Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by Tiana Major9, Samantha Crain, Saint Joshua, BANKS, Pretty Jane, Mary Eliza, Will Swinton, BOSAYA, Jordan Duffy, Claire Guerreso, Pseudopomp, Saint Blonde, LSR/CITY, NNancy, Quinny, NickFolwarczny, Anandita, Sam Uctas, Clairo, Harrison Lipton, Camryn Quinlan, and Dipsea Flower!
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follow WEEKLY ROUNDUP on Spotify
:: “alone” – Tiana Major9 ::
Mitch Mosk, Beacon, New York
There’s no easy way to express the enormous weight and pain of leaving someone you love. Still, Tiana Major9 captures that raw heartache with undeniable grace in “alone,” her first standalone release in over two years’ time.
You’re someone
That change their mind
So easily
I’m the one who’s up at night
Wondering
You make time
For what you want
I guess it’s not me
I’ve run out of tears to cry
And you ain’t sorry
Released November 11 via +1 Records, “alone” is a soulful, sweepingly seductive, and breathtakingly beautiful baring of an unbearably heavy heart. Maybe your special someone has changed for the worse, and they’re no longer the person you fell in love with; or maybe they’ve finally shown you their true colors; just as love is love, heartbreak is heartbreak, and at some painful point, you can’t go on with the letdowns and disappointments. If you’re “better off alone,” as Tiana Major9 sings so passionately in her chorus, then it’s too late for “sorry” or “I’ll do better next time.”
Don’t know why I love you
You ain’t doing nothing for me
Make it make sense
I’m just a fool for your love
Hard to get past what you did
can’t pretend no more
Change? You will never
You just do whatever you want
And I let ya, but I deserve better
I’m done giving up
Way too much
Come and get your stuff
Used to think you were the cure
What’s the point in trying more?
Love don’t live in here no more
No more
I think I’m better off alone
I think I’m better off alone
Can’t turn this house into a home
I think I’m better off alone
Tiana Major9’s stunning golden vocals take center stage throughout “alone” as she passionately, powerfully spills her guts. Her lyrics paint a vivid, vulnerable story of emotional wounds turned into emotional scars as promises were broken and hopes were dashed opened again and again.
The one benefit of the disillusionment we hear in “alone” is that the narrator can finally start healing; and with that healing comes the opportunity to try and love again. Hearts are resilient muscles; they ache constantly, yet they remain stalwart and strong. Even when they break, they mend – but “alone” isn’t a song about the mending; it’s a song about a heart breaking and a love dying, and when you’re in it, there’s nothing worse. Tiana Major9 embodies that carnage with soul-stirring finesse, inviting us deep into her inner sanctum as she finally cuts herself loose, breaking free from a bad love so she can someday find the good one.
Misery’s a friend of mine
It loves company
Memories in my mind
Just repeat
Broke my heart several times
I still didn’t leave
I stood right there by your side
Stupidly
Don’t know why I love you
You ain’t doing nothing for me
Make it make sense
I’m just a fool for your love
Hard to get past what you did
can’t pretend no more
Change? You will never
You just do whatever you want
And I let ya, but I deserve better
I’m done giving up
Way too much
Come and get your stuff
Used to think you were the cure
What’s the point in trying more?
Love don’t live in here no more
No more
I think I’m better off alone
I think I’m better off alone
Can’t turn this house into a home
I think I’m better off alone
:: “Ridin’ Out the Storm” – Samantha Crain ::
Mitch Mosk, Beacon, New York
Life’s thrown us quite a bit of emotional, existential, and even some literal stormy weather of late. When it’s rain, snow, or even hail, we generally know what to do: Stay inside, take cover, and wait for the clouds to part; wait for the sun’s return. And while they’re different in so many ways, those emotional and existential storms in our lives can be weathered with a similar this-too-shall-pass mindset, because they always do – no matter how bad things seem, or how bleak things get. You just have to ride out the storm and see yourself through to the other side. Oklahoma-based singer/songwriter Samantha Crain offers the world some empowerment, reassurance, guidance, and a heartfelt glimmer of hope in her new single, “Ridin’ Out the Storm.”
Give me moonlight gravel and a pickle jar
I never go away too far from a post oak tree
Played like boxcar children in the wilderness
But in real life I’m all defense
Heart born deportee
In hindsight, I guess
I was for sale
For a compliment and a cocktail
Thirty coins and I’d exhale my light
Scratching your back like I never broke a nail
And I’m on kitchen detail for the rest of my life
Like a bolt from the blue
No reason, no rhyme
You guess is as good as mine
Wipe it off and go inside
Batten down the hatches
Ridin’ out the storm
“I was watching this TV show called ‘The Great’ one night and this one line caught me,” Crain tells Atwood Magazine. “I’m sure it is based on some older, canonical text but, basically, it was this: ‘Let it go. It is a storm. They will never stop coming, but pass through and away. They always will.’ To me, that seemed like the best way I could sum up the gist of living, and I wanted to write an expansive song about how that has played out in my life.”
“Expansive” is the perfect introductory description for “Ridin’ Out the Storm,” which itself plays out like a beautifully enchanting, understated tempest. Hypnotic and tender, dramatic and dreamy, the track is Crain’s ode to some of her favorite tunes, in addition to being an impassioned, soul-stirring seduction in its own right.
