Birch brings a more energetic sound to her newest single, “Your Gold.” Sliding into an electronic space, the Brooklyn-based artist explores the myth of the American dream and what it means to really “make it” through a gold rush allegory. Following her politically-charged debut, femme.one, “Your Gold” feels lighter and more vibrant. Birch marks the evolution in her sound as she sings, “Time would halt when you stop the clock / but everything’s changing / I am not who I was.” The song leaves space for itself to breath—not shying away from silence or shifts in tempo while somehow still maintaining a levity throughout. "Your Gold" is dancey without losing substance. The bridge serves as a grounding point as she repeats “I hope you’re happy when the wind blows right / you know exactly where I wanna fly” over minimal synths before shifting back into the chorus with full force. With this new single, Birch makes it clear that she is not one to follow a path set out for her by others. She will forge her own.

Following their 2016 cover of The Beach Boys’ “All I Wanna Do,” it’s clear that The Bright Light Social Hour is unafraid to tackle the untouchable icons of the ‘60s with their modern take on that era’s own psychedelia. The Beatles, to say nothing of Brian Wilson’s genius, are a cultural touchstone comparable to little else in the last century, and their songs often stand-in for the very definition of pop songs themselves. While we see new geniuses tear down those very definitions, The Beatles’ catalogue remains almost sacred to many. In “Sun King,” The Bright Light Social Hour celebrates Abbey Road’s 50th anniversary with a cover of a side-two classic, using it as a vessel for their signature groove. It could have been any Beatles song, or even any other song if not for the instantly recognizable nature of The Fab Four track. They choose not to honor the original note-for-note, nor do they claim that their song is the way it should have been. The track is right there in the source material, and their chops are evident in the performance.

“No Other Like You,” the newest single from Virginia-based artist Kate Bollinger, has a sweet melody and a sultry beat. The hazy, lo-fi jam is the definition of late-night vibes, with spacey synths, a chill, uplifting guitar and one of the grooviest basslines of the year swinging to a slow, almost psychedelic rhythm. The instrumentation is soft, warm and nostalgic; it’s the perfect backdrop for a low-key night in or a road trip under the stars. But Bollinger’s voice, evoking the same laid-back, transfixing charm as Nora Jones, is the star of the arrangement. Breezy and dynamic, her voice makes you feel like you’re floating through a lovely dream. The lyrics are about accepting impermanence, and Bollinger’s wistful croon emphasizes that. “Baby can't you see there's no other like you / When you leave I'll expect the things you'd always do.” Cozy and cool, “No Other Like You” is about to become your new favorite sad love song.

Hypnotizing listeners back into his universe yet again, Frank Ocean returns with highly hyped new single “DHL” from the artist’s first studio album release since 2016. The track dropped unannounced at the end of Ocean’s most recent blonded RADIO session, giving a taste of what is rumored to be a thirteen-track LP. Ocean teams up with electro-house producer Boys Noize on “DHL” and delivers swirling sounds and carefully casual lyrics. The song begins with his signature, stylized ambient noise—reminiscent of a more somber, slow version to the introduction of “Nikes.” He raps about a lover, things he’s bought, and attending fashion week in camping gear, “Look like I’m dressed for a hike / But I really look like I’m in Paris.” A mundane tone, almost droning, takes over the beats of the song and paints a portrait of Ocean in his day to day life—as normal as it can be. Following the announcement of “DHL” came the news of two other singles, “Cayendo” and “Dear April." Both were premiered at Ocean's new club PrEP+, where the artist played some remixed snippets. Both old and new Frank fans alike can look forward to new content being released in this era of activity.

dielines, the California-based indie-folk duo consisting of Daniel Berkman and Trevor O’Neill, prepare us for their upcoming album with their newest track "Chasing Rabbits." Though self-described as curators of "psych folk," this single lends itself to a softer, warmer acoustic sound that most people do not associate with the genre. Reminiscent of early Fleet Foxes, this track has the lyrical implication of an anxiety attack, but harmonically makes you feel like taking a drive on a winding mountain road. True to that analogy, "Chasing Rabbits" is full of twists and turns—Berkman's eccentric vocalization providing the majority of the intrigue and emotional gravitas.

Playful and fresh, “Ladybug” by Ottawa duo Deelo Avery and Julian Strangelove, otherwise known as Garçons, is a breezy, genre-busting jam. The leading track on their sophomore EP, Be Human, features a psychedelic rock guitar blending seamlessly with a funky, r&b-inspired beat, while muffled percussion offers a fluid, lazy groove. The instrumentation feels nostalgic and effortlessly untouchable, like that mixtape your cool older sister listened to in the 90s that you always coveted—though notes of soul, particularly in the vocal, make it more accessible. Avery’s voice, reminiscent of a more laid-back Moses Sumney, is bright and dynamic, and adds dimension to the cozy, chill vibe conjured up by the production. Catchy and cool, “Ladybug” is the perfect mid-tempo bop for your commute.