"Prayer Beat" by LOMELI is a slow-burning slice of a vibration born out of some heartfelt, emotive pangs only an artist entangled in a messy love affair with melody and soul could make. The sheer longing in the vocal is enough to make the same face Jay-Z made when Timbaland pressed play on the final "Dirt Off Your Shoulder" beat. Yet, it's the unwavering, tasteful production built on several of the prettiest harmonies this era of neo-soul has offered the world. Now, where's the IDM edit?

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It only took three minutes for a few of the golden leaves to gently annex themselves from the towering oak tree outside of the girl with the view of the park's window. She counted the leaves nevertheless. She even had a laugh over the viral video of a man counting numbers, then regained her composure as this was serious business, counting the number of leaves and all. Autumn was her favorite season, after all. It had been the hottest summer in the planet's history, and the fall felt as calm and crisp on her skin and mood as a freshly cracked open frozen can of soda pop. She could only count a few leaves before they stopped falling, some humorously reluctant to detach from the wood and the bark. When she stopped counting the leaves, her senses alerted her to the sound melting into her studio apartment's walls and floor. It reminded her of days at the lake with him, walks through the park with him, nights watching movies with him, runs up the mountains with him, dawns in the kitchen with him, drives from airports with him and dusks in the dark with him. She caught herself swaying to the song before the vocals came in. Once they did, she started to saunter her way towards the speakers. She caressed them with her palms. She put them together to mutter a silent prayer for more lazy evenings like these to give her more than enough solace to last her a billion lifetimes. That was when he knocked on her door and startled her so much she jumped into the air, face flushed red. She had to grab the corner of her desk to restore her balance before she walked towards the door to open it, to find him there on one knee. They married that fall and were a family of three by the next summer.

Dutch-Ghanaian singer-songwriter Nana Adjoa recently released new EP A Tale so Familiar, a gorgeous collection of songs, with "Simmer Down" being the closing track. As an electric guitar and a piano usher in a calming and almost lullaby-like tone the themes of stories and nostalgia flood the song. The first verse gives us the setting of a comfortable house where records are spinning while the inhabitants eat "sweet bread" and drink "ageless wine." Adjoa refers to it all as "A tale so familiar," giving us the notion that something that once good and comfortable has now ceased to exist. There is a sadness to the song that is undeniable but it's coupled with a feeling of idllyic peace, as if living in past memories somehow makes them alive again. With her enwrapping voice and well-crafted lyrics, Nana Adjoa is the exactly kind of artist that we love to shine light on. Take a listen to "Simmer Down" to see for yourself.

"Out On A Trip" is the latest single by Chicago rock & roll band, The Evening Attraction. This tune was recorded straight to analog and produced by Twin Peaks', Colin Croom. As a listener you feel the pulse and the progression of the well-crafted lyrics. "Awake in a dream / But the night's not ending / You think you're asleep / But your eyes wide open / You know who you are / But now you're forgetting." Each verse paints an abstract picture, an out of body experience. But the chorus is repetitious and clever in a way that brings you back realizing it was just a trip, and it's all in your head. The Evening Attraction is creating music lyrically that is contemporary enough to stand amongst its peers but melodically respectful of the classics. The Farfisa Organ is reminiscent of the late 60s with vocal harmonies to match. These boys are the ones to watch. Stay tuned for more new music coming in early 2019.

With every corner of its soundscape filled to the brim with dreampop’s characteristic delay effects, it’s tough to make out every word of every line of Tallies’ new single, “Beat the Heart.” But that’s not really the point. Singer Sarah Cogan’s voice proudly shows the influence of The Smiths on the whole band, echoing Morrissey’s emotive depth and long syllables. The band describes this song as a rallying cry against “the lack of empathy that exists so strongly today” and hides that message in an airy earworm, hoping that it will carry listeners through difficult elections cycles and long nights post-Daylight Savings Time. Tallies announced their arrival into the world with their first single “Mother,” another entry from their new album due in January, more surf-pop than shoegaze in both sound and imagery, Tallies show that they are able to blend and contort their many influences into modern sounds.

Don’t let the perfect be the enemy of the good, says Kuinka singer Miranda Zickler, albeit with a far more vibrant energy. “Wet Cement” is a bouncy tune punctuated by Rick Astley-inspired drum fills and quick guitar trills, while low-end synths blend with Jillian Walker’s growling cello. Lucius fans will appreciate the song’s subdued dance vibe and the vocal harmonies panned out wide, but the lyrics paint a darker picture of “landmines and concrete clearing out the town.” 

