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2022 has been shaping up to be the year of the "go-to-hell," breakup song. An innumerable flood of tiktok-ready singles have dropped aspiring to be anthemic exorcisms of a universal rage. It's why singer-songwriter, Josh Nuzum's latest single "Dream On My Own" arrives like a cold bucket of water: paralyzing and deeply effecting. The sparse instrumentation—mostly piano—soundtracks a grief-stricken ballad laying bare honest heartache. The lyrics shift between malleable broadness and crushing specificity, producing a gorgeous song that is subversive in its emotional maturity and self-awareness. With a softer touch applied to the production of "Dream On My Own," space becomes an instrument on its own. Rather than color every inch of the canvas with sound, the space between strokes of piano chords and arpeggios is utilized to heighten each instrument's impact. Much of the lyrics are designed to allow listeners to project their own experience onto. "But now the colors / just don't fall the same," Nuzum croons in the first verse. Experiences are often soured by breakups, and the 19-year-old singer wisely opens the metaphor up to reflection. But when he switches to a more diaristic approach, the stifling intimacy gives the ballad its sharpest peaks. "Was London anything like you pictured in your head?" The private particularity of this question is deafening as we question whether we were meant to hear it. Josh Nuzum is a Charlotte-based singer-songwriter. Earlier this year he released "Stand Again," which used a similar palette of instrumentation. Both songs were released alongside music videos. At only 19 years old, Nuzum has a bright career ahead of him if these tracks are any indication of his talent. No follow up has been officially announced, but it is likely he will release again later this year. Written By Andy Mockbee FOLLOW Josh:

On his impeccable, latest single, "Six Feet Under" Heartmouth built the powerful motor to a pop song and left it in the cold overnight. The verses feel torn at the seams: twisting and rumbling like a cranking engine begging to spring to life. As Casey Allen, the pop project's mastermind, explores a relationship long since ended, the grungy bass and thumping drums gradually build momentum. What finally sends the song into overdrive is the realization that escape is not possible. Instead, over a crashing and danceable instrumental, Heartmouth sets his sights on a new target: catharsis. "I don't want to say it's over / I just need some closure," is the song's crown jewel. The succinct and stirring couplet contrasts like a vivid painting being drained of its saturation. One moment he indulges a hopeful passion, the next he tempers his goals. It's a dichotomy between protecting a precious relic and preserving the necessities of a war-stricken wasteland. It's on this level that "Six Feet Under" functions: the friction between passion and self-preservation in a breakup. The song begins with Allen implying that the breakup is something he'd avoided processing: "it's been a long time since I circled back." Clearly, however, this hasn't exactly helped him heal. As he bursts into the energetic chorus, catharsis seems to be the only palatable route for him to take. "The memories pull me lower / to a love that's six feet under." The unbridled passion finds the engine burning out, but between the highs and lows there is a healthy medium between distance and indulgence. HeartMouth is the creative project of North Carolina native, Casey Allen. Previously he has drummed for the metal band, Embracing Goodbye, and performed as a member of folk-pop duo, Season & Snare. His solo project, HeartMouth, contains Allen at his rawest and most confessional. His central goal is to articulate universal, human experiences in direct and unadorned pop music. "Six Feet Under" is the second single he has released this year, with plans to release an EP by the end of 2022. Written By Andy Mockbee FOLLOW HeartMouth:

"Bittersweet," the latest single from the UK trio KOKO, thumps heavily as they traverse conflicting emotions and the way they often sharpen each other's edges. The softer synths swirling in the background cut deeper in context with the track's more hedonistic qualities. Like reactive chemicals, the tangible desire and frustration they grapple with throughout the song explodes into a sum something more volatile than its parts. Effortlessly catchy and danceable, KOKO's dark electro-pop is showcased at its finest. At all times listening, you anticipate that the tides might turn: one emotion dominating. In the end, however, they are products of one another—inseparable. The song starts off with a bit of false bravado. "Like a king I'll wear a crown / When I'm up no coming down," lead singer Oliver Garland croons before admitting "I'm not being honest." He doesn't deny the pleasure of the budding relationship at the song's core. This unflappable, upward trajectory he'd been convincing himself of, however, is merely an illusion wrought of the desire to find 'the one.' Like bitterness and sweetness, the ups and downs are often experienced together. "Sound of silence all the time / A losing ending but it's fine" continues their intentionally softened reactions—at least outwardly. Perhaps it's this desire to dilute the toxicity felt in this relationship that draws them to seek out more visceral comforts. "I haven't felt enough for this sugar rush." It's the need to convince ourselves that inevitably destroys. KOKO is the project of UK-based trio: Oliver Garland, Harry Dobson, and Ashley C. They are preparing to release their second EP, "In Your House Music," this July. Their pop music shares a distinctly dark and electronic sound. Their song's are often moody and danceable, perfect soundtracks to parties. Written at the height of lockdown, the band's process for the new EP was uniquely different from typical. The frustration, anticipation, and restlessness can be felt in their tracks, making them into cathartic timestamps. Written By Andy Mockbee FOLLOW KOKO:

The relentlessly upbeat sound of producer Eitan Shapira's debut single, "Face to Face" matches the virtuous request at its center. Light and warm synths and the sparse piano key feel breathable rather than oppressive. By honestly and directly expressing the desire for connection, Shapira's voice feels liberated. In its openness, "Face to Face" soars as a reminder not to anguish over communicating our wants. While the song plays like a monologue asking for togetherness, the joy and thrill in its veins feels like a response: complete affirmation. "Take us to another place / somewhere we are face to face." The couplet shining at the chorus' core retains Shapira's genuine nature. Describing this place as "somewhere we can move and dance," an intentional connection is formed. The freedom and joy craved is connected—or in consequence of—the previously desired closeness and equality. While never lyrically, his requests are responded to through the jubilation flowing through the track's DNA. "The truth will set you free" is a common proverb associated with guilt, but Shapira makes an engaging argument for its application to affection. Tell people you love them and love will be felt in return. "Face to Face" is the first single released from producer Eitan Shapira. It also features Omri Adler on the track. He also has experience as a digital artist, as seen on his instagram. The polished production of the song shows him to be debuting as a fully-formed artist. Shapira comes from TEL-AVIV (Israel). "Face to Face" released alongside a gorgeous music video, featuring an array of joyous scenes including the two astronauts featured on the single's cover. Written By Andy Mockbee FOLLOW Eitan Shapira:

In her latest single, Nashville singer-songwriter Angela Parchetta creates a home; hanging affirmations like decorations on its walls. Four years since her debut, the song feels like a victory lap for the artist. The conscious effort Parchetta gives to recognizing the life she's built for herself is compounded with the resilience at her core. Never wallowing in the implied struggles from the past, she instead measures her growth and change. The strong-boned instrumental—confident piano chords, triumphant horns, and supportive drums—provide a parade-like quality to her declarations. Each assertion is like a colorful banner, surrounded with confetti and cheers. Parchetta's experience in songwriting is exemplified in the song's structure. The most visual lyrics are planted at the beginning, where she describes the place to call her own. House plants, abstract art, and throw pillows are instantly recognizable images, but they feel intended to evoke an idealism and serenity. As the chorus bursts forth, it becomes clear that it was her confidence that got her here—not decor. "I'll never treat myself like less / Never again." The implication in this phrase is that she had previously struggled with self-regard. She does not linger in this negative space, only using it as motivation for the present. "Not looking back, no anymore / unless to see how I've grown." As much as "Never Again" stands as a declaration of self-love, it says just as much about how we relate to our past. Will it be your fuel or anchor? Singing at the young age of four years old and writing throughout her teenage years, Angela Parchetta's debut had been a long time coming. Located in Nashville, she performs live shows, works as a vocal coach, and writes songs for the company SongFinch. She has previously released an EP in 2018 and her debut album in 2020. "Never Again" is her first single since "Trust Issues" in 2021. Check out her website, which features her show schedule, videos, bookings, store, and a more detailed biography! Written By Andy Mockbee FOLLOW Angela Parchetta:

Each line of Maja Kristina's latest single, "Neighborhood," feels enveloped in the cold. The atmospheric dreampop production broadens the emotional blows into full-body tremors rather than shivers up the spine. Expressing the grief and soreness in the aftermath of a breakup, "Neighborhood" taps into a collective desire to accept our anguish without finding flimsy silver linings. Even when the production ramps up in the bridge for a climactic finale, the song feels more structurally nebulous than linear. It is a whirlpool—not a tidal wave. "All the pictures in my mind I keep playing on repeat," Maja Kristina's airy voice opens the second verse. It's this admission that contextualizes the song's direction. Even as time and other people move on, she is caught spinning circles. "You knew everything about me, now we're just strangers on the street" she remarks shortly after: the tracks starkest shadow. Kristina spirals in the limbo between everything changing and nothing at all. After all, she's "right here where you left me." The fog-like synths and sparse keys submerge this state in its depth; Maja Kristina is fossilized in her grief as a meteor strike the earth. Swedish singer-songwriter, Maja Kristina, comes from a prolific, artistic family. The twenty-four-year-old began releasing music in 2018. In 2021 she released her self-titled EP. It featured six tracks, including two music videos. Beginning music at the age of seven, songwriting became a coping technique and creative outlet for her. "Neighborhood" was written and produced in collaboration with Jörgen Elofssen. Written By Andy Mockbee FOLLOW Maja Kristina:

On his phenomenal latest single, "Mango," Fifth Lucky Dragon unravels through ear-worm pop and a winding trail of confessional lyrics. The production ramps up into a brighter and groovier backdrop as creator, Louis Imperiale, springs from concrete assertions to hazy expressions. His deliver remains as jubilant as ever, sweetening even the most vulnerable offerings. The sticky-sweet instrumental recalls dance-floor-ready synth pop of the 80's; the songwriting, however, giving it a modern twist. Remarking on cultural apathy, social anxiety, and vulnerability, "Mango" covers a tremendous topical ground without feeling cluttered. Each idea is ripened and blended effortlessly to paint a unified and complex picture of young adulthood. Throughout "Mango," Fifth Lucky Dragon use their more tangible lyrics as launchpads into 'vibe'-fueled imagery. The effect is a puzzle box of a pop song that is as catchy on its first listen as it is rewarding upon closer engagements. "I just want to forget 'bout the things I have to do / Turn my floors to trampolines / Levitate right through the roof." The chorus goes down smoothly, but has enough substance to chew on. What he is escaping remains unclear, but the missing pieces add to the broader picture's impact. There is no easy answer to understanding Imperiale—he knows this better than anyone. "Don't hit me with your small talk / If you ever want to know me," he advises as much as objects. He's not dissuading us from solving the mystery at his core: he's inviting us to try. Fifth Lucky Dragon is the creative, pop project of Louis Imperiale. His magnetic charisma is married perfectly with his talents as a multi-instrumentalist, vocalist, and producer. Named after a Japanese fishing vessel which encountered nuclear fallout from a U.S. Hydrogen bomb test, the band's naming is a testament to Imperiale's introspective depth beneath a cheerful exterior. Fifth Lucky Dragon began releasing music in 2019 with his debut album, "Asymmetric." In 2021, he released two, four-track EPs titled "Implicit Script" and "Truth Be Sold" "Mango" released alongside a contagiously fun music video featuring the singer bouncing on a trampoline surrounded by neon lights. Written By Andy Mockbee FOLLOW Fifth Lucky Dragon:

The upbeat candor of Kaeley Jade's outstanding new single, "Poltergeist," exorcizes the pain haunting its core. Drawing upon an omnivorous palette of swooning folk, jiving chamber-pop, and cacophonous indie rock, the singer/songwriter fills each of the song's walls with her most vivid colors. What would typically be laments on a relationship past its expiration date are instead infused with cathartic indignation. It's easy to hear her voice as joyous—triumphant even. Describing rattling teeth and spine shivers through an amused grin, the specter at the center of "Poltergeist" may look more like a kid in a sheet. The only way to stop a ghost from haunting you, Jade suggests, is by turning on the brightest of lights. "I need more than the ghost of you," is hammered into the DNA of "Poltergeist." As she repeats it, like a chant, the words become a mantra for self-advocacy in a relationship. The reverberating percussion she sparsely peppers into the mix almost, amusingly, sound like ghosts causing a ruckus in a haunted house. Otherwise, however, the production takes on a lush and clear tone—rootsy strings, indie-rock bass, and a dance-pop drum beat. The flawless marrying of several genres and references is a testament to Jade's musical talent. As the final chorus is amped up to arena-ready, anthemic levels, she repeats the aforementioned chant until no spirits could possibly reside. Edmonton-based singer/songwriter, Kaeley Jade, debuted in 2020 with her EP "Years Ago." She has established herself for her earthly and vibrant indie pop blended with lush and introspective poetry. Performing since the age of nine, Jade has honed her musical talent and writing skills to complexly explore human relationships. Also working as an actor and visual artist, her impressive artistic versatility compounds to a unique and particularly fresh musical perspective. "Poltergeist" shows Jade as an artist prepared to explore new sounds and surprise audiences. Written By Andy Mockbee FOLLOW Kaeley Jade:

The latest single from 7KY, "Terrible Things," is the perfect soundtrack for nighttime drives. The silky and airy production drenches each word in its moody atmosphere. Featuring guest vocals from Avonlea, the two engage in a mirrored dialogue, allowing each lyric to ripple on the song's surface. The immediacy of the lyrics—striking with desire and flirtation—is contrasted by the leisurely pace. As a result, "Terrible Things" resonates as a lingering feeling: glacial yet stifling. The dense fog mystifying the flirtations at the track's center ironically illuminate the internal conflict buried in its subtext. "Right now, you can be the one right now," is the centerpiece of "Terrible Things." The dreamy production and repetition stretch its meaning into something more substantial