With the release of their debut EP, It'll Be Lovely , Blair Davie reconciles the driving force of love with the complexities of undergoing internal change. Across four tracks, the singer/songwriter demonstrates a rousing urgency to their explorations of new beginnings. Tracks such as "Lovely" sound freshly freed of their weight, like Davie is trying on a brand new skin. The engine seemed to accelerate off the sheer excitement in their voice. The closing track, "Edge of a Feeling" bursts out of the gate, like a cool blast of air. The song doesn't merely build off of the momentum of "Lovely," it uses it as a launchpad to achieve a sky-scraping lift off. Waves of distortion and thumping drums add gas to Davie's most energized pop melody to date. The chorus is truly show-stopping, with the singer delivering a go-for-broke vocal performance that manages to match the frenzied instrumentation. With "Edge of a Feeling," Blair Davie closes out a debut EP that does what most artists only dream to accomplish with their first project. It burnishes the dreamy, acoustic songwriting of their earlier singles while offering fans an exciting taste of their limitless potential. It's fitting that a song so unbridled in sound would lyrically map out the path to living freely. Misled by their anxieties, Davie finally breaks free of prior hesitancies and worst-case scenarios. "Same doors, same walls, same thoughts inside my head," they list in the first verse. "I've been running, and running, and running in the wrong direction." The repetition captures the cycle of anxiety: moving tirelessly but going nowhere. With the newfound sense of identity and self-love, they find the courage to chase the storm. "There's no place to jump like the deep end." What once looked like red lights now illuminate the path ahead. It's a world of possibilities that we often hold ourselves back from. "I've been lost, but I don't regret it," they conclude. Sometimes you have to be lost to find yourself. Since they were a teenager, Blair Davie has been writing music and fronting bands. The Scottish singer/songwriter went on to release their solo music in 2022. The following string of singles showcased an artist dropping rockstar personas to represent themselves honestly and authentically. With it, came self discovery and a newfound confidence; "Him, Hymm," notably saw the artist coming out to friends and family as non-binary. With their debut EP's release, Davie establishes themselves as a true pop force. After supporting Sam Fisher and 86TV on their UK and European tours, Davie will return in December to join Corook on tour. Written By Andy M. FOLLOW Blair Davie:

Olivia Rodrigo's long-awaited sophomore album, "GUTS," is finally here! Her first release, "Sour," made history by being the fastest album to have all of its songs certified Platinum or higher by the Recording Industry Association of America. Olivia had seven Grammy nominations and took home three wins at the 2022 Grammys. Olivia certainly had a lot of pressure from "Sour" for her second record, and her fans waited patiently for over two years for an album announcement. "GUTS" as a whole is defined by tumultuous relationships, contrasting emotions, and anxiety surrounding growing up. In "Sour," it seems like Olivia was searching for her place in the world, but after all the events that have happened over the last two years, "GUTS" shows off her maturity and growth as a person and a musician. TRACKLIST Before releasing two albums, Olivia was a child actress. She booked her first role at 11 years old, when she played "Grace" in the 2015 American Girl Doll film, "Grace Stirs Up Success." From there, she transitioned to Disney in 2017 where she played "Paige" on the Disney Channel show, "Bizaardvark," and left the role in 2019. When Olivia got her big break, however, was on the Disney+ original show, "High School Musical: The Musical: The Series," She played Nini, and Olivia's first song, "All I Want," was featured in the show. The show and the song were massive hits, and the show went on for four seasons, although Olivia was only a main character for the first two seasons. After the massive success of "Sour," Olivia embarked on her "Sour Tour," which consisted of 49 shows from April to July of 2022. Track 1: all-american b*tch "all-american b*tch" is the album opener, which talks about feeling misplaced in America. The song reflects on the inherent contradictions that are littered throughout American culture: the culture places unattainable goals on women because of double standards. Because of this, Olivia doesn't believe she's the perfect all-american woman, she's the perfect all-american b*tch. The song starts off soft and sweetly, with a soothing acoustic guitar that accompanies Olivia's voice. But in the chorus, the whole vibe of the song switches to a vengeful pop-rock track. Vast changes in production are a common theme for the album since it personifies the up and down feelings of being a teenager. "all-american b*tch" is a perfect opener for the album since it covers the main themes as well as showcasing Olivia's talent to make vastly different styles of music. Track 2: bad idea right? "bad idea right?" was the second single released from "GUTS." It smoothly transitions from "all-american b*tch," as that track ends in footsteps, and "bad idea right? starts with knocking on a door. "bad idea right?" talks about the events of one night where Olivia lies to her friends to leave a party to see her ex-boyfriend. She knows it's a