures of 1970s vinyl, yet it remains entirely in step with the current indie music landscape.
The Chicago-based five-piece delivers a sound that’s both delicate and crushing, as if walking a tightrope between despair and defiance. This track is grungegaze at its finest, combining raw, visceral power with a kind of melancholy beauty that lingers long after the final note.
There’s nothing else out there like “Dog and Pony (The Anarchy)”—and that’s precisely why you should listen. Stoney Forde’s latest single isn’t polished. It doesn’t shimmer. Instead, it staggers into your ears like a half-drunk raconteur at a dive bar, spinning tales that feel both absurd and profound. If music exists to challenge, to provoke, and to offer something utterly new, then Stoney has succeeded on all fronts.