Ela Minus is, in the best way possible, a guerrilla tech geek using machines as a poetic extension of her anti-capitalist ideology in the EDM world. Heavily influenced by the likes of Kraftwerk, Minus talks enthusiastically about the special relationship she has with her synthesizers, the unique quality they each have and how she cares for them like friends. When you understand that she has built and programmed most of them herself, the idea of a personal connection with a machine begins to make a lot more sense. We’ve grown used to seeing artists and DJs on stage, lurking behind the faint glow of an Apple logo, but Ela Minus is uninterested in using a laptop to arrange her music. She writes, produces and performs on an analog rig covered in neon pink tape. Her pedals, synths and voice are the only tools she uses to create her hypnotic techno-pop beats. Gabriela Jimeno, the one-woman whirlwind behind Ela Minus, is no stranger to the DIY scene. Jimeno drummed for a hardcore band in Colombia from the age of 11 to 18, eventually making it to SXSW in 2009. She then left the band and her hometown of Bogotá to double major in jazz drumming and synthesizer design at Berklee College of Music. It was there that Ela Minus was born, first as a moniker for her graphic design, and then later as the solo music project now releasing subversive singles such as “el cielo no es de nadie.” 

In a low whisper reminiscent of Billie Eilish, Ela Minus peels back the layers that separate the peaceful intimacy of your bedroom and the anonymity of a packed dance club in Berlin, making them somehow indistinguishable. “el cielo no es de nadie,” like most of her songs, is about empowerment, and rejects the notion that lovers must go to the moon and back for each other. In a breathy voice that barely rises above the strobing backbeat, she tells us the only person who can give you what you need is yourself. Fitting for someone who would spend her college weekends going out to clubs—not to hook up, drink or do drugs—but just to close her eyes and dance.

Ela Minus's forthcoming album acts of rebellion is out October 23 via Domino. It is of course performed, produced and recorded entirely by herself. Photo by Teddy Fitzhugh.

Largely evocative of nature, Cautious Clay’s “Joshua Tree” brings Clay’s musical talents front and center. The simple intro of chirping birds and a backing percussion gives way to his smooth-as-silk-vocals. Gracefully he explores the emotions so seldom discussed in the face of love versus loneliness with a climactic chorus that blooms beautifully into the harmony “I don’t wanna be loved." The slightly haunting and more pensive bridge contrasts the chorus and displays his lyrical and musical versatility as the song comes together.

A talented multi-instrumentalist, Clay is known to play guitar, but perhaps more surprisingly, he’s skilled on the flute and saxophone, both of which make appearances in many of his songs. “Joshua Tree” in particular, showcases his many talents. The song ends with his powerhouse vocals in the chorus, upstaged only by an unlikely, yet brilliant saxophone solo, giving way to the previously extremely subtle jazz undertones throughout the song. His ability to thread sincere lyricism and unlikely musical elements together in such an artistic way is why it won’t be long before Cautious Clay will be a household name.

Haley Heynderickx is the kind of tender, open-hearted songwriter that crafts her material patiently and assiduously — much like one would carefully turn a plain spool of yarn into a beautifully knit piece of cloth. Her latest collaborative EP with Max Garcia Conover, an equally honest songwriter, proves that this kind of stripped down, radically heartfelt writing is precisely what is needed in the world of indie music. “Slow Talkin,” which also happens to be the only single released off the EP, encapsulates the ways in which both Heynderickx and Conover effortlessly convey a poetic nature in their lyrics. The weight of their words paired with the pureness of their voices is sure to give you goosebumps — the warm and fuzzy kind rather than the kind induced by fear or discomfort. The song tackles subjects like desperation, self-doubt and the bitter-sweetness of leaving a place or a person to better benefit the both of you. In the chorus, Heynderickx sings, “If you wanna make em’ happy, you’re gonna have to go,” capturing a human sentiment that is numbingly familiar to many of us: wanting the best for someone and knowing that you may not be it.

Los Angeles's Loyal Lobos aka Andrea Silva is a new kind of indie artist. Her lyrical songs, milky vocals and the pop influence reflected in her music show a multi-dimensional artist on the verge of a breaking out. In "Wrong" Silva reflects on the end of a relationship reveling in the regrets and emotions that come with heartache. She relates the aftermath of this relationship to being on a long journey starting off the song with the line, "More than five hundred miles since I started walking..." As if extending an olive branch to her ex she sings, "I can't wait to stop walking here / I want to lay down / will you lay down with me?" As she tires of treading through the unknown of life without this person, she asks for rest, for their armor to be brought down. There's no doubt about it, "Wrong" is a beautiful and metaphorical song that showcases Loyal Lobos as an artist and storyteller.

Imagine the combination of Western style, Icelandic aesthetic, and Brooklyn beats and you’d be spot on describing the music of Brooklyn based indie pop duo Misty Mtn. With their dark synths and soft folk stylings, the band, consisting of Montana native Morissa Trunzo and L.A. native Luas Segall, have been consistently creating tracks with their signature “dark mountain pop” sound, including their latest track “Guess Who’s Back.” The is track comprised of dark and synthy beats, catchy guitar riffs and keys, and smooth and smoky vocals that touch on feelings of nostalgia and the memories that get triggered by those feelings. The duo have successfully weaved together their influences from their Western roots, Trunzo having grown up singing at rodeos in Montana and Segall in indie bands in his hometown of Los Angeles, to create a unique modern electro pop sound that fans love.