bad idea to go over to his place, but she wants to know if she can restart their relationship. The song has a prominent guitar melodic line throughout the entire track, which is simple, yet it adds to the song. Olivia speaks in the verses, which adds a unique and edgy vibe to compliment the pop-rock production. The lyrics are embarrassingly relatable, with my favorite line being "and I'm sure I've seen much hotter men/but I really can't remember when." The adlibs and harmonies in the refrain and chorus, however, are what completes the song, with the most memorable lines being "the biggest lie I've ever said" and "I just tripped and fell into his bed." Again this song has a timbre shift between the verses and the chorus, which is filled with heavy guitars and drums. Track 3: vampire "vampire" was the lead single for this long-awaited album that set the scene perfectly for Olivia's new era. "vampire" illustrates her growth as a writer and a singer, with her amazing belt for the hook. This was the perfect lead single because it shows that she is breaking out of her "Sour" shell. The song is all about being taken advantage of and being used, and how Olivia feels like her life is getting sucked out of her in a relationship. It's the first ballad on the album, which features great metaphors relating to a vampire. The song starts off with a sad, melancholic piano melody, but the production continuously amps up as the song goes on. This makes the bridge the peak moment of the song, where emotions are running high Because of the lyrics and the production during the bridge, it makes you feel like you're running from something, just like Olivia is in the music video. Track 4: lacy "lacy" started off as a poem for a college poetry class, Olivia shared in an interview with Wired. "lacy" is one of the most self-loathing songs on the album, where Olivia talks about a girl she's incredibly jealous of. She is envious of this other girl, to the point that it comes off as romantic and even obsessive. This song is a break from the intense emotions heard in the first three tracks, where Olivia uses a lighter and breathier vocal technique compared to what she usually does. The lyrics are masterfully written, as it ushers in an eerie feeling throughout the song. "lacy" starts off simple and innocent with the lyrics 'Lacy, oh Lacy, skin like puff pastry," but ends with "yeah I despise my rotten mind and how much it worships you." Track 5: ballad of a homeschooled girl "ballad of a homeschooled girl" is Olivia's tale of struggling with social interaction as an adolescent. Olivia, as the title suggests, was homeschooled because of her acting career, and plays into the stereotype that homeschooled kids are socially stunted. The song, whose title references Bob Dylan's "Ballad of a Thin Man," details her social fumbles, whether those be physical or metaphorical. Her lyric "each time I step outside/it's social suicide" references a line in Mean Girls where Regina George told Cady Heron that joining the Mathletes at school would be "social suicide." The track itself leans heavily into angsty feelings, with Olivia's voice sounding almost like a scream in the choruses. This garage band pop song is the truest form of rock on the album, and Olivia does it well. The melody line is fantastic, especially in the chorus, and the decrease in tempo in the bridge makes the speed up into the final chorus even more exciting. Track 6: making the bed "making the bed" is a perfectly melancholic track, discussing her self-deprecating thoughts and the general dissatisfaction in her life. In the face of massive fame, Olivia can't help but feel she only has herself to blame when things go wrong. She knows that she's incredibly lucky for all of the things she's done, but at what cost. The vocals on this song take a step back compared the most of the songs on the album; this song features Olivia's breathier voice compared to her belt that we all know and love, but the lyrics still shine through. "making the bed" has a good balance between organic and electronic instruments, with a smooth piano taking the foreground as a beating synth drives through the song. The chorus is built up with guitars and drums but still has that classic ballad feel. Track 7: logical "logical" is the seventh track on "GUTS," which talks about all the irrationalities of love. Olivia tells the story of a tumultuous relationship, defined by manipulation, deception, and a dangerous power dynamic. She has to deal with vulnerability, and she hates to bear the fact that she is partially responsible for all of the relationship's problems. This song focuses on another main theme of the album: trying to fix someone. Olivia says, "cause if rain don't pour and sun don't shine/then changing you is possible." The song starts out with an interesting piano melody and Olivia's beautiful voice. Emotions are running high pouring out through the song lyrics and her vocals. Although the vast majority of the song has an acoustic production, the bridge just has Olivia's vocals with a driving bass synth behind her. The outro lyrics are echoing and repeating placing emphasis on the fact that love is never logical. Track 8: get him back! "get him back!" is the third single from "GUTS," and Olivia just debuted a music video for the song on September 12th. This song is a vibrant and upbeat pop-rock track talking about all the conflicting feelings regarding an ex. The title "get him back" has a double meaning: she wants to "get him back" with revenge