Treefort Music Fest is making its long-awaited return to Boise from September 22-26. All month long, we'll be featuring our favorite tracks by artists from the 400+ lineup, which includes Wild Honey Pie favorites like Japanese Breakfast, Tennis and The Marías.

The festival, originally scheduled for March 2020, was postponed due to COVID-19. To ensure the safety of attendees, Treefort will be requiring proof of vaccination or a negative COVID-19 test result, as well as encouraging festivalgoers to have masks on hand, as various forts will be mask-only. According to Festival Director Eric Gilbert, “This unique September version of Treefort is shaping up to be one of our best yet and we are looking forward to bringing the Treefort family back together to share and discover great music.” Tickets and more information are available here.

Chasing the tail of "Pigs Is Pigs," "Darling" opens with a starkly contrasting 5 seconds of meditative, wave-like static. Quiet, but steadfast octave jumps emerge next, in the form of a guitar flooded in reverb until time becomes almost meaningless. Heartbeat-like drums remind you where the beat falls, like the sound of your own breath in a dark room. It’s almost tempting to describe the track as unlike anything Mannequin Pussy has ever done, ending their Perfect EP in surprisingly delicate and tender territory. Its warmth is more like still-burning embers rather than the fire and brimstone that dominates the rest of Mannequin Pussy’s discography; however, it has the same lyricism full of brash vulnerability that cuts through everything in its path. The hot-blooded reconciliation of pain and the beauty of feeling intensely is reminiscent of "Drunk II," as the track dynamically moves through both states simultaneously. Each time the hook hits, it sounds even more like a challenge than a promise. “Darling, I will always defend you” becomes a double-edged dare, daring your darling to reciprocate your defense and daring the rest of the world to provide an opportunity to show your devotion. "Darling" is a beautiful example of what makes Mannequin Pussy’s work so deliciously compelling. It’s embracing your feelings with brutal honesty and rebelliously refusing to be ashamed of their intensity. It’s facing forward against whatever’s next, grasping your love’s hand tightly all the way, and proclaiming “I feel fiercely, and I am not afraid." Photo by Uv Lucas.

Renée Reed takes us through a haunted daydream in her debut single “Out Loud.” It’s a hazy and stripped-down folk offering that is mesmerizing in its simplicity. The Lafayette folk gaze artist has an undertone of Cajun influence that bleeds into her delicately plucked acoustic guitar that rises and falls rhythmically. She entrances us with echoing warbled vocals—singing, “I could be daydreaming / hanging out / deep in the corner I tell all your secrets out loud.” It feels like something between a warning and a promise. Reed is a strange marriage between Mazzy Star and Adrianne Lenker. The track is foggy and disorienting with moments of brightness that fade as quickly as they come. With such an oddly satisfying debut released via Austin label Keeled Scales, I am inclined to believe her when she sings, “who am I? / you’re about to find out.”

Indie-pop group Wet continues to quietly release singles, and the latest release of “Come to You” is heartening in a time when it’s so easy to feel defeated and isolated. Kelly Zutrau creates a waterfall of vocals that echo the sentiment, “I will come to you wherever you are / I will comfort you no matter how hard.” This track is produced by DJ Dahi, perhaps best known for his credits with Kendrick Lamar and Drake, but more recently credited with production on Father of the Bride with Ezra of Vampire Weekend. Production is kept open on this track to allow for Zutrau’s spilling vocals, but the chiming synths and staggered percussion set the tone for a thoughtful reprise. This song serves as a comforting reminder that, although we may not be able to see our loved ones, we can still be there for them if only by way of words. Selfishly, I am hoping that “This Fog” and “Come to You” are the promise of an upcoming album or EP.

Max Bloom has released his first solo album, Perfume after eight years as part of the band Yuck. On the track “Cold Hard Light” his guitar serves as a centerpiece and guide, leading you through a journey of post-break-up sentiment and internal crisis. Though upbeat and tonally bright, Bloom’s guitar line is able to communicate a sense of regret, most notably in the cascading riff which precedes both the first and second verses. It feels like a false smile and juxtaposes beautifully with the lyrics that are draped around it. The ending guitar solo expertly does what a solo is meant to do, and carries the emotional message further on past where lyrics leave off. The last lyric before the solo is “..that’s all we’ll ever be,” and the guitar picks up right there, capturing both the melancholic idea that the best times have already come and gone, as well as a sense of resiliency to move forward anyway.