“I love the song ‘I Want to See the Bright Lights Tonight’ by Richard and Linda Thompson. How it’s just a really solid band holding down a rhythm and these upfront tight doubled vocals,” Crain smiles. “I wanted the base of this song to sort of feel like that… the kind of song a good musician could hear once or twice and, more or less, be able to play along to pretty well. I love doing octave doubled vocals as well, it just adds this nice almost invisible texture, so I made sure we did that with both myself and Penny Pitchlynn (from BRONCHO, LABRYS), who did most of the background vocals on the record.”
“The song ‘Cosmic Dancer’ influenced this song as well… I wanted the strings to be an interested moving element and not just a pad adding lushness (like the strings on Cosmic Dancer) and also the acoustic guitars in that song, I feel like you’re hearing more of the percussive, woodiness of the instrument and less of the actual metallic string and that was what I was trying to achieve with the acoustic guitar tones on my song. I wanted everything to feel round and warm without being muddy.”
She continues, “The addition of the whistle part was sort of an accident, if I remember right. I just heard one of the guys in my band do it lightly to themselves during a playback and I was like, ‘That’s great! That makes me feel like I’m weathering a storm all by my lonesome! We’ve got to add that!’ The song is long and also pretty uniform, so I knew I needed to change up the last verse sonically. In movies and TV, when there is a flash back to a past time, they will yellow the color grade or fuzz it up like a memory or something like that where you know you’re in a different time and place, and I needed an auditory version of that since the ‘x marks the spot’ bit comes from a bedtime rhyme song my mom would do when I was younger, so I wanted something that made it feel like I was going back to a memory. My memory is actually really bad, and I don’t remember a lot from my childhood, so I thought the choppy tremolo sound would be a pretty accurate representation of how my memories actually feel.”
No reason, no rhyme
You guess is as good as mine
Wipe it off and go inside
Batten down the hatches
Ridin’ out the storm
Whatever storms you’re facing, don’t let them overwhelm you or consume you whole; don’t let them sweep you away. “Ridin’ Out the Storm” is a testament to our own inner strength and own inner light; to our ability to overcome all those obstacles that stand in our way, no matter their size or their weight. Her second single of the year (following September’s “Dragonfly”) sees Samantha Crain rising and ridin’ high, taking us with her on the climb.
X marks the spot with an xxx and dot dot dot,
you know I never thought thought thought
I’d go and get the chills
That memory, ‘bout as useful as a pay phone,
‘bout as free as a metronome
But I guess it led me here
And here’s as good a place to be as anywhere
Daycare for your nightmares, I hear that I’m dreaming it all
So I buckle up but not too tight, and I call home on the by and by
It’s a tight squeeze and cool breeze and it’s like
A bolt from the blue
No reason, no rhyme
You guess is as good as mine
Wipe it off and go inside
Batten down the hatches
Ridin’ out the storm
:: Self-(En)titled – Saint Joshua ::
Danielle Holian, Galway, Ireland
Saint Joshua continues to captivate listeners with his latest mixtape Self-(En)titled, a collection that solidifies his place as a rising star in pop and R&B. Known for his soulful lyrics and powerful vocals, Joshua blends elements of both genres to craft an eclectic and deeply emotive sound. The mixtape’s nine tracks are an exploration of his personal journey, touching on themes of love, self-discovery, and vulnerability. Influenced by musical icons like Usher, Frank Ocean, Stevie Wonder, and Amy Winehouse, Joshua’s versatility shines through, with each song offering a unique blend of introspective lyricism and genre-defying beats.
Collaborating with a talented roster of producers including Cashybear, Pears Macintyre, and Blair Mackichan, Saint Joshua has crafted a project that is both intimate and relatable. Tracks like “Blah Blah Blah” and “Sweet Talk” exemplify his ability to balance infectious melodies with heartfelt storytelling. With Self-(En)titled Joshua demonstrates his growth as an artist, blending raw emotion with masterful production. As his star continues to rise, the mixtape serves as a testament to his undeniable talent and his potential to make a lasting impact on the music industry.
:: “Best Friends” – BANKS ::
Jada Moore, Virginia
After confirming the release of her upcoming fifth studio album Off With Her Head, singer/songwriter BANKS finally released her latest single “Best Friends.” The singer admitted that she’s held this song particularly close to her heart for years now. Giving it a listen, it’s clear why this one in particular was so special to her.
BANKS: “It is about someone who was my sister for many years, someone I still dream about and wake up missing. Someone who I grew apart from. I think we broke each other’s hearts. This song is about the grief of that loss and honoring our love. I think it’s important to write about because although universal, friendship loss can be more difficult to process. We are never taught we can lose a friend in the same way we are taught we can lose a romantic partner. I’m happy to release a song that honors the deep beauty and romance of friendship.”
The soft jingle of wind chimes starts the song as the singer’s characteristic soft and melodic voice joins. Which is then accompanied by the soft strumming of a guitar, as she begins a descent into a story of what once was. A stringed orchestra plays in the background adding an additional layer. As the song progresses all the mentioned elements combine to encompass the overall very heartfelt and raw emotion of losing a best friend. The gentle sound of water movement closes it out, in a way bringing closure on that chapter.