for all the bad things he did, but she also wants to "get him back" as a boyfriend. This double meaning is especially shown off in the bridge, where Olivia sings, "wanna kiss his face/with an uppercut/I wanna meet his mom/just to tell her her son sucks." "get him back!" is also incredibly relatable for anyone who's had a difficult relationship with a guy, especially with the lyrics "he had an ego and a temper and a wandering eye/he said he's six-foot-two, and I'm like 'dude nice try.'" This is a perfect pick-me-up from "logical" with the immaculate vibes this song projects. What makes this song is the backing vocals for sure. With the group of people singing along to the chorus, or when Olivia sings, "but then I, I want to get him back." Olivia ends the song with a spoken outro, where she says, "I'm gonna get him so good, he's not even gonna know what hit him/he's gonna love me and hate me at the same time." Track 9: love is embarrassing "love is embarrassing" is a pretty self-explanatory song, where Olivia humorously talks about all the embarrassing aspects of a relationship. Whether that be waiting by the phone after your boyfriend kisses a girl from high school, or crucifying yourself for a "second string loser," Olivia talks about it. She thinks it's embarrassing that she put in all this work into a relationship that didn't work out. Olivia steps away from pop-rock and makes an 80s-inspired pop song, with a bass synth dominating the track. She once again shows off her vocal flexibility with her vocal fry on the low notes, stretching her vocal range to over two octaves. Although this song isn't as angsty as some of the other pop-rock tracks, it certainly packs a punch. Track 10: the grudge "the grudge" paints a clear picture of a hectic and stormy relationship with manipulation at its core. It's a slow, melancholic piano ballad that has remnants of "drivers license," the hit song off her album "Sour." Even after the relationship has ended, it's clear that her ex still holds a lot of power and control over her self-worth. Olivia sings, "and I doubt you ever think about the damage that you did/but I hold onto every detail like my life depends on it," showing that her ex is reckless while she is still reliving all the damage he caused. She knows that they were both in the wrong in the relationship, but she says, "we both drew blood, but, man those cuts were never equal." One of the best parts of the backing track of "the grudge" is the orchestra. It really adds complexity and depth to the song you never knew you needed. Track 11: pretty isn't pretty "pretty isn't pretty" touches on the unattainable standards of beauty for women. Although Olivia is beautiful, she can't help but feel like she will never be able to be pretty enough for social norms. Constant fashion and makeup trends are cycling in and out, and no matter what she does to make herself prettier, it just won't work. One day this body type will be in style and the next it won't be, and Olivia feels she can't keep up. The song does feature electric guitars and drums, but has a more mellow feel compared to other songs on "GUTS" like "ballad of a homeschooled girl" and "all-american b*tch." There's a solid 90s soft rock vibe throughout the song, which is something different than she's done before. Once again, her vocal fry on her low notes is to die for, and they add richness to the song. Track 12: teenage dream "teenage dream" is the twelfth and final track on "GUTS" and it perfectly sums up all the themes of the album. Olivia makes a call back to her song "brutal," where she sings "I'm so sick of 17/where's my f*cking teenage dream?" She talks about the immense pressure on her to try and always outdo herself on each new project she puts out, and she fears she'll lose the best parts of herself as she grows up. Keeping up the theme where she switches up intensity mid-song, the outro continues to get louder and louder while Olivia and a chorus people behind her keep repeating "they all say that it gets better/it gets better the more you grow/yeah, they all say that it gets better/it gets better, but what if I don't?" I think the last line of the album being a question covers one of the main themes of the album: are all the things Olivia thinks, feels, and does going to get better when she grows up? The orchestra throughout the track beautifully compliments Olivia's voice as well as the piano. I personally think that this is one of the best songs Olivia has ever written, and I think she picked the perfect song to close up "GUTS." After listening to this album on repeat over the past week, it's safe to say I love "GUTS." It perfectly encapsulates all of the teenage experiences, feelings, doubts, questions, and overall thoughts that teens are faced with. I would encourage anyone hesitant to listen to this album to give it a try. Olivia showed the world she was a brilliant songwriter with "Sour," but I feel she outdid herself with the writing on "GUTS." The production, which was done by "Sour" producer Dan Nigro, is immaculate and compliments the lyrics and Olivia's vocals perfectly. I would love to rank the songs, but I love them all too much to ever assign a number to them. Olivia Rodrigo proved to the world again that she is a force to be reckoned with, and will continue to assert herself to be one of the most talented artists this generation has ever seen. Written By Lauren DiGiovanni Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *copyright not intended. Fair use act, section 107.

