One thing about Sufjan Stevens is that there is basically no telling what his new music will sound like. This has been true now for two full decades. Sure, there are some elements you can predict pretty safely. It’s pretty likely that the song will contain earnest and somewhat poetic lyrics scattered with Christian mythological imagery. It will almost certainly feature his iconic sandpapery vocals, and it could very well be anchored by its interesting rhythmic patterns. Other than that, part of the joy of a Sufjan release is the lead-up to inevitable surprise. Where will the new release lie in the field of artistic breadth that he has always tended to so methodically? Will the track break down into unpleasant screeching guitar after a 9-minute chant? Or will it plod on with pleasant banjo or piano for two minutes and call it quits? Will it sound basically acoustic with sneaky subtle electronic effects? Or will it bleep and bloop all over the place like a robot fever dream?

In my estimation, “Video Game” is the farthest Stevens has gone down the rabbit hole of melodic electronic music since his 2010 album, Age of Adz. And, in the iconic words of Bernie Sanders, let me be very clear: I am super here for it. Although I was originally hooked as a teen by the lush and folksy orchestration in albums like Michigan, I’ve always held a special place in my heart for electro-Sufjan. In fact, it is my suspicion that the world of electronics is where Stevens feels most comfortable, most able to invent. In the case of “Video Game,” the effect is something like "faux futuristic,” and the “faux" feels intentional to me. Maybe that’s because the lyrics are also focused on fakeness—specifically, renouncing repeatedly all the fake value of celebrity. In a statement about the song, Stevens says, “I think we should all be doing our best work without looking for accolades or seeking reward.” That genuinely sounds really nice, and I think there is truth in it. But also, Sufjan, if you’re reading this: I really, really like your new song. Will you sign my t-shirt?

New York-based Olden Yolk (Shane Butler and Caity Shaffer) share "Vital Sign," the second single off of their self-titled debut album. Collaborating with drummer Dan Drohan and guitarist Jesse DeFrancesco, Olden Yolk creates a dreamy "dystopian folk" (Trouble in Mind) soundscape that's brought to life on their latest track. In the band's own words, "'Vital Sign' represents two sides of a coin. It references feelings of isolation and paranoia during periods of illness and confinement, as well as the emergence from such an experience, in recognition of the trials that bind us ('it could have been you too')." Communicating the good and the bad, Olden Yolk shares a genuine experience that we can all relate to.

Brooklyn-based indie-pop band Daisy the Great recently released their debut EP “I’ve Got a Few Friends and I Wish They Were Mine” and we can’t get enough of these contagious melodies. The band consists of two female lead singers, Mina Walker and Kelley Dugan, who share a unique and quirky perspective on life — one that is especially highlighted in "Built My Home On Hollow Ground." Mina states that this track "is about reinventing yourself in a new place free from the entanglements of the past." We feel more free just listening to the funk-inspired bass riffs and the shimmering voices of this dynamic duo.  Their solid harmonies mixed with invigorating percussion will definitely leave you dancing and wanting more. 

The newest single by Friendship Park, "Growing Boy" is a wonderfully enchanting departure from the sound of their self-titled 2016 EP. Where the duo once relied on vocal effects to blend with their dancy synth-pop, the authentic vocals and plucky strings immediately brings you into this picturesque folk track. Though they’ve switched up their sound, the two have lost none of their charm and this single immediately has you wanting to grab a partner and go dancing around the room in pure exuberance. You would think that a song about convincing someone to stay with you because of the pure potential would be sadder, but they’ve turned that trope upside down and created a song worthy of a Zooey Deschanel indie rom-com. With a debut LP on the horizon, “Growing Boy” gives listeners a tantalizing taste of what is to come.

Portland singer-songwriter Matt Dorrien takes us back to the days of crooners singing in dimly lit nightclubs with his new single "Baby I'm So Lost". With a jazz-infused piano playing, muted horns and a soft confessional voice, Matt tells us how without his lover he's "moping the hours away." The beauty of this song is seen in the mixing of a universal feeling with a classic sound in a world that hasn't shown much appreciation for this style in recent times. "Baby I'm So Lost" shows us that these songs are more than just backing tracks in the montage scenes of our favorite rom-coms, they're living and breathing works of art by themselves. So if you're already starting to feel the "I'm single on Valentine's Day blues," just trust that Matt Dorrien gets it. 

Jersey native indie-pop singer Sidney Gish put out a quirky and expressive new album in December displaying her killer musicianship and crafty songwriting. "Where the Sidewalk Ends" takes us back the days of Juno and The Moldy Peaches. While happy-go-lucky and euphoric, “Where the Sidewalk Ends” has some attitude to it which is probably one of the reasons why we love it so much. Make sure to check out the entirety of No Dogs Allowed on all music platforms.

If you're a fan of Daughter you definitely need to check out UK singer-songwriter Fenne Lily. At just 21 years old, she has self-released a collection of gorgeous songs on Spotify that gained her a ton of fans and millions of plays. Her latest release "For A While" features mellow guitar tones tangled with her whisper-like voice and lonesome lyrics making it a perfect go-to for the days when you're missing someone or somewhere. Look out for her debut album due this year!

Early on in the music video for “Beige,” a faceless stagehand rips Adrian Galvin’s (aka Yoke Lore) banjo from his hands. Shy Girls’ “Beige” remix jettisons the banjo from the song entirely. Whereas the original version lingers in ballad-zone until the one-minute mark, this remix (the single off a six-song Goodpain Remix EP) pumps and climbs from the gun.

In true fashion, The Oh Hellos' new single is one that you’ll want to have on repeat for a while. But while this song falls in line with their typical repetoire of great music, it’s also a new kind of song for them. This anthem urges its listeners to choose growth over stagnancy, bravery over fear and resistance over complacency, but in a different way than most songs. The message in this song makes it a new kind of anthem, one that focuses on the need for inaction instead of action. “If you let it alone it will surely grow.” This song is a passionate call to be still and a recognition of how much strength that actually requires. 

Sjowgren, the band whose Scandinavian-esque name and music belies its Bay Area origins, has an enigmatic and insular online presence. Since releasing Demos in 2015, the band’s members remain anonymous. Likely, the sleight of hand means to plop your ears and attention fully into the music. So let’s get to it: rhythmically throbbing and vocally delicate, “Stubborn Forces” struts evolving production choices, but reinforces the simple fact that this band exudes incredibly tender pop refrains.

Swedish indie pop band, Holy Now, ushered in the year with new single “Feel It All." With a sense of nostalgic euphoria, this song is a joyful plea for ease and mindfulness. Keep an eye out for their new album coming out later this year!