Kue Varo’s debut single “Just Don’t Lie” is a dream-pop offering that would fit right into an episode of Twin Peaks. The Montreal-based artist begs for the truth before crooning about her shortcomings as a partner, “and forgive / how intense I get / when I want / to be right.” The track is dripping with reverb as it moves forward slow and steady to the laid back drum beat. The lead guitar weaves in and around adding a brightness as the bass drives on heavy and strong. Varo pleads for honesty with a raw despair of someone afraid of losing something they’ve worked tirelessly to get as she sings, “just don’t lie / please don’t lie.” The single was released early on Bandcamp as an effort to raise money for artists who have lost work due to COVID-19. It is the first track off of Varo’s upcoming album Daffodil-11.

For many months, HAIM has been gracing our ears with gem after gem from their upcoming album, Women in Music, Pt. III. The upbeat and timely “I Know Alone” is no exception. Though the song was written well before most of us knew what a COVID was, its compatibility with the current moment is downright eerie. The first line of the song, “Been a couple days since I’ve been out,” sounds more like the first line of a Zoom call with one of my New York friends. And when Danielle sings about driving around while “screaming every word” of Joni Mitchell’s “Both Sides, Now,” it sounds like I have new plans for this weekend. Even removed from time, “I Know Alone” is an apt ode to malaise, a candid series of vignettes that honor the timeless feeling of being the only one with access to your own mind. Often the first step towards defeating inertia is simply recognizing it. Now if I can only remember the second step: biking around my neighborhood screaming along to HAIM.

The summer after I graduated high school, I sat with bulky headphones on a hard metal stool at Waterloo Records in Austin, TX, completely spellbound, as I learned that music can literally make you feel like you’re on another planet. At the time, the newly released album Me∂ su∂ i eyrum vi∂ spilum endalaust was the first music I’d ever heard by Jónsi Birgisson, and his band Sigur Rós quickly became my favorite. To me, Birgisson’s music has always been about the sacred, inextricable relationship between filling and releasing. So when I saw that his first true solo release in a decade would be called “Exhale,” I smiled. The track begins with what is essentially a guided meditation: cavernous piano chords lead slowly to eight simple words: “Breathe in / breathe out / learn to / let go.” But the beautiful message of “Exhale” is that in moments of instability, you have to be able to forgive—at the very least, yourself; and perhaps, the universe. As the soundscape begins to shimmer and awaken post-meditation, Jónsi sings, “This is the way it is / It isn’t your fault / It isn’t your fault,” and maybe it’s just me, but right now that’s exactly what my anxious brain needs to hear. Around the halfway point, we begin to hear distant electronic chirps: the first signs of the track's brilliant co-producer, A. G. Cook, and a subtle amuse-bouche for the pounding, cathartic pop he provides for the song’s magnificent coda. The space created by the contemplative second verse (“Hold on / Inhale / Exhale / Exhale it from today”) is then filled with an ecstatic sun-shower of sound: anchored by A.G. Cook’s buoyant bass, Jónsi’s vocals swirl around themselves like a hive of butterflies, and eventually disappear. Then, filled with a fresh hope, you exhale.

Max Garcia Conover’s new single “Handsome Suit” is a stunning acoustic ballad that weaves sentiments of past and present into one harmonious and well-crafted track. Conover’s gravelly voice radiates feelings of warm nostalgia in a way that is as beautiful as it is bittersweet. “Handsome Suit” combines the sonic qualities of a tactile bedroom demo combined with the refinement and lyrical sophistication of an artist who has mastered his craft. Conover’s first lines, “Half-Puerto-Rican in a handsome suit / skinny little nothing in the buffalo news” sets the tone of the entire song, and prompts the singer’s authentic reminiscence on the childhood and family events that have led to his current multifaceted identity. Conover’s gruff vocals and sincere vibrato are sure to please anyone who enjoys the work of Donovan Woods, Father John Misty and Jackie Green, and nearly anyone else who is looking for a thoughtful Americana tune.

"Maria,” the new single from indie-pop band Similar Kind, successfully captures the enchanting yet endlessly frustrating emotional cocktail associated with deep infatuation. The band, originally formed in Norwalk, CT, released their debut EP Faces & Places last year. “Maria” is the first single to be released from their follow-up project. The song introduces itself with a few sustained synth chords and draws you in with an inviting palm-muted guitar lick. Singer Julia Breen’s hypnotic vocal first appears about 40 seconds in with the rhetorical question, “Maria, why can’t I breathe without ya?” and from that moment on the listener is fully enveloped into the track’s swirling world of desire. Billowing around the vocal is a dreamy instrumental haze that continues to build and morph throughout the song with flourishes from the keyboard, guitar and bass. "Maria" is grounded by a funky drum line that seems to effortlessly drive the music forward while leaving plenty of space for the other instruments to breathe. As the track progresses, the groove seeps into your body, and if you’re not careful you’ll find yourself dancing unabashedly around your bedroom before it ends.