Emilia Tarrant just released her strongest single to date, "Hard Pill To Swallow." The cinematic-sounding pop anthem dives deep into the experiences with rejection and uncertainty. She wears her heart on her sleeve as she tackles her own encounters, expressing her experiences with feeling lonely, like an outsider, and scared to grow up. As time goes on, we often lose people in our lives. Our relationships change. We feel abandoned, alone, or uncertain about where we stand. Tarrant beautifully captures this universal experience in her recent track, a song that everyone should give a listen to. In Tarrant's latest release, the title stems from the refrain lyric, "Rejection is a hard pill to swallow." Here, she opens up about her experiences with loneliness and rejection and how difficult those moments in our life can be; it can be hard to accept when you feel rejected by others. She gets candid with lines like, "Daily, I get ghosted / And I don't know why," "Scared of feeling old / Still feeling as alone," and "Friends for life would be the promise / Isn't it ironic 'cause none of them lasted." These fears are all associated with coming-of-age and coming into yourself. The song captures this experience between a piano-laden production and bright vocals. "Hard Pill To Swallow" was released alongside an emotional, monochromatic music video directed by collaborator, Tom Knibbs. Emilia Tarrant is a UK-based singer-songwriter that blends vulnerable lyrics, bright vocals, and infectious hooks together to create contemporary pop music. She debuted into the music in 2019, but has already worked with top songwriters and gained over three million streams of her music across streaming platforms. "Hard Pill To Swallow" comes as one of the first singles for her upcoming debut album expected in 2024. If you enjoyed this track, make sure to keep up with all the latest information surrounding Tarrant and her music by following her on the social media platforms linked down below. Written By Sydney Gray FOLLOW EMILIA TARRANT:

FLØRE has a captivating aesthetic containing grim themes and dark imagery that instantly attracts audiences. From the moment I first heard her song, “Backyard Body” from her last EP, I knew I would love her entire discography. Now with her latest single, “WEREWOLF,” the title naturally caught my eye as a fan of horror and the supernatural. This gloomy track utilizes the classic folklore legend as a metaphor for a toxic relationship in which one partner brings out the worst in the other. Similar to a full moon transforming a normal human being into a vicious monster of the night, this person brings out the feral sides of their partner. FLØRE’s clever lyrics throughout the track effortlessly describes her own experience with this. Despite her deep love for this person, she turns into someone she does not recognize. Through harsh words and bitter fights, she realizes that being with this person triggers a primal part inside of her that she cannot control. In the verse, she alludes to the metaphor with clever lines that subtle reference the folktale. Then in the chorus, she immediately reveals the hook as she sings: “You make me go werewolf, werewolf// Make me wanna tear out your throat.” She continues through the chorus, telling this toxic person the control they have over her and the unrelenting rage she feels. In the second half of the chorus, she continues with the lines: “And when the full moon’s exposed// I’m after your blood// Can’t you understand?// When we’re like this, I’m not who I am.” FLØRE takes this ingenious metaphor and flawlessly explains the intensity of the situation, and the level of self-loathing she feels due to this. In the second verse, she hits the listener with the line, “You make me the devil in disguise.” The singer admits that her actions as a result from this anger does not make her innocent or absolve her from any blame. Nevertheless, she is livid that the one she loves drives her to such extremes. It is an ingenious line that perfectly wraps up the message of the entire track. “WEREWOLF” is a brilliantly written song that eloquently illustrates this convoluted situation and the complex emotions that come with it. With the deep, vivid imagery found within “WEREWOLF,” it comes as no surprise that the production complements the dark, angsty tone of the track. While the song is an upbeat pop track, the undertones of the soundscape encapsulate the unforgiving rage felt by FLØRE. The song kicks off with a chorus heavy guitar riff that is reminiscent to the layered chorus sounds of Nirvana. Additionally, airy synth sounds provided by a keyboard controls the lower register of the intro. A secondary synth sound is used for the build-up to the first verse. When FLØRE’s vocals begin, the drums are added while a bass is introduced to take control of the production. For the majority of the song, the vocals are layered to provide a greater dynamic to the track. In the second half of the verse, muted guitar power-chords with added distortion and some synth are introduced. Additionally, a melody utilizing the intro riff sound effect can be subtly heard in the background. This melody and the synth carry into the pre-chorus, where a light percussion and vocal echoes can be heard. A brief drumline introduces the synth bass heavy chorus. The initial guitar returns in the second half, enhancing the full production. Light percussion is utilized to transition into the second verse. The verse and the pre-chorus remain the same, without the echo effects, before a brief production pause introduces the next chorus. In