Indie newcomer Casey Dubie officially released her debut album Into the Moon today and starts off the record with the dreamy and lovelorn track "Silver." With the panning of the guitar, vocals, and piano there is an intricacy in the music that perfectly allows Dubie's lyrics to shine. A quiet bravery fills her voice as she admits her faults and validates the she has made mistakes. Still, as the song progress there is a confidence gained that tells of a love that is stronger than past grievances. The shimmer of chimes and synths, comes in at just the right places and while most of the song is filled with the emotions that come with apologies and nostalgia, we do get to also hear the silver lining she sees her love to be. With a track thats gorgeous production parallels its artistry and lyrics, it's clear that Casey Dubie is on the right path. Be sure to listen to the rest of her debut record Into the Moon out today on all platforms!

The static buzz from a tape deck signals endless possibility. Pressing play, it could be any number of your favorite songs as the white noise gives way to a more intentional, more meaningful sound. With all of the charming quirk of the opening credits of a Michael Cera movie and the familiarity of a record that has collected decades worth of dust, Mat Davidson sits on the floor examining the state of his life at the end of a relationship in “Young God (gotta lotta feeling),” the first single from Twain’s upcoming 2019 release. He doesn’t take the opportunity to pity himself, as those opportunities come far too frequently in life, admitting that he “was a loser.” Instead, on that fateful Thanksgiving Day, he is grateful for the life that he lives, the connection he made (however impermanent it was) and the boundless future that lies before him. Rather than brood in the silence of a now-empty house, he presses play on the tape-deck-static-soundtrack to the rest of his life. He’s still figuring things out — the guitar and piano never quite line up (in the most endearing way) and he tests the uncertain waters of a time signature change to 11/8 in the (smoothly executed) outro — but the song ends with the same static, the same wide open door. “I know there’s nothing more from life that I could ask.”

Brooklyn-based trio Ritual Talk wastes no time getting into their lush style of indie rock on the fourth single and title-track, “Plans,” off their debut album out November 9. “Get up out your head and get some working done,” songwriter and multi-instrumentalist, Alex Desimine, opens the song, immediately hitting you with his absolutely sultry vocal and setting the space for a pleasant groove that’s anchored by the pulse of an arpeggiated synth. Tom Criblez supplies a drum beat that has a triplet feel and it is strengthened by the psychedelic guitar supplied by fellow multi-instrumentalist, Dylan Gleit. “Plans,” is a work to inspire you to get out and go do good in the world, but you won’t be able to help getting distracted by the swagger of this song. New Yorkers can find them tonight at their homecoming show at C'mon Everybody in Brooklyn! 

Singer-songwriter Chase McBride combines his gentle and optimistic vocals with sweet and folky instrumentation in his latest single “Pink Lemonade.” The San Francisco native’s track is an easy-going and vulnerable tune making it a perfect listen for those lazy Sunday mornings. At first “Pink Lemonade” begins focusing on McBride’s signature soft vocals and then gradually swells into a blanket of sound that wraps listeners up with lyrics touching on love and memories of a relationship involving feelings of safety and a love for pink lemonade. In the song’s final swell, listeners hear a slight break with the addition of an almost inaudible voicemail left by the singer’s lover, mixed with uplifting guitar riffs, and the gentle fading away of McBride’s voice. This song is sun-drenched in positivity and reminds fans to have faith in love because like McBride sings in its final moments, “It’ll be ok.”

For such a pretty song, OWEL’s “I Saw Red” is as tense as they come. The choruses soar with an orchestral beauty not often paired with the suspense of the quietly haunting verses, showing off the New Jersey band’s versatility and mastery of emotional expression. Singer Jay Sakong uses colors to represent clearly delineated absolutes — the blue of sadness, the color draining altogether from a horrified face or the stark black-and-white contrast of finality and hope, how a goodbye can be loaded with the context of either “Nice to know you” or “Hope to see you soon.” “It’s the most honest and straight forward song I've ever written, and I think there's a real honesty and innocence in that simplicity,” says Sakong. But it is still full of surprises, as he worries that things are not so cut and dry after all. “I found / That this certain shade / I used to see as grey would fade,” he sings, and this realization is a jarring one. The gorgeous orchestration enters the uncanny valley of digital sound, not quite real as the instruments are pulled menacingly out of key. Even through the sepia-toned lens and rose-colored shades, those tans and reds are all just shades of grey.

It's been a big year for England's indie-folk songwriter Fenne Lily. After a handful of releases on Spotify, she released her first full-length album On Hold and is already singing to sold out crowds. Although the album came out in April, it's one we still find ourselves going back to and "Bud" is the perfect of why. Both delicate and universal, Fenne Lily captures us in this gorgeous three minute song and makes us feel everything she's singing. "You're on my mind / And I'd like to talk things through / You're on my mind and I know I'll never do." The waters of words unsaid are often murky and treading through them means having to decipher between what is necessary, risky, or both. With just an acoustic guitar and a voice that is at times so soft it seems angelic, Fenne Lily sings bravely into the face of uncertainty with her armor down. Be sure to catch her on tour with Lucy Dacus and also Andy Shauf this fall!