We are delighted to premiere Coma Culture’s beautiful new single “Martha,” prior to the release of their debut album, Camouflage. Coma Culture is the new indie-rock project from Young The Giant’s Eric Cannata and Francois Comtois, along with producer/songwriter Jon O’Brien. 

Previous releases found Coma Culture dealing with the complexity and shallowness of modern life, as well as the feel-good, carefree joy that comes from falling in love. Mixed by Yuuki Matthews, “Martha” finds them pushing into complex emotional territory as they candidly navigate the struggles of addiction. 

Soft swirling synths and gentle keys establish an unwavering honesty that is present throughout, as ghostly vocals let us know from the start that this is a direct confession to the narrator’s wife, Martha. Droning sounds mimic the repetitive background pull that is dependence, while the narrator reveals “Sometimes I wake up in a cold sweat / And I need something in my veins”. The beat intensifies, different elements of percussion set in and a whirlwind of synths come forward as though we’re moving through a maze of old alluring habits and resisting them. Despite that, there is also a felt sense of a glimmer of hope, something that keeps grounding the narrator and it comes in the form of another person, in this case, Martha herself. 

On the track, O’Brien said: "'Martha' is a story about waking up and fighting through the haze of addiction—choosing to live selflessly for at least one day and attempt a change for the person you love most. My biological father has spent most of his life in prison and drug addiction has always been a constant battle. The song is based on the premise that there is a fork in the road, a choice is to be made, and the future looks daunting but hopeful."

The optimism mentioned by O’Brien is felt when swelling strings arise, giving us a sense that the right choice will be made and despite the difficulty, the narrator will be able to pull through for the person they love. This stunning instrumental outro ends with the words “I woke for you today, Martha,” hitting us straight in the gut and reminding us of the truly positive ways other people can help shape our lives. 

Pre-order Camouflage, due out June 25th via Gourmet Music and Repost by Soundcloud. Photo by Kelly Victoria.

Allow us to introduce you to rising Chicago singer-songwriter, KAINA. Not only is she making waves in the Windy City, but she's also caught the attention of big names like Jamila Woods who she opened for last year. In her three track EP released early this year, KAINA explores the richness of her sound with three songs that showcase her multi-layered talent. "Happy" is a song that is full of playful instrumentation and background vocals that are reminiscent of old 90s R&B hits. KAINA sings of the emotions she experiences when she's around a special someone and the moments she goes back to in her head when she thinks of their happiness. While the tone of KAINA's voice is smooth and confident, you can't miss the fact that she's singing of a happiness that is the color of blushing cheeks and giddy smiles. There's no doubt about it, KAINA is on our list of artists to watch out for and we're pretty happy about it. 

A slow-moving scene of a pair of lovers dancing idly in a pale lit bar. A warm picture of a group of friends sitting and singing on a porch while drinking scotch and smoking one too many cigarettes. Bermuda Triangle’s  most recent country-gospel ballad, “Till the End of Days,” distinctly evokes settings like these. The Nashville-based trio’s track is a sublime combination of rich, tight harmonies balanced with distinctive vocal timbres and lean, airy acoustic guitar.

Jesse Lafser, who wrote the song, leads the track with an infectious, no-nonsense vocal line that is nothing short of pure magic. The gentle guitar unhurriedly moves forward as Lafser tenderly sings, “Maybe God / Maybe God / Maybe God does exist / Cause the way you look at me on mornings like this.” Brittany Howard (of Alabama Shakes) and Becca Mancari pour into the song in equal measure allowing each of them plenty of time to individually tug on your heartstrings reminding you that sometimes the greatest loves — both romantic and platonic — involve the greatest amount of growth and support. For all you atheists or agnostic leaning dissenters, “Till the End of Days” will incidentally lead you the closest you may have ever been to believing. You might even find yourself praying to a God after your first listen…maybe.

When you are hurt by the person you love, it’s a hard fall. As you shatter it can be easy to run back to that love, mistaking artful sadism for the comfort you seek as you begin to pick up the pieces. Mark Bucci, who leads his own bedroom-pop project, Brewster finally strings his pieces back together on the single, “Kiss Me While I’m Down,” the second song on a double cassette single being released through Great Grief, a new NJ label from Matteo DeBenedetti of the band Toy Cars. Drummer, Tom Devinko, supplies the tracks’s delicate dynamics to Bucci’s idiosyncratic guitar and synth melodies, fitting together music that lives on the axis of Wilco’s indie-instrumentation and the tittering electronics of the new Half Waif record. Bucci sings, “I can’t help myself/ I’ll let you twist me around sharing pronouns/ and kiss me while I’m down,” swirling around in his thoughtful guitar space and by the end, in the light, seeming to be emerging as whole. 