the background, a lower register vocal effect and be faintly heard, providing an additional layer to the vocals. The post-chorus maintains the production while FLØRE showcases her impeccable range with powerful vocalizations. Utilizing a unique structure, the song goes into a third rendition of the pre-chorus, before transitioning into the bridge. An airy synth production guides the listener through the climax of the track. Before the final chorus hits, the listener can hear the sound of a wolf howling, bringing to life the captivating imagery of the track. The synth becomes more prominent in the last chorus while the production utilizes the lower register of the keyboard and vocals with light percussion, drawing focus on the lyrics. Another pause in the production is utilized as FLØRE’s vocals sing “who I am,” before exploding into the full production. The singer is heard harmonizing with herself in the higher register that effortlessly transitions into the post-chorus. This allows FLØRE to showcase her phenomenal range one last time before the song closes out. “WEREWOLF” is a flawless addition to FLØRE’s discography, showcasing her clever songwriting and enhancing her iconic dark aesthetic and themes. FLØRE is an independent singer-songwriter from Germany. Her sound includes a range of rock, dark pop, and alternative. She is inspired by the darkness and aspires to write songs that “give this weird existence a meaning.” She made her debut in 2018 with her first single, “Flowered Guts.” Since then, she has released several standalone singles and three EPs, including her 2022 project, Rise of The Romaniac. In January 2023, she released her first follow-up single, “Zombie.” Each subsequent track since then have all been horror creature themed, with Alien,” “Skeleton,” and now “Werewolf.” This may be a hint at a possible fourth EP that wraps up this fascinating theme. Follow her on all socials too stay up-to-date with any upcoming releases from this new era of music! Written By Karlee Skipper FOLLOW FLØRE:

ROREY ushers in a new era of grunge with “Crash,” the opening track off her debut EP, “Apt 7D.” Her EP as a whole explores the idea of soul searching, while “Crash” specifically delves into acknowledging the bad parts of yourself. In the first verse, ROREY says that she never learns from all the mistakes she makes, but “That’s life.” She’s trying so hard to keep everything under control, but she can’t help but fall apart, no matter how hard she tries not to. She asks herself “What am I doing wrong,” and she feels dumb and lost in her feelings. Then the addicting chorus comes in, where she asks if everything is “All in her head” or if she’s just “Out of [her] mind.” She wants to be released from this feeling of guilt, but says “It’s not your fault, it’s mine.” In the second verse, she feels like she gets stuck in this back-and-forth cycle, and she laughs at how cliché it is that she feels bored. After ROREY repeats the pre-chorus and chorus again, she starts to get a bit existential. She says she’s blurring her thoughts with reality, and she’s “Falling deeper into [her] psyche,” and she probably can’t get out. This song is a perfect example of when you explore your conscious and subconscious thoughts, it’s not all black and white. “Crash” is a beautiful grunge track, which has a sprinkling of indie-pop thrown in the production. This song is for sure a grunge anthem, with prominent wailing guitars driving the song. Her choruses are heavier than her verses, with a simple drum kit compared to most percussion rigs of today. However, grunge drummers must have great skill and power to deliver a good track, which is the case for the drummer on “Crash.” The chorus itself is infectious and addicting and is filled with angst and intense emotions. The bridge features an interesting and unique chord progression, one that is not commonly used in mainstream music at this time. Her voice is mainly what makes the song more indie-pop-inspired than the average grunge song. Growing up in the New York City indie scene certainly had an impact on her vocal sound. ROREY’s voice is breathy, soft, and a bit fragile in the verses. In the 21st century, this vocal technique was reintroduced by Lorde, especially with her 2013 song, “Royals.” Overall, this song is filled with intense emotions but also showcases ROREY’s ability to be open and honest with her feelings. At only 23 years old, ROREY is a driving and innovative force in the New York City indie scene. Her interest in music began when she was seven years old when she took up guitar, and she hasn’t looked back since. In an interview with Office Magazine, she revealed that she was constantly writing as a kid, but the first song she remembers writing was about a boy she met on vacation when she was 10. ROREY’s sound has been coined “sad girl indie pop,” which is shown off in her debut EP, “Apt 7D.” Her EP was defined by feelings of discontentment surrounding the cyclical nature of life. After this release, she is set to perform all around New York City. Currently, ROREY has 12.4k monthly listeners and over 200k streams on Spotify. ROREY’s sheer talent will continue to impress listeners release after release. Written By Lauren DiGiovanni FOLLOW ROREY:

