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.
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.
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.
Janita’s “Real Deal,” the lead single from her forthcoming album Mad Equation, is a reflection of her ongoing evolution as an artist who refuses to fit into a mold. Produced by Blake Morgan, the track feels like a distillation of her career-long journey: a blend of thoughtful songwriting, subtle defiance, and precise musicianship. While its surface might seem tranquil, “Real Deal” carries an undercurrent of rebellion—an ethos inspired by films like The 400 Blows and Butch Cassidy and The Sundance Kid, both of which influence its thematic depth.
Wes Coeur’s jerrord is a masterclass in duality. On the surface, it’s an effortlessly cool slice of electro-pop—driven by a thick, pulsating synth bass and topped with Wes’ Auto-Tuned melodies that glide somewhere between playful croon and knowing smirk. But dig a little deeper, and you’ll notice how chalant it really is. The production is polished to perfection, every layer meticulously placed, and the music video oozes style with a clarity that betrays how much thought went into it. This isn’t some slapdash bedroom pop experiment; this is calculated cool.