:: “Quiet” – Pretty Jane ::
Julius Robinson, California
Pretty Jane’s latest single “Quiet” demonstrates that there can be so much said with silence. Breathy, restrained yet passionate vocals ride atop what starts out as a soft rock sonic. Later a harder, explosive section spills out a depth of withheld emotion. Singing, “You put your hands on me, but you’ll never say that you want it,” shows us there is a powerful connection within the quiet. The simple chorus says it all, “But when you’re quiet, baby you’re so alive.”
The Detroit born, Nashville-based trio combine alternative and indie pop/rock for a highly infectious sound. The threesome consists of Trevor Dalrymple (vocals), Luca DiVergilio (bass) and Ethan Strain (lead guitar). Their captivating music possesses rich intimacy and longing. The group’s previous singles “Stand So Close” and “Two Few Tattoos” portray that enticing quality. “Quiet” is just as gripping.
:: “Porcelain” – Mary Eliza ::
Mitch Mosk, Beacon, New York
For a song named “Porcelain,” this track is far less white, shiny, or clean than one might expect. Halfway between an indie rock reckoning and an alt-folk confessional, Mary Eliza’s latest single is feverish, brutally honest, and unapologetically raw. It’s gritty and graceful, sonically charged and charmingly messy. For three and a half minutes, the Portland-based singer/songwriter sings the quiet part aloud as she candidly confronts deep-seated emotions around a relationship and within herself.
Will you love me until I’m young,
will you love me until I’m old?
Will you love me into somebody I don’t know
I think the house is cold
and you say that it’s not
And I put on all my sweaters
while you try to take them off
Am I as cool as them?
In the summer in a different country
Do you find me interesting anymore?
It’s almost like I’m there,
just staring at a crescent moon
And sniffing out the part of you
that makes me wanna scream
“‘Porcelain’ starts out with a bang, meant to surprise,” Eliza tells Atwood Magazine. “‘Porcelain’ has surprised me from start to finish. I initially wrote it in the snowy, dark days when a relationship of mine was seeming to crumble right in front of me. It started out slow, and timid, as I hadn’t said any of it out loud yet.”
“As the tenderness of the initial seed of song wore off and grew into strength, resilience, and frustration, it began to take new shape. This was a song that I felt really exploded in the studio. Preston Cochran really saw my vision and was able to help me execute it. This song encompasses a lot of growth for me, and I hold it close to my heart.”
Intimacy reigns supreme as Eliza pours her heart out in song through vulnerable lyrics and a deeply emotive performance:
I want to be warm again, I want to be like you
I’m always in the hospital, they got zero follow through
You tell me that I’m porcelain and I know what that means
I don’t want you to feel so scared, so terrified of me
I want to melt into the rain that streams down your neck
You’ll think that it’s annoying ‘til there’s none of me that’s left
You’ll wish that you had stayed outside, but darling, no regrets
I’d take any piece of you any chance that I can get,
with my talons in your neck
From its dramatic, explosive beginning to its achingly tender, cathartic close, “Porcelain” proves as beautiful as it is brash. Mary Eliza’s soul-stirring upheaval is the latest look at her upcoming debut album Spider (independently out January 5th, 2025), and a powerful insight into the tension and turmoil so many of us feel within.
And is this the kind of life
that you always wanted,
always dreamed of
Staring at Seattle from your room
Or did I take too big a bite?
And now you’re not sure what you’re doing
Feels like there’s no food that’s left for you
I want to be in love again, I want to feel brand new
Put on my favorite dress, have you spin me round the room
I want to be your best friend who ruins everything
No matter the occasion, I’ll bring a boxing ring
:: “Walls” – Will Swinton ::
Mitch Mosk, Beacon, New York
Heartbreak doesn’t last forever, but it sure hurts like hell in the moment. There will be ‘better days’ ahead (or so we tell ourselves), but in order to get there, first we must weather our present storms – and Will Swinton’s “Walls” comes straight from the eye of his own intimate hurricane. The third single off his upcoming debut EP Better Days sees the New Zealand-born singer/songwriter baring his soul in a beautifully dramatic, achingly vulnerable upheaval of love, loss, and longing. As the world he once knew falls apart around him, Swinton reflects on the life and love he once had, and the version of himself he’s also losing in the process.
Because breakups are more than just a parting of people; when you say goodbye to someone, you’re also saying goodbye to the person you were with them.
The way you used to set me on fire
Something in your touch so cold
Maybe it’s the way that I’m wired
That’s keeping you from getting to close
Never meant to love me a liar
Loving you is all I know
Wish I could’ve held you tighter
I’ve been lost since you let me go
I hate to think you were all I needed
Hate the way these walls keep closing in
I was begging you please don’t leave yet
So hold on don’t you run
I need you here
Forty nights of me still not sleeping
Forty days with a hole inside my head
I was lost when you lost all feeling
So hold on don’t you run
I need you here
“’Walls’ is about the struggle of letting go of someone who, even though they weren’t good for you, became a part of you,” Swinton tells Atwood Magazine.
“It’s this painful realization that losing them means losing a piece of yourself. The song captures the emptiness that follows, the feeling of walls closing in as you grapple with who you are without them.”