“Long Hair” is a beautiful and reflective anthem emphasizing personal growth and self-love. After a breakup, it’s hard to refind yourself and rediscover what it’s like to be alone. Symbolized by the growth of her hair, Maisyn reminds us how we can find strength in what we’ve lost and grow after reflecting on past experiences. Cutting hair is often reminiscent of relief from a large life event, and Maisyn captures that sentiment perfectly, showing excitement and hope for the future. The raw emotional punch as Maisyn pours everything into her voice creates a thrilling musical experience. Maisyn’s honest narrative stands out among millions of others, showcasing the often harsh truth of what relationships come to. With the thumping drums setting the tone of the song, it also serves as an icon of life moving forward, minute by minute, day by day. With the song’s upbeat tempo, it reminds listeners that though life might be tough, there’s always hope to move on. Her raw earnest and elegant vocals add texture and depth to her emotion, and the modern nuance of the atmospheric noises pair beautifully to transport the listener to another world, one melancholic, but full of hope. Maisyn is an LA-based singer-songwriter focused on representing authenticity in emotionally charged moments, specifically honing in on her narrative-building. Releasing her first EP in 2021, Cool Girl, Maisyn took a brief hiatus before returning with a bang with her first single of 2023, “Naked”. Working with Grammy-nominated engineer and producer Joey Messina-Doerning for “Long Girl”, Maisyn taps into her “pop girl” sound reminiscent of Maisie Peters and Maggie Rogers, promising that you’ll find joy once again even if you end up with bangs. Written By Megan Cao FOLLOW MAISYN: *Sponsored Post - Discovered on Musosoup. A contribution was made to help create this article. #SustainableCurator

Have you ever had something that reminded you of an old relationship? A restaurant, a shirt, maybe even a drink? In Drew Schueler and Herine’s latest collaboration, “Whiskey Sour,” they sing of the connection that alcohol held for a couple. It’s about the simple things that bring you back to those old, sweet moments, like the first sip of a drink pulling you to the thought of being in an ex’s arms– being unable to escape from the thought of them. Through a combination of clever wordplay and soft strings, “Whiskey Sour” is reminiscent of rainy nights and memories. Click here to listen to "Whiskey Sour"! Schueler and Herine have truly outdone themselves with “Whiskey Sour”-- everything about this song is excellently composed. From the gentle strings to the threading beat, “Whiskey Sour” sounds like those lonely nights when you’re missing a person you can never have again. It evokes buried memories, tamped down in your heart long, long ago. The instrumentals are definitely responsible for this melancholic feeling, but the songwriting takes a good amount of the credit, too; superbly written, “Whiskey Sour” cleverly manipulates its lyrics to be both about the narrators’ relationship and the alcohol that bound them. As the chorus goes, “Wishing we could take it back to sweet/Talking for hours/Now the whiskey’s sour." “Whiskey Sour” is about a couple whose relationship was connected by drinks, and now that they’ve split, even the smallest sip of alcohol brings them back to the days when they were together. Knowing this, it makes the song’s wordplay even more impressive, as Schueler and Herine manage to balance both the language of relationships and alcohol. The whiskey’s gone sour, no longer sweet like those nights spent together as a couple. Drew Schueler is a rising pop singer-songwriter and producer based out of Nashville, Tennessee. In 2023, Schueler made his mark in the pop world by being named the Grand Prize winner of the 2023 Nashville Songwriters Association International Song Contest. And, as well as being a three-time NSAI Song Contest Finalist, his 2020 single “Head Start” has 1.6 million plays on Spotify. With his excellent songwriting and vibrant vocals, Schueler is only heading upwards. Similarly, Herine is an indie-pop artist from Nashville. A lover of music since childhood, Herine was exposed to music and writing all her life, and was launched into a fruitful songwriting career. Her music is fun, personal, and upbeat– all things that the best pop songs are, but with the perfect amount of Herine’s distinctive touch to each of those elements. She released her debut single “Favorite Things” in 2021, with “Whiskey Sour” being her first collaboration with Schueler. When you listen to “Whiskey Sour,” make sure to enjoy it with your drink of choice (alcoholic or not– whatever works for you!) and sink into its wistful beat and artful lyricism. Written By Alexa Leung FOLLOW DREW SCHUELER: FOLLOW HERINE:

I’ve got to tell someone about the music video that’s had a chokehold on me for the last two weeks. Picture it: the air is thick with longing for more than physical touch. Touch is easy to come by – there’s a hunger for a deep, emotional intimacy here. Here, the need for a familiar connection that drapes us in security outweighs how insecure it leaves us at the end. But the end is never truly the end because of the undeniable magnetism that expands beyond the reach of the cosmos. If you’ve liked what you’ve heard, let me introduce you to your latest dark-pop fixation: Ashlynn Malia. In their single, “Nobody Else”, Ashlynn Malia takes listeners through a sensual exploration of limerence. Limerence is a state of involuntary infatuation that’s characterized by an intense desire to be in a romantic connection with someone. Whoever the limerent individual pines for then becomes the limerent object, all of which can be identified in “Nobody Else”. The single opens with primal synths and Malia’s layered sultry vocals to showcase how limerent individuals’ passion for their limerent object becomes more than just the focal