San Fran native, Nick Perloff-Giles's — otherwise known as Wingtip — coastal upbringing has deeply influenced his music. His moderately electro vibes mixed in with an acoustic-pop feel display remnants of his former beach life.  "Pavement," the first single to come off of Wingtip's upcoming EP, Ghosts of Youth, captures these sounds. Starting with light synths and a gentle acoustic guitar line, "Pavement" builds as the story it tells unfolds. Tasteful electronic elements also paint it with a sense of character and youth. The nostalgic themes of lost love, getting older and being a little reckless capture the quintessence of growing up. Ultimately, "Pavement" is a song about the good ol' days and the hope that they're not all behind you. Just one listen and chances are you'll be taken back to that one summer that made you want to live forever. 

Full of honesty and grace, Hayley Gene Penner's brave new single, "Smaller," speaks to the deep desire to be loved and the fear that it may be easier if you were someone else. Honing in on the struggle of body-image, Penner sings, "If I'm smaller and I'm different / Just a little less / Would you love me?" These words cut to the core and find you in a place you know all too well. "Smaller" shines with a quiet boldness. Penner refuses to hide behind metaphors or similes as she sings her truths with such sincerity and vulnerability. Like most toxic thoughts, it's easy to hear the danger in them when you yourself are not thinking them — it's a lot harder to recognize their toxicity when they're in your own head. Smaller" lets you connect with Penner as she sings of her battle with self-image while also allowing you to notice the lack of self-love you may have been showing yourself for longer than you realized.

More often than not, when a band has a killer, memorable name their music does not live up to it, but once in a while, there are exceptions. The fresh, folk-inspired UK group, the king heat ensemble is one of those special cases. The track, “Give or take,” off their most recent EP epitomizes what it means to make a blanket-genre like acoustic-folk sound original and refreshing all while maintaining its organic nature. “Give or take” begins with bouncy, steel-string guitar picking as the lead singer briskly introduces himself 7-seconds in with a stirring yet understated vocal delivery. His voice is a tamed hybrid of James Taylor and Conor Oberst, which adds an alternative stroke to an otherwise heavily bluegrass inspired landscape. He sings, “Everybody here knows when you’ve got to stop to start again,” with a red-yellow tone, a warmness, and positivity that is speckled with patches of tanginess. The king heat ensemble is giving you an encouraging pat on the back, while sternly whispering, “start again.”  

Los Angeles’ Gold Star combines disparate influences, from Americana to Britpop to Classic Rock into a surprisingly familiar sound on new single "Baby Face." The verse oozes Old West cool, something that might have come from the guitar of Turn Blue era Dan Auerbach or AM era Alex Turner, before launching into a fully Beatles-inspired chorus, complete with swirling Wurlitzer chords and reverb-laden double-tracked vocals. “Baby Face” is a song you may as well have heard the day you were born, greeting you with a loving epithet, but given a modern spin by an obviously devoted student of music. Contradictions are at the core of this song, at once retro and refreshing, then cocky but unsure. “I’m still not certain what it takes,” croons singer Marlon Rabenreither, “Are you in / Are you out?” Even the instrumentation takes two sides, as the smooth guitar’s conversation with the thumping bass forms the backbone of the song’s hook, introducing us to the song and leading us out with no answers. 

Rising Los Angeles artist Michl has revealed a stunning rework of Lauryn Hill’s “Tell Him” with his new summer love song “Tell Her.” This synth-heavy version is an emotional ballad featuring a gorgeous balance of organs, stripped back guitar and smooth vocals that pay homage to the original but still manages to be unique. The authenticity in Michl’s voice matches the emotional honesty of the lyrics, “I’ll never be jealous and I won’t be too proud / ‘cause love is not boastful / No and love is not loud / just tell her I need her.” This song is full of themes of hope and promise and reminds listeners that despite the ups and downs of relationships, “everything is gonna be alright.”

London dream-pop outfit Margot creates the kind of masterful, floating soundscapes one would expect from seasoned veterans of the genre. Perfect for a rainy London afternoon, “Tired” is the hazy daydream of someone unable to keep up with the pace of change in his life. “Get off your phone and tell me how you feel,” he pleads, wading through the sea of swirling guitars in an attempt to make any sort of meaningful, lasting connection, but not even the support of a string section can save him now. He has been rejected, he has been shut out and he is terrified to admit that time races only forwards. Things are looking up though. As the song fades out, the future uncertain, he has traded his relentless pessimism — “You’ve grown...I just don’t know you anymore” — for something a little more understanding and hopeful — “You’ve grown / and so should I /  We’ll work it out eventually.”

Meeting in college, this young group of talented Pittsburgh musicians has been playing together and touring the country for three years now as folk band Ferdinand the Bull. Their newest release “Wooden Fire Escape” off their upcoming sophomore album, “Painting Over Pictures” out August 11, is a catchy tune reminding you to be optimistic even in dismal situations. Characteristic of frontman Nick Snyder’s lyrical style, “Wooden Fire Escape” is full of themes about nature and love. Pulsating under Snyder’s vocals is a great backtrack of kick drum and guitar strums that make you want to get up and dance along.