Maybe I was caught up in the moment
It never really crossed my mind
That you were gonna leave me hear hopeless
I’ve been walking down a faded line
And part of me to you seems broken
Was the part of you I held so high
Cause when you left it ripped me right open
How’d I love you for the longest time
Born in 2002, Will Swinton wasn’t around for the pop- and alt-rock music hayday, and all those visceral sonic upheavals that lit up the airwaves throughout the late ‘90s and early 2000s. And yet, the 22-year-old’s songwriting feels right at home with acts like The Fray, Lifehouse, and Matchbox Twenty. His impassioned voice is a beacon of breathtaking emotion, rising and falling with seasoned finesse as he channels his own inner angst and turmoil into cathartic release. As tender as it is tempestuous and ultimately all-consuming, “Walls” is a stunning display of both musical talent and raw, real heartache. Swinton’s Better Days will surely come someday, but today, he’s in the storm, and there’s nothing more to do but let his pain wash over us.
I hate to think you were all I needed
Hate the way these walls keep closing in
I was begging you please don’t leave yet
So hold on don’t you run
I need you here
Forty nights of me still not sleeping
Forty days with a hole inside my head
I was lost when you lost all feeling
So hold on don’t you run
I need you here
I hate to think you were all I needed
Hate the way these walls keep closing in
I was begging you please don’t leave yet
So hold on don’t you run
I need you here
:: “AYA” – BOSAYA, TONY B ::
Danielle Holian, Galway, Ireland
BOSAYA and TONY B’s latest single “Open Your Eyes” is a masterful collision of hip-hop, rap, and pop that feels as electric as it is introspective. What started as a chance onstage encounter has evolved into a dazzling partnership, and this track is proof of their unshakable chemistry. BOSAYA’s airy, emotive vocals set the stage for an otherworldly soundscape, while TONY B’s sharp, kinetic rap verses charge in, balancing the song’s ethereal tones with grounded grit. The result is a sonic experience that’s as uplifting as it is energizing, pulling you into its orbit from the very first beat.
Beyond the sound, the track’s rebirth is a story in itself. Originally a solo piece from 2018, BOSAYA’s collaboration with TONY B breathes new energy into ‘Open Your Eyes’, thanks to producer Vadim Zariuta’s deft touch under LUOSI’s indie banner. The music video, a visual feast filmed against the dramatic backdrops of Hanford Reach and Peshastin Pinnacles, feels like a spiritual odyssey in itself. As the visuals mirror the song’s themes of self-discovery and enlightenment, the dynamic duo pushes their artistry to new heights. More than just a song, “Open Your Eyes” is a bold declaration of their creative synergy and their ability to transcend boundaries, making it an anthem for anyone seeking meaning in both music and life.
:: “Stay With Me” – Jordan Duffy ::
Chloe Robinson, California
Passionate pop singer/songwriter Jordan Duffy’s single “Stay With Me” is a song many will resonate with on a deep level. Have you ever felt so connected to someone you know it goes beyond just a fling? “Stay With Me” captures that earnest, heartfelt emotion. Her commanding vocals flow atop warm synths and gentle guitar crafting the ideal soft romantic vibes.
A singer, songwriter, producer, and audio engineer, Duffy does it all. Her unique sound marries many genres such as indie, pop, Americana, and alternative. Her inspirations include greats like Adele and Lake Street Drive. That influence can be heard in her bold tone. While in college she discovered her 4 octave range. “Stay With Me” showcases her powerhouse voice at its finest.
:: “Ready When You Are” – Claire Guerreso ft. JF ::
Julius Robinson, California
Relationships can take work. Love is not always easy to navigate. It is not just about being there for the highs, but finding the strength to withstand the lows. Claire Guerreso’s “Ready When You Are” ft. JF is a poignant piece that depicts the resilience needed to overcome the many obstacles of love. Her warm, passionate vocals glide over delicate piano. They compliment JF’s equally heartfelt serenade. Lyrics include “Loyal to the pain still want the rainbow. Gotta take the rain though.” We all dream of that blissful relationship filled with sunshine and rainbows. We also have to accept the dark with the light remaining open to the connection.
Guerreso skillfully blends indie-pop, rock, electronic and soul for emotive music that is vulnerable and raw. Her haunting, ethereal releases leave a bold impact. She creates moody, introspective ballads, while also providing danceable tracks. “Ready When You Are” truly showcases that reflective essence as she dives into the complexity of partnerships.
:: “Only Just” – Pseudopomp ::
Danielle Holian, Galway, Ireland
Alt-rock duo Pseudopomp makes a striking return with their sophomore single, “Only Just,” a follow-up to their promising debut track “23.” Comprised of Greek musician Iosif and British-Bulgarian artist Katerina, the duo has crafted a captivating sound that resonates with listeners through its distinctive blend of eerie riffs and unconventional songwriting. Their journey began with spontaneous late-night jam sessions in London, which laid the groundwork for their unique style, marked by off-kilter rhythms and compelling narrative lyricism. With “Only Just,” Pseudopomp explores the complexities of love through a haunting lens, solidifying their presence in the vibrant indie scene.