point of their life. It becomes their sole reason for existing. In the opening verse, our limerent is having continuous “visions” of the limerent object. While these visions range from distaste to seduced, the point is that they cannot get the limerent object off their mind. This then crystallizes the limerent’s feelings of there being “nobody else” but the limerent object for them. It’s only the limerent object for them. The got’cha of crystallization is that for every dewy-eyed feeling the limerent hyper-fixates on, their feelings of anguish intensify right alongside. In the pre-chorus, Malia vocalizes how they “[d]on’t wanna start again / With someone new”, highlighting the immense fear of losing the limerent object. Despite this fear, the believed cosmic connection between the limerent and their object outweighs it. And it’s not hard to understand why when something as little as the “smell of [the limerent object’s] cologne” invokes the “superhuman” emotions our artist discusses in the second and third verses - even if we’re aware that the limerent object is “wrong for” us. If Malia’s intricate lyrics haven’t convinced you how alluring a connection like this can be, maybe Robbie Blue’s choreography in the music video will. The choreography perfectly captures the all-consuming nature of limerence when left to linger. But the real caveat of limerence is that it has no real expiration date (only estimations). All we know is that limerents’ find themselves in a repetitive cycle; and with each passing cycle their feelings for the limerent object fade. Which makes the ending lines: “where it starts is where it ends / We don’t got to tell nobody else”, all the more profound. For this particular limerent, the feelings have yet to fade and they’re keeping themselves available to repeat another cycle. Ashlynn Malia is a singer-songwriter based in Los Angeles with a natural endowment for crafting stories that relay personal sentiments while simultaneously transcending the metaphysical. Earlier fans might recognize Malia from her time with Kidz Bop, and her dance appearances in Justin Bieber and Taylor Swift’s music videos. Newer fans might better associate the artist with her 2022 Etheridge Island performance. Last year, the Etheridge Island Festival made its debut, bringing LGBTQ+ women and non-binary pals together to enjoy Melissa Etheridge’s wellness resort while getting to experience amazing music from a handful of artists. One of which was Ashlynn Malia. More recently, our artist released another EP, navigating galaxies, emphasizing their experimentation with ethereal pop. But today, Malia released their latest single, “Cool Girl”, which unbottles the pent up of vexations of being a lover girl that’s forced to masquerade as the patriarch’s desirable woman. If you’ve enjoyed Malia’s music as much as I have, show her some virtual love in the form of streams, likes, and follows. Written by Giavanna Gradaille FOLLOW ASHLYNN MALIA:

Naia Lika, an American pop singer-songwriter, just released her danceable track, "Cyber Hangover" on September 8th. This comes as her fourth single of the year already, showing that she is committed to making a big splash as she debuts into the music industry. Studying musical theater in college, she had revelations about her identity and sexuality, which led to her dropping out and moving to Los Angeles. Here, she found her voice and started writing music. Inspired by artists like Dua Lipa and Remi Wolf, she has crafted an innovative, exciting sound that I cannot wait to see continue past this track. "Cyber Hangover" blends elements of pop, soul, and r&b into a commercial track that engaged me from the first note. The energetic and upbeat production makes for easy listening. Her songwriting also stands out with lyrics like "Flash, and it's over / I need someone to tell me I'm sober / Cyber hangover," "Coated in plastic / I'm gasping from the weight of this package," and "Blink, and you miss it / Keep spinning til it's your definition." She weaves these lyrics in between electrifying instrumentation and pop hooks. It is a dance pop track that somehow feels contemporary, nostalgic, and timeless. Rising pop artist Naia Lika was, perhaps quite literally, born to be a singer. Her parents caught her mouth making vibrato-like motions on an ultrasound when she was in the womb. Since then, she has grown up pursuing music, even attending the Boston Conservatory at Berklee College of Music. However, she left the program and started writing her own music in the pandemic. It was the first time that music had truly been her choice, not a path that her parents set her on. "Cyber Hangover" is one of the few tracks that she put out this year, and I am excited to see what comes next. Feel free to keep up with all the latest information on her releases with the social media links below. Written By Sydney Gray FOLLOW NAIA LIKA:

Long distance relationships are hard. It's difficult to be away from your person for that long, when all you want to do is spend all of your time with them. It can put a strain on relationships and can make staying together feel like an impossible feat. Kid Travis’ new song “Distance” talks about his point of view, and how much he misses his girl while they are in a long distance love. He has an upbeat sound, correlating to his positive attitude about the state of their relationship. Distance is tough, but it's just a blip on their radar and nothing they can’t get through. Despite how upbeat Kid Travis’ vibe is, the lyrics alone are sentimental and heartfelt. In the first verse, he sings, “'Cause baby I'll wait / As long as it takes / Facetime isn't enough”. He knows this is a hard situation to get through, but he pledges himself to wait for her. He knows that they are meant to be more than just a facetime love, so he vows to make it happen. He continues this idea in the chorus, when he sings, “I don't wanna miss your kiss / Girl I only wanna taste your lips / Baby if I only had one wish / Distance wouldn't make a difference”. He just wants to be with her again, and is tired of not having her in his day to day life. Finally, the bridge repeats the same two lines over and over again, driving home his point. He sings, “Close ain't close enough / Baby four hundred miles ain't close enough”. No matter where they are, together or apart, it is not close enough. Kid Travis is an indie / trap singer-songwriter who has almost 1 million monthly Spotify streamers. He is from Chicago, is currently 24 years old, and his real name is Damon Travis. He is also an internet personality, and has over 480k subscribers on his YouTube channel, where he posts his music as well covers. He has been recognized by many big name artists on this platform, including Post Malone and Dominic Fike. His music is similar to both of these artists, and it is clear that his career is only on the up. Make sure to follow the social medias below to stay tuned for more music from Kid Travis. Written By Tessa Maddaloni FOLLOW KID TRAVIS:

One of my favorite things to keep an ear out for in a song is the vibe it gives off. Does it remind me of a song that I used to love? Is it a song that makes me want to dance? Thankfully, “Play Pretend” checks all the boxes! A collaboration between artists Ycy and ØNEIRØ, “Play Pretend” is a song that both put me in a good mood, but also reminded me of songs and artists I used to listen to all the time! The song is made up of some killer lyrics! “Leaving the cold in your arms / Teaching myself how to love again / Someone who knows how to listen / Someone who won’t leave me guessing.” Listen to "Play Pretend" here! This song is so fun to listen to. It has a similar sound and energy to “Closer” by Halsey and The Chainsmokers, and I love it! I want to really focus on the instrumentals for this song, because each element to it works together extremely well. The drums are quiet, but also make their presence known. It also sounds like there’s some kind of synth playing in the background! When it comes to the vocals, both Ycy and ØNEIRØ have a smooth, natural sound! There’s a slight tinge of a mechanical element to their voices, like they’re singing in an almost robotic-like tone. And honestly, I think it works really well. It’s unique, and I haven’t heard anything like it in a while! Let’s get to know the artists behind this collaboration! Noah Maxwell, better known by his stage name, ØNEIRØ, is a singer and songwriter whose goal is to release fun and unique Pop Alternative music to his fans. The name, ØNEIRØ, is Greek and translates to “dream”. ØNEIRØ says some of the inspiration behind his music comes from artists like Dua Lipa, The 1975, and even Twenty One Pilots! Yvonne Carter, or Ycy, is a German music singer, songwriter, producer, AND performing DJ! She has four previously released singles, including a collaboration with So.Lo. Her first song, “Rainbow Road,” was released in 2020, and since then, she has worked hard to regularly release new and exciting music! These two together made a great piece of art, and I can’t wait to hear what they both release next! Written By Isabel Mays FOLLOW ØNEIRØ: FOLLOW YCY:

Loving and committing to someone means choosing them every day. No matter what life throws at you, if you love someone, you'll fight for them no matter what. Duo Eighty Ninety explores this in their new single, "The Hard Way." Elaborating on the song's meaning, the two explain, "'The Hard Way' is about choosing to love someone no matter how much life intervenes. It’s about being brave enough to make the choice to completely commit to a person, no matter the risk. It's about looking directly at all your fears about how things could go wrong and knowing that even if they all come to pass, it's still worth it." Soft and sweet, "The Hard Way" begins with contemplative piano chords and gentle vocals. Vocalist Abner James delivers reflective lines with a vulnerable warmth that's swoonworthy, making the single an evocative love song. The instrumentation builds as the song progresses, adding in synths, guitar, and percussion. Eighty Ninety discusses the connection between the song's composition and its meaning, stating: "With the production we tried to evoke the sense of the relationship being increasingly tested by life, increasing the instrumentation with every chorus, almost like we are trying to break the song. But it holds — and by the end we're hoping the swelling percussion and harmonies feel uplifting; there's beauty in hope." Following the release of Eighty Ninety's debut single, "Three Thirty," the duo quickly achieved success with the track reaching the #2 position on Spotify's Global Viral Chart. Since this debut, Eighty Ninety has accrued over 30 million streams and has been featured on numerous playlists, including New Music Friday, Pop Rising, Chill Pop, Indie Pop, and many more. The NYC-based group is comprised of two brothers, Abner and Harper James, who together have created a distinctive sound built on minimalist pop productions and intimate storytelling. Some of their popular releases include "10K Summer Nights," "Your Favorite Song," and "Three Thirty." Written By Cheyenne Johnson FOLLOW EIGHTY NINETY: