In the middle of the 2000s—which are also, despite my best efforts, referred to by some as the “noughties”—there was a brilliant onslaught of guitar-driven indie rock records that changed the direction of indie music for the remainder of the decade. To me, the guitar in the earliest albums by bands like Bloc Party, Wolf Parade, Yeah Yeah Yeahs, and Rilo Kiley feels uniquely, transcendently energizing. To me, it sounds like using an X-acto knife on a beam of sunlight, like sprinting through a suburban street at midnight. Probably partly because I spent the years 2004–2006 in an emotionally heightened state called “adolescence,” but also partly because that generation of indie rock guitarists tapped into something special, I have spent the last decade missing that sound very much.

Or I should say, I just realized how much I have missed that sound. When you see a good friend for the first time in years, you often miss them even more right after you see them than you did before. That’s what happened when I first heard “Lights Out,” Deep Sea Diver’s first single from their upcoming album, Impossible Weight. Bandleader Jessica Dobson’s guitar work on this track not only provides an immaculate tribute to a forgotten corner of indie rock—it also aptly brings that sonic era into a comfortable relationship with the genre-flexible sensibility of indie music in 2020. About two and a half minutes in, the relentless gallop of Peter Mansen’s drums falls away for a shocking 30-second dream-pop interlude, which, after filling time like a glittering balloon, explodes into the song’s final cathartic guitar solo. Meanwhile, Jessica’s vocals throughout the track act as its emotional barometer, shadowing the mood and providing whatever is appropriate, from an indignant shout to a carefree croon and everywhere in between. Overall, “Lights Out” sounds a (far from silent) alarm that Impossible Weight will be a force to reckon with in October.

In addition to recent singles like "It Nan" and "Jalisco," UK-based band Babeheaven has dropped their newest release titled "God Sent the Baby." The track opens with delicate strings and quickly fuses into a deep, pulsing rhythm that carries the song from start to finish. Frontwoman Nancy Andersen croons out honeyed vocals with lyrics that are as heavy and as deeply personal as the title suggests. Her voice puts the listener in a trance, readying us to fall deeper and deeper into the universe that Babeheaven creates. Obvious care for the track comes through in the atmospheric production that calls back to a late '90s style trip-hop reminiscent of Air and Massive Attack, all while maintaining the band's rising enigmatic sound. "God Sent the Baby" is a soul-bearing single that displays the range that Babeheaven always brings to the table. You can catch the band consisting of Andersen, Hugo McGuire, Ned Smith, and Luca Mantero on tour in Europe starting on October 23.

It is an unequivocal fact that Baby Rose has one of the most unique voices of this decade. From her appearance on "Without You" with Insightful, to being featured on Ari Lennox's Shea Butter Baby Tour, to the August release of her first album, the Atlanta artist is having quite the year.

A lyrical weightiness, coupled with a sultry, cavernous voice in "Show You" underscore a maturity and musicality not often found in many peers of Baby Rose. Certainly a reflection on an uncertain relationship, lines like "Tell me baby / How you like me now? / Wasn't life beautiful / When I was around?" sit delicately atop classic R&B hi-hats and a jazz-inspired bass line. Filled with equal parts feeling and energy, "Show You" demonstrates only a fraction of the versatility, talent, and timelessness encapsulated in Baby Rose's music.

Former Chairlift frontwoman Caroline Polachek has released the catchy, 80s inspired single “So Hot You’re Hurting My Feelings.” Her final single before she releases Pang, her debut album, on October 18th, the synth-pop dance anthem is lush with playful synths and tight, groovy percussion. Polachek’s signature broad vocal is the star of the arrangement, floating through each ethereal note with impressive, elastic range. Her relatable lyrics hook you from the opening lines: “Not like I’m counting the days / but it’s been twenty-five.” Polachek wrote and produced every element of this track herself, which is especially evident in the clear, careful vocal processing. Bright and fun, “So Hot You’re Hurting My Feelings” will be your new favorite party song.

Following the release of “Cathedral” and “Ruin (My Ride),” Will Taylor and Charlie Martin of Hovvdy have come out with the third single from their upcoming album, Heavy Lifter. “So Brite” is a warm and wistful track that tries futilely to hold on to fleeting moments before ultimately watching them slip away. The song floats delicately along with lines like, “I don’t know why that I wanted it to stay like that / I knew that everything would change when the light came back.” The melody is soothing with tender vocals and a sweet, lullaby-like pace, but the lyrics reveal an anxiety in the narrator. “What if I start to lose my mind? What if I start to lose my shine?” echoes through the refrain. The words fade into the background as we all try to come to terms with an inability to stop time and let the music wash over us. Heavy Lifter is out on October 18 via Double Double Whammy.

Alex Giannascoli, better known as (Sandy) Alex G, released his new LP House of Sugar a couple of weeks ago via Domino Records. In the project, he offers up a series of enduring narratives that bring more comfort upon each listen. Alex G’s music can be described as mysterious or unclear—this effort holds a unique open-endedness that takes you down multiple avenues of possibility. At the tail-end of the record sits “In My Arms”, a folky, sweeping ballad of desire and circumstance. The bouncing, acoustic strumming sets the pace as Giannascoli’s voice skates along and he dives into his bittersweet recollection. He provides a warm snapshot of the intimacy we all yearn for, “I take it in, I do without / I never care what we talk about / Pull up the car outside your house / Took out the seats so we could lie down.” The track offers a glimpse into his imagination of what a picture-perfect situation would be if he was with someone meaningful; co-existing in blissful silence with that ideal person is something that we have all dreamed of.