“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.
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.
Frank Rabeyrolles has spent the past two decades quietly building a catalog that defies easy categorization. From his early work as Double U to the more stripped-down releases under his own name, he’s navigated a space between folk, ambient, and experimental pop, never fully settling into one genre. His latest album, In Conversations, continues that trajectory, embracing lo-fi textures and intimate songwriting while maintaining the atmospheric depth that has become his signature.
Brian Noyes has been quietly shaping Seattle’s indie music scene for a while now, balancing his time between his psych pop group Tomten and playing keys for Papercuts. With his upcoming album Seelie Court, he’s stepping further into his own sound, a rich, dreamy take on baroque pop.
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.
“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.