“Only Just” stands out as an anti-love anthem that delves into the frustration and confusion of falling head over heels. The track masterfully balances dark, melodious alt-rock elements with unsettling melodies, perfectly encapsulating the emotional unrest that accompanies infatuation. A pivotal moment in the song occurs at 2:28, where faint piano notes herald the narrator’s painful realization of impending heartbreak. With all instruments recorded by the duo and the guidance of producer Ben ‘Faz’ Farestvedt, Pseudopomp is poised to elevate their atmospheric sound during upcoming performances. “Only Just” not only highlights their raw emotional depth and unhinged energy but also positions them as one of the most exciting new acts in the indie music landscape.
:: “Prowl” – Saint Blonde ::
Mitch Mosk, Beacon, New York
If catchy, cathartic pop songs built on big emotions are your thing, then look no further than Saint Blonde’s latest single. The Texan alt-rock band dwell in an intimate space of raw passion and real connection on “Prowl,” a moody song about being a messy (and unapologetic) romantic.
You seem so original
I picture you
In the afterglow with me
Prefer something physical
But cut through all my platitudes quickly
I’m so close
Touching your hand
Heart is beating out my chest
I hope you fold
‘Cause I can’t resist
I’m scared of what is coming next
“‘Prowl’ is more or less a song about dating, finding yourself again in that process, working on yourself, and the concept of potentially being emotionally or mentally available to date again,” Saint Blonde’s vocalist Hunter Fitch tells Atwood Magazine. “It’s a song about the realities of casual dating when you’re a feely person, catching feelings, and trying to live up to expectations. A fling turned into more than a fling type thing, and the feeling of freedom and vulnerability in the process of meeting someone new.”
He continues, “It’s a song about self-improvement and maybe even remorse, in a way. New beginnings and being afraid to make the jump with a new person.”
Saint Blonde’s chorus marks the song’s confessional climax as Fitch surrenders to forces outside his control and (seemingly) tries to embrace the moment he’s in. Vulnerability doesn’t come easy when you’ve just built fresh walls, yet those walls can be quick to crumble depending on who’s a’knocking.
I heard it goin ‘round
That you’re out on the prowl
Not lookin for another maybe
I wont let you down
I heard it goin ‘round
That you’re out on the town
You’re lookin for another baby
I won’t let you down
I heard it goin ‘round
It’s hard to let someone new in when you’ve just flushed someone else out, and it’s hard to keep things “casual” when that’s not who you are. Saint Blonde balance both of these truths as Fitch sings about starting again, putting himself out there, and getting thrown into something he might not have been ready for. Some folks might just throw their hands up, call it a case of “right person, wrong time,” and walk fervently in the opposite direction; but others, Saint Blonde’s brave narrator included, fight through the funk and all that inner turmoil, seemingly recognizing that all we have is the here and now.
Fighting to critical
Back to back
In the Thunderdome with me
She made herself right at home
Said “you’re not getting rid of me quickly”
Do the most, I’ve got to impress
Only showing you the best
Tear at my clothes
Hands on my hips
Helping me to get undressed
A seductively emotive singalong, “Prowl” invites us to find comfort in new people and new places, even though that scares us. If you’re not ready, you’re not ready – but if there’s even a slight chance that you might regret walking away, then give it a shot and see where it goes. Together, Fitch and his bandmates Tre Rollins (huitar), Alexander Hernandez (guitar), Tyler Lee Cooper (drums), and Kyle Cade (bass) capture both the angst and excitement of beginning again. It may ache inside and out, but “Prowl” is a hit single in the making – and we’re honored to join Saint Blonde wherever their journey takes them next.
I heard it goin ‘round
That you’re out on the prowl
Not lookin for another maybe
I wont let you down
I heard it goin ‘round
That you’re out on the town
You’re lookin for another baby
I wont let you down
I heard it goin ‘round
:: “without u” – LSR/CITY, Gareth Emery, Annabel ::
Bárbara Martínez Campuzano, Mexico
Gareth Emery has released once again a great single for those who love the trance and electronic music genre. Energizing, pumping, and engrossing, the beat that can sound familiar to some of Emery’s past songs, it is a valuable piece for the dancefloor, for running, for a night car ride, you name it. We can find Emery’s iconic, distinct rhythm if familiar with other of his songs such as “Saving Light” and “i saw your face.” In the world of electronic music, though, familiarity with the artist’s beats doesn’t mean each of their songs is special, as in the case of “without u.”
LSR/CITY made its biggest North American tour with 16 shows at the start of 2024. The project has been praised for its spectacular visuals, instrumentation, and new music. As part of the musical project led by Gareth Emery, this song is not only special for its electronic bases, but for its lyrics and vocals. English singer/songwriter Annabel has participated in this project as the sole vocalist, making this song the result of a perfect contribution that mixes electricity, technology, sweet vocals, and even futuristic, cinematic visuals. Annabel wraps this song in nostalgia as she sings about missing a past lover and trying to carry on without them. LRS/CITY, therefore, has truly shown that the blend between emotional, trance, and electronic music is possible and far more than creative.
