The intersection of these two titans' talent is truly a blessing to the coinciding fanbases of emo rock and alternative comedy. What may seem like a slim Venn diagram has actually proven to be quite robust, as fans' recognition of this track at Phoebe Bridgers' recent live shows implies Punisher wasn't the only album this ghost-and-skeleton-clad crowd has been spinning. "That Funny Feeling," originally written and performed by Bo Burnham, one of comedy's premier talents, is a standout from his most recent special Inside, which landed on Netflix in May of this year and nearly broke the internet in the process. If you're familiar with Bo and Phoebe, it shouldn't shock you that she heard this song and loved it. The intelligence and poignance fit the bill of what she imbues in her own work. The articulation of general complacency in the midst of societal collapse, climate crisis and international neural numbing is crystal clear and sharp as a knife in this rendition. There's a certain brand of nihilistic nuance shared by the two that strikes a chord with fans. 

If this description seems abstract, it's intentional. I'd rather you take a moment to listen to Bo's original track (which you can find on streaming services, or even better, in context while watching his special on Netflix) and then take a moment to listen to Phoebe's cover. Not long ago, the two performed this song together for the first time at Largo in LA, an undoubtedly special experience for the audience; "That Funny Feeling" has since become a part of her setlist, a pleasant and near-perfect fit for the live show, as the song itself melds seamlessly into the narrative of Punisher, an echo or sister song to "I Know The End." If I wasn't already privy to Bo's work, I might mistake it for one of her original songs. The folk base of it appeals to her roots, while Phoebe brings a more explosive element to the track by adding horns and a longer, evolving outro. I'm thankful Bo and Phoebe sparked a friendship clearly built on philosophical and artistic similarities, and I hope it means we'll see more collaborations between the two of them in the future. Photo by Daria Ritch.

Smooth R&B meets plucky indie-soul on “Too Much to Ask,” a laid-back new groove from LA-based trio Moonchild. With its thoughtful lyricism and delicate, sharp production, the track marks the beginning of a new era for the group, as it’s the first single from their upcoming album, Little Ghost. Crisp and clear, the arrangement, reminiscent of Noname, exemplifies a fun and seamless blending of sounds. Clicking and snapping work together with a drum pad to create a tight percussive beat that feels close-knit, like you’re right there in the room while it’s being recorded. Nice, 90s-inspired electro keys, bursting synths and a faint guitar round out the instrumentation, invoking a sound that’s part soul, part jazz, and entirely immersive. Similarly, lead singer Amber Navran’s vocals are like smokey honey; sung barely above a whisper, her lyrics about unreciprocated love seep into you like a love spell. “Is it too much to ask for you to love me like that? / Is it too much to ask?” Hopeful and mature, “Too Much to Ask” is easy listening for the digital age that sways to a perfect summer beat. Little Ghost, which Moonchild calls their “most thoughtfully crafted and complete work to date,” is set to release on September 6.

“Dance Through It” is a lyrically cinematic story of a woman with unfaltering intrigue carried by a palpably fresh sound. This track breaks the typical style boundaries of Twin Peaks’ music with a full take on funk. The Chicago-based indie-rock five-piece gains even more flavor for their repertoire of tastefully crafted, age-old music for the modern world. With lyrics reminiscent of a dancing Uma Thurman, this masterpiece is riddled with soulful keys, sprinklings of brass, and naturally, looming trouble.

With her upcoming album Anak Ko ("my child” in Tagalog), LA-based Melina Duterte, better known by the moniker Jay Som, has reinforced her title of queen of bedroom pop. "Tenderness," one of two singles currently released from Anak Ko, is a lo-fi dream. Like her first album, Everybody Works, the song maintains a shoegaze sound with hushed vocals, breezy keyboard parts, and light jazzy guitar riffs. "Tenderness" ruminates on meeting someone and wondering if something more will become of it—“Tell me / Did you fall in at first glance? / Do you think you’ll take a chance?” The chorus perfectly encapsulates that rush of hope, fear, and vulnerability you feel when you meet someone new. Duterte croons, “I’m feeling like we’ve just begun / Nothing’s ever good enough / Tenderness is all I’ve got.” Just like the repetitive thoughts of someone overthinking a new relationship, the chorus repeats several times until the end of the track. Get your fill of “Tenderness” to hold you over until the full album is released on August 23.

(Sandy) Alex G reflects on lives lost to the opioid crisis in his newest single "Hope." The sped-up acoustic track covers a lot of ground in just two and a half minutes. His straightforward lyrics already highlight the message by the end of the first verse as he sings, “He was a good friend of mine / He died, why write about it now?” Though the song tells the story of just one life lost, it finds universality through specificity as he discusses waiting by the bedside and hoping for the best while preparing for the worst. There is an undercurrent of anger and sadness displayed through the lyrics, but the instrumentation and production add a sense of optimism. Recognizably a (Sandy) Alex G track from the start, it's wobbly and idiosyncratic—leaning heavily into his signature sound while still allowing for growth. It is the second single from his upcoming album House of Sugar.

Within the folds of the bottom middle half of the brain, there exists a small, seahorse-shaped organ known as the hippocampus. As the apparatus responsible for learning and long term memory, the hippocampus is one of the most studied parts of the cranium. It’s also the brainy buzzword guitarist Nathan Stocker latched onto after seeing the term in one of his psychology textbooks back in 2013 when he and his fellow bandmates were forming their group Hippo Campus—the pop-rock outfit that’s planted its name in every indie enthusiast’s long term memory, fan or not.

Now, the Minnesota-originated five-piece has released two collections of demos featuring early and alternate versions of songs from their sophomore album, Bambi. Having amassed a dedicated slew of fans since their South days, the demo tapes allow an intimate look into the process of rough drafts that eventually become an album and headlining tour. One rough draft that sticks out in particular, is “No Poms,” (or ‘No Pomegranates’) which didn’t make the cut for Bambi but remained a faithful setlist resident and fan favorite during live shows. Nihilistic musings wrestle against a backdrop of fast-paced, surfy garage rock before exploding into a starry smattering of what can only be described as, if Rainbow Road from Mario Kart became an alt-rock ballad.

Villagers’ upbeat new single “Summer’s Song” is like an invigorating burst of vitamin D to your senses. With a breezy, optimistic melody and catchy psychedelic hooks, the track is lively and fun, and it’s their most pop-leaning release to date. Spacey synths, energetic horns and upbeat, slapping percussion create an atmospheric introduction that kicks up the tempo to a head-bopping beat. Villagers’ distinctly smooth vocal paints a colorful picture of a carefree summer through vivid lyrics: “Wherever you go, I will follow / We'll leave it all behind / So alive / We'll climb the sunlight one beam at a time.” Magical horn and flute arrangements emulate shimmering sunlight and bright, warm afternoons, seeming to drive home the message that in the summer and on the open road, anything is possible. “Summer’s Song” is a sun-soaked, groovy pop song from one of indie folk’s loveliest voices.