“Wet Cement” calls to mind things that are never finished, never good enough or always improving, worry not if those improvements are for better or for worse. “Every wall here says the phrase / ‘Heaven wants to hold me down,’” sings Zickler, with some abstract ideal of perfection preventing others from being content with anything. Based out of Seattle, the imagery most obviously alludes to the rapid growth and gentrification of the city, but Kuinka praises the good, rather than the perfect, in all its forms. The second half of the song is a wordless celebration of the present, honoring what we have now and slowly building upon itself rather than tearing down the groundwork to create something potentially shinier.

Before you even hit play, the title of "Come By Sunday" will accurately give away the essence of this song. Easy like a Sunday morning and twinged with the nostalgic sound Major Murphy has come to master, this love song bares semblance to the folk classics. "Come By Sunday" shows us a side of a slow, down-beat song that's more picturesque and loving than sad, much like Simon & Garfunkel's legendary tunes. "I think we can go a whole long way together / Remember where we've been," frontman Jacob Bullard sings. After their debut album released this year, the band decided to pay homage to their past by releasing an EP of bedroom recordings from a time where Bullard was still honing his sound and songwriting craft. Named after the house the EP was written and recorded at, the Lafayette EP holds warmth and history within it, which is beautifully seen in its first single.

"Labor Fruit" by NYC-based indie-pop duo, Birch is out today! Listening to "Labor Fruit" feels like one insanely gratifying deep breath. The etherial quality to the music production and to singer-songwriter Michelle Birsky's voice creates a very calm inquisitive approach to a very noteworthy subject matter. We've stood here once before / It didn't go so well / We stood at the door / Knocked down the door/ Let's push down the door. / The song looks back on the feminist movement of the past and reflects on where we are today. It's about coming up against adversity and questioning whether or not you can keep on fighting. Be on the look out for Birch's debut LP femme.one coming early 2019. In the meantime see Birch live with Eyal Hai & Friend Roulette at Elsewhere on 11/17!

Nashville's Frances Cone recently released their new and noteworthy single, "Wide Awake" off of their upcoming album Late Riser. The song mixes different elements from soft-pop to electro and infuses it into one synth-filled emotional track. As Christina Cone sings the chorus the breathy echos and harmonies fill up the airwaves and resemble a mosaic, each separate piece beautifully fitting together to make a work of art. It's no doubt that her vast musical background expanding from classical music to popular music has helped her create a clear vision for her own music. Together Christina Cone and Andrew Doherty create Frances Cone's enchanting and innovative soul pop sound. Be sure to check out our Buzzsession with them from back in March and stay tuned for their new album Late Riser out early next year!

We all have an imaginary place of escape. A setting that lies somewhere in between make-believe and a place we’ve actually been. It’s nearly impossible to jot down or sketch on paper. This perfect place exists nowhere besides in our own heads. French producer, Zimmer, and Sydney-based singer Panama’s recent collaboration, “Wildflowers” takes a different approach to this very concept. Instead of aiming to tell us exactly what each of their made-up settings might look like, they tell us what it feels like to enter that abstract space. The track seethes with astral textures, layered synths and lavish yet earthy percussion. It cultivates an ideal balance between rich, maximalist production and a stripped-down sound that evolves organically with each passing moment. “Wildflowers” is feeling like you’re walking barefoot on a warm, cloud-like surface only to look down and realize you’ve been walking on cold concrete with heavy boots. It’s racing towards a feeling of deep exhilaration while sitting still. Have a listen and re-enter that place.

Ginger Root, aka Cameron Lew, released his third album Mahjong Room this past June. The last track on the work, "Ohio," is a nod to the oldies which initially inspired Lew to begin making music. Although the work can be defined as indie bedroom pop, what largely sets the album apart is the soul influence heard throughout each of the songs. "Ohio" manages to compress all of these songs into two and a half minutes of indie soul pop, with a sound similar to a mix between Vulfpeck and Stevie Wonder. Lew, a film major turned rock star, performs the majority of the instruments on the track, while also doing the engineering, mixing, and mastering. For an artists so clearly dedicated to precision, “Ohio” is a laid back song with a vocal hook that seems to float over the sounds that he is creating.

Even during the most illogically cold autumn days, Elujay knows how to warm the soul. "Little Thangs" is a classic display of funk and soul, driven by a deep bass line and the Oakland, CA singer’s definitive swagger. The song’s ear worm bridge and hook — a shameless declaration to coming over late to chill — would sound right at home on the latest albums of other modern R&B hybrids such as The Internet or Buddy. There’s a familiarity in Elujay's romanticism and warm vocals that is immediately inviting. But it’s the verses in between that add a refreshing depth to the number, as Elujay details an imperfect relationship full of escalated moods, outside temptations and late night reconciliations over voicemail. He makes it known that there are no lasting, euphoric proclamations of love without also learning to celebrate the tiny, sometimes infuriating human details that define who we are...the little things.