:: “Murder on My Mind” – NNancy ::
Danielle Holian, Galway, Ireland
NNancy’s “Murder on My Mind” is a bold and emotionally charged anthem that cuts straight to the heart of love’s most painful truths. This alt-pop gem explores the devastating moment when the person you fell for reveals themselves as a carefully constructed facade. With piercing lyrics like, “Another day, another lie, again murder on my mind, how to kill a person you really are,” NNancy delves into the dissonance between illusion and reality, wrapping her vulnerability in haunting melodies and electrifying production. Her voice, rich and emotive, becomes a vessel for the heartbreak, carrying listeners through the peaks and valleys of betrayal and bittersweet longing.
Set against a backdrop of atmospheric synths and pulsating electronic beats, the song’s sonic journey mirrors the turbulence of its narrative. Starting with intimate pop elements, ‘Murder On My Mind’ crescendos into a cathartic EDM finale—a release that feels as raw as the emotions it captures. This isn’t just a track you hear; it’s one you feel in your bones. NNancy proves herself a master storyteller, blending her genre-defying sound with striking honesty to create a song that’s both deeply personal and universally resonant. It’s a triumph for anyone who has ever danced with heartbreak and lived to tell the tale.
:: “Up the Dollar” – Quinny ::
Danielle Holian, Galway, Ireland
Quinny’s latest single “Up the Dollar” from his debut album Outer Monologue, is a shining example of his ability to merge humor, sharp social commentary, and addictive indie-rock soundscapes. The track, fueled by an irresistible guitar riff, critiques societal obsession with wealth and status while remaining irresistibly danceable. Its accompanying video amplifies the satire, blending absurdist humor with a DIY aesthetic that enhances Quinny’s charm as an artist who refuses to take himself too seriously. While comparisons to Ed Sheeran may catch initial attention due to a passing resemblance, Quinny quickly subverts expectations, establishing himself as a uniquely inventive voice in the indie scene.
:: “Ethyl” – Nick Folwarczny ::
Mitch Mosk, Beacon, New York
Nick Folwarczny’s folk rock storytime begins in line outside a local OSU bar, and ends in utter infatuation. Released November 20th, “Ethyl” sees the 20-year-old Columbus native unconcerned with traditional song structure, instead focusing his efforts on capturing a moment in time that he, himself, will never forget. “Lavender gown and a bottle of wine, drink ‘til you drown is the plan,” he sings to start verse one (of four), acoustic guitar gently pattering alongside his brightly aching voice.
And oh, how it aches. While he’s giving us the beginning of his love story, Folwarczny is by no means getting to the ending (if there is one) in just two and a half minutes’ time; “Ethyl” is a taste and a tease, reminiscent of The Lumineers’ “Flowers in Your Hair” – another stomp-clap folk rock barnstormer that leaves us wanting so much more.
Lavender gown and a bottle of wine
Drink ‘til you drown is the plan
You go to the bathroom
An x on your hand
That you rinse ‘til it’s gone
With your friends you go dance
The bouncer rejected the group up ahead
And he laughed when he saw who was next
I was already drunk
He asked me where I was from
And I managed to somehow get in
“I wrote this about a girl I met at an Ohio State bar, Ethyl & Tank,” Folwarczny tells Atwood Magazine.
“I wanted the song to be literal, and that’s exactly how I wrote it. It turned out to be the song that I’ve been trying to write since the start of my career.”
I saw your lavender gown
Like there was no one around
I drank enough to go ask for your name
You told me where you were going
Said I’m welcome to join
And the drinks started pouring again
I didn’t know it then but I should’ve ran
But your lavender gown
was something I wasn’t ready to forget
You tear me apart
Leaving unopened scars to bleed
until they’re no longer red
But your lavender gown
was something I wasn’t ready to forget
A memory channeled into beautiful, sweet music, “Ethyl” is charming, churning, and easy to fall in love with. When Folwarczny finally gives us the “little bit more” that we’ve been waiting for in the song’s fourth verse (some might even call it a chorus), we’re already all-in. Sure, she might have broken his heart – as he sings with poetic grace – but hey, what a story.
:: “Anything” – Anandita ::
Chloe Robinson, California
R&B/pop singer-songwriter Anandita’s new release “Anything” is a heart-wrenching single about finding strength within the pain. Her stunning, soulful vocals sing of seeking the courage to escape a broken relationship. With every note you can sense the deep anguish of love lost. Lyrics like “I held onto a love that made me truly go insane,” depict just how much the partnership tore her apart. Whether it is a romantic relationship or friendship when we are trapped in something so unfulfilling, it is not always easy to cut loose. Anandita beautifully illustrates that struggle.
The Indian/American teen was born and raised in the Bay Area by immigrant parents. Speaking only Tamil, as a preschooler she learned English by singing popular American songs. Now she is not only inspired by Indian music, but also by pop idols like Ariana Grande and Mariah Carey. Based in India, she continues to hone in on her craft with confidence and pride. “Anything” is a prime example of how much she has grown in her musical artistry.
:: “Redacted Lines” – Sam Uctas ::
Danielle Holian, Galway, Ireland
Sam Uctas’ “Redacted Lines” is a bold and captivating journey that bridges the gap between traditional songwriting and avant-garde experimentation. Anchored by Sam’s lifelong love affair with the guitar, the album showcases a masterful balance between melodic clarity and textural complexity. From the raw, post-punk energy of the title track “Redacted Lines” to the emotional depths of “In Your Eyes,” each song pulls the listener into a deeply personal and thought-provoking world. Recorded on vintage tape machines, the album’s analog warmth and imperfections add a tactile quality that enhances its organic and human feel—something increasingly rare in modern production.
