“Flew Away” is the third of five stunning lo-fi tracks on the debut EP from fanclubwallet, Hurt is Boring. Ottawa-based musician and illustrator Hannah Judge looks back from a place of acceptance on the demise of a relationship, exploring themes of misunderstanding and miscommunication, what-ifs and so-whats, and how our own emotions can take us by surprise. She sings, “I didn’t know that it would make me feel this way seein’ your face online every day,” which is a testament both to the virtual spaces we have largely existed in for the past year and to the challenge of creating distance from our hurt when it always seems to be one tap or scroll away.  

Judge’s description of her style as “writing emo shit that doesn’t sound emo” is spot-on. Her vocal style is relatively understated, but her words pack a punch, and both complement the lo-fi instrumentals to give her music an undeniably nostalgic yet poignant bedroom pop sound. The mood is relaxed, but the sound is tight, guitar and bass riffs keeping time with a drumbeat during verses that punch between choruses and bridges backed by the youthful and energetic plinking of a toy piano—a favorite instrument of Judge’s that can be heard peeking out from behind layers of sound throughout the EP. A joyfully chattering crowd can also be heard at times in the background of “Flew Away,” adding a house-party vibe to the track—a nod, perhaps, to social lives past, and a sound we’ll hopefully all be hearing more of sooner rather than later.   

Written from her childhood bedroom during the pandemic, which coincided with a Crohn’s disease flareup for Judge (the line “I went to bed and didn’t get out for 10 months” is meant literally in her latest single, “C’mon Be Cool”), the EP is “about taking the good with the bad,” Judge has said. “You can’t really appreciate one without the other.” Not only was the EP written in Judge’s childhood bedroom, but it was also produced by her childhood best friend, producer Michael Watson. The pandemic has allowed many of us to reach back and connect (and/or reckon) with our past selves and past lives and take the good with the bad in what we find there. Judge likes to leave her lyrics up for interpretation, specific enough to allude to a situation, but vague enough to leave room for the listener to find their own meaning within the words. In keeping with this practice, “Flew Away” is sure to offer a little something for everyone. Photo by Ian Filipovic.

The silvery vocals of Tei Shi and the iconic production style of Blood Orange bless recently released track "Even If It Hurts." The two artists, known as Valerie Teicher and Devonte Hynes respectively, previously worked together on "Hope" off Hynes' album Negro Swan. Now they've teamed up again on this starry-eyed synth song that implores for communication and honesty. Although the track is smooth and easy on the ears, wrapped up in the lyrics are two people trying to identify what the other wants from their ambiguous relationship. Desire permeates the vocals, both parties are willing to risk it all to have the other person wholly, but there's something stopping them from letting go. We might yearn and even love another person, but at the precipice of a relationship, growth requires action. "Even If It Hurts" explores what feels to be common ground in many relationships through something that straddles the line of melancholy and bliss. Look out for Teicher's new album La Linda out November 15 and Hynes' classical LP Fields due this October.

London artist beabadoobee pays homage to Pavement’s frontman with her new single “I Wish I Was Stephen Malkmus.” The inspiration doesn’t stop with the name drop, seeping into the production with buzzy guitar tones. The song takes eighteen-year-old Bea Kristi a little further from the bedroom pop label she gained through her first two EPs, launching her into the realm of therapeutic alt-rock. It’s harder, hazier, and proves that Gen Z is just as obsessed with the 90s as Millenials are. Kristi sings, “I sit at home, cry to Pavement / I wish I was Stephen Malkmus.” As much as it is a nod to the 90s, it also touches on Kristi’s affinity for change and individuality—which can be isolating, but she doesn’t seem too upset about it. She mentions her blue hair six times in four minutes, singing, “got new hair, a new phase / I’m from outer space / and I’m pretty sure I’ll get used to it.” Beabadoobee will release her new EP Space Cadet on October 18 via Dirty Hit Records.

Y La Bamba, a Portland-based band led by Luz Elena Mendoza, exemplifies yet again their prowess as a multi-faceted group on their latest EP Entre Los Dos. Mendoza actively explored identity on their full-length album Mujeres earlier this year and is now delving deeper into existing between two entities and all the nuances that follow. "Las Platicas" off the new EP begins with an airy guitar riff that quickly morphs into lo-fi folk loaded with energetic vocals and a tone of a reclaiming of self. Mendoza spares no time for negative talk in her life and holds strong against those with nothing positive to bring to the table. Y La Bamba's narrative journey continues to show rapid growth—exploring different sounds and sentiments in less than one year. They wrap up their tour this October so make sure to catch them while you can!

Float through space and time in the dark daydream that is “Otherworld,” the hypnotic debut single from LA-based indie artist INSDR. Immediate and atmospheric, the track is a nostalgic slow jam with soft, pulsing momentum. It opens on a quiet inquisition: “What planet are you from?” Then muffled, pumping percussion and spacey keys set the scene and evoke a certain sense of mystery as the questions continue. “Are you on a mission? / Are you made of light?” The vocals are hushed and sweet, giving the string of questions a sense of alien innocence and wonderment. Suddenly, like INDSR, we feel like we too must pay close attention to figure this person out. As the instrumentation builds, the arrangement remains close and clear with a distant sort of urgency, like staying in the moment with this person is all that matters. Elements of sci-fi and psychedelia are weaved tastefully throughout the song, with groovy, Radiohead-like guitar and sonic elements that give a nod to 90s electronica. Ultimately, “Otherworld” speaks for itself: you’ve never heard anything like it before. It’s the first single from an upcoming EP by INSDR, the solo project of Sure Sure band member Charlie Glick. Glick and fellow bandmate Mike Coleman are mixing the EP, set to be released later this year.

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.