The beauty of “Redacted Lines” lies not only in its sonic landscapes but also in its lyrical depth. Drawing from literary influences like Jack Kerouac and Charles Bukowski, Sam crafts lyrics that stand alone as poetry while seamlessly complementing the music. Tracks like “Everything is Becoming” and “VRBA” push boundaries, blending spoken-word poetry with atmospheric soundscapes in a way that feels groundbreaking yet deeply intimate. Whether through the driving rhythms of “Falling Out” or the psychedelic funk-dub of “SKU DUB,” Sam Uctas delivers an album that challenges conventions and invites listeners to explore the edges of musical and emotional expression. It’s a work that lingers long after the final note.
:: “Amoeba” – Clairo ::
Marc Maleri, Connecticut
Sling is an album that always works its way back into my rotation during the colder months of the year. Clairo’s lyricism in combination with this album’s strings and harmonies embody this wonderfully warm, comforting, and cozy vibe that I crave during these seasons, and “Amoeba” is no different. The song is retrospective and self-critical, Clairo examining her misplaced efforts and how they’ve made her lose track of priorities. With lyrics like, “Aren’t you glad that you reside in a hell and in disguise? / Nobody yet everything, a pool to shed your memory,” Clairo never fails to impress with her ability to embody common emotions and lived experiences through these deeply moving lyrics that could stand as poetry on their own without any musical backing.
That being said, the chorus of the song is wildly addicting thanks to the instrumentation; almost every Clairo song feels inherently warm thanks to the many ‘80s inspired elements within her tracks, but “Amoeba” in particular was able to strike the perfect balance of everything that makes up a Clairo song. One of the biggest hits off Sling during its initial release, “Amoeba” will always be a song that I come back to when the weather drops and I need that bittersweet soundtrack to accompany what’s going on in that time of my life.
:: “On My Own” – Harrison Lipton ::
Mitch Mosk, Beacon, New York
Harrison Lipton can always be counted on to fill life’s sad times with a sweeter glow. Whether you’re reeling through grief, stressed beyond belief, or nursing a broken heart, the Brooklyn-based singer/songwriter and producer promises to soothe the souls and maybe even stir up a smile with “On My Own,” a dreamy, buoyant breakup anthem. Released in mid-November, the artist’s second single of the year follows September’s smoldering and seductive “Synchronized Swimming,” and finds Lipton baring his newfound loneliness through honest lyrics and glistening, golden-hued grooves.
It’s really getting me down
I get anxiety whenever you come around
A smile turns to a frown
If you don’t call me then
I think I’m gonna f*ing drown
My therapist says I’m self-sufficient
At least I think so, cause I don’t listen
I tell myself I’m in stable condition
You got my number, I’m going under
I’m all on my own
Nobody gets everything that they want
All on my own
I got enough of myself to lean on
“Like a long-lost B-side to Fleetwood Mac’s Rumours, ‘On My Own’ is my take on a tongue-in-cheek breakup song disguised as a dad rock anthem,” Lipton tells Atwood Magazine. “With lines like ‘my therapist thinks I’m self-sufficient / at least I think so ‘cause I don’t listen,’ ‘On My Own’ pokes fun at its inherent sadness, grappling with themes such as loneliness and cognitive dissonance from a new perspective.”
“The song started in a small bedroom studio in Carroll Gardens during a session with Aidan Ludlam of the booyah! kids, who uses lyrics like an impressionist painter uses paint. He helped me balance the dissonance between being dumped and finding how to be okay with it – now that ‘I’ve got enough of myself to lean on.’ ‘On My Own’ keeps building the world ‘Synchronized Swimming’ started, putting forth a distinctly clean and modernized late ‘70s aesthetic.”
You really turned me on
I’ve been looking through
old messages on my phone
I wonder what you want
We get closer then you cut it off
Just wait for me to call you
on a lonely summer night
Heard your message that you left me, it said
We’re getting older, this time it’s over
Being on one’s own can have two connotations, and Harrison Lipton cleverly, poetically embraces both in his music. Yes, you can be isolated and alone – classic breakup song content! – but you can also be independent and empowered… while still acknowledging your sadness. “On My Own” aches earnestly and unapologetically, but it also shines with the inner light of a weathered soul learning to smile again. And if that’s not reason enough to nod along to this gentle song, then I don’t know what is.
I’m all on my own
Nobody gets everything that they want
All on my own
I got enough of myself to lean on
All on my own
Nobody gets everything that they want
All on my own
I’m paying the full price of my freedom
:: “Light of Day” – Camryn Quinlan ::
Danielle Holian, Galway, Ireland
Camryn Quinlan’s “Light of Day” opens with a serene acoustic intro that feels like a gentle sunrise, setting the tone for a track full of warmth and radiance. Produced by Baldvin Hlynsson, the song transitions seamlessly from stripped-down intimacy to a vibrant, uplifting chorus that celebrates love’s transformative power. Delicate bluesy piano lines, a grounding bass, and textured djembe beats build a layered soundscape, while Quinlan’s heartfelt lyrics express gratitude and admiration for someone who brightens her world. The blossoming harmonies in the chorus mirror the themes of renewal and hope, creating a universally resonant anthem that feels like a warm embrace.
The reflective middle eight offers a poignant pause, allowing Quinlan’s expressive vocals to shine before the song crescendos into a triumphant finale. Despite her youth, her storytelling depth and vocal maturity evoke comparisons to artists like Taylor Swift and Kacey Musgraves, while her soulful instrumentation adds a unique flair. “Light of Day” is a testament to Camryn Quinlan’s ability to illuminate life’s tender moments with authenticity and heart. As a preview of her upcoming EP, If We’re Being Honest, it promises even greater brilliance ahead for this rising star.
:: “Burnouts” – Dipsea Flower ::
Mitch Mosk, Beacon, New York
Dipsea Flower’s third single is the kind of sweet song that makes you want to get up and do a jig: To dance like nobody’s watching and sing like nobody’s listening – and why shouldn’t we?! Live the life you want to live, and don’t let anybody tell you otherwise. Released in mid-October, “Burnouts” is an ode to all those daydreamers and dreamchasers who follow their hearts despite the strong headwinds against them.
It’s far easier to buckle to societal pressures than to stand up for what you believe in, especially when you’re alone in your cause; to let your family, your friends, your peers dictate how you live, what you do, and who you are. Go against the grain, and the judgments will follow in lockstep. Yet whether you’re labeled a reject, a burnout, or anything else under the sun, only you can truly understand your purpose in this life – and we all deserve the chance to see our own purpose through. Dipsea Flower capture that beautiful truth with a deservedly beautiful song.
Storm is passing from the back of the car
I sing her song with my weathered guitar
I need a sweet melody
To catch me when I’m stumblin’ down
California river won’t you give us the night
A spirit of the land to hold on tight
When the wolves start circlin’
They start circlin’round
Fire dancin’ through us
Screamin’ Hallelujah, wastin’ time
All my friends are burnouts
And we’re doing alright
“‘Burnouts’ is about growing up and realizing that most of the things that we’re told to care about aren’t the things that make us truly happy,” the band’s lead singer and songwriter Ari Rosenberg tells Atwood Magazine. “It’s about realizing that when you decide to drop society’s plans for you and chase after the things you love, many people won’t understand it and they’ll be quick label you a ‘burnout’ or a ‘failure.’ I’ve noticed the people who are willing to take this risk are the ones who have the most fire in them, and ultimately end up more fulfilled.”
We’re always changing and were never the same
Paint my love and wash it away
I let it spill out
‘Cause I can’t take it to the ground
Fire dancin’ through us
Screamin’ Hallelujah, wastin’ time
All my friends are burnouts
And we’re doing alright
Bright melodies and warm, euphonious harmonies fill the air as Rosenberg and his bandmates Marley Striem, Andy Baker, and Trevor Hurvitz create a dreamy, sun-kissed reverie for all to unapologetically bask and sway in. An upbeat, feel-good singalong, “Burnouts” sees the Boston-born, California-based band embracing their own unique paths, while inspiring listeners to do the same. “Fire dancin’ through us, screamin’ Hallelujah, wastin’ time! All my friends are burnouts and we’re doing alright.“
Tune out the haters! They’ll never understand us; they’ll never get why we do what we do. Don’t worry about what anyone else thinks, and instead focus on following your heart, chasing your dreams, and making your journey your own… with a beautiful soundtrack, courtesy of Dipsea Flower.
Take my time
I wanna go and take my time
Throw it out all across the sky
Take my time
I wanna go and take my time
Throw it out all across the sky
Fire dancin’ through us
Screamin’ Hallelujah, wastin’ time
All my friends are burnouts
And we’re doing alright
:: You Can Only Sleep At Night – Hremse, Rozo, 2lap and malfezante ::
Frederick Bloy, London, England
At times, ominous. At times, sombre. At times, ghoulish. At times, soothing. At times, plaintive. You Can Only Sleep at Night is one of those taciturn electronic releases, shrouded beneath algorithms and obscured by a complete privation of marketing. However, within that obscurity, that elusiveness, there is liberation. There is an ability to repudiate creative normalcy, to ignore conformity without regret, or fear, or shame.
It is the versatility of the electronic palette on this album that is so enchanting. Certain synth tones will billow into zenith-proportions, resonating into chasms of sound akin to the creations of How to Disappear Completely (not to be confused with the Radiohead song of the same name). The next track, a doleful piano hums a lament in its place. Things squelch, things bubble. Bass tones thrum below chords taken from notebooks of Berlin school progressive synth composers. Things chatter, things crash. Voices whisper, tapes click and scratch. The fuzz of vinyl static permeates lonely moments. In one instance, you’re ensconced in ambient smog; in another, you’re immersed in a celestial offcut of a cloud rap producer’s catalogue.
I cannot decide if the title of this album is meant to be off-putting, or a comfort. Fundamentally, I can foresee many of these compositions being conducive to a good night’s sleep. If not that, they would make good company for particularly drowsy, mellow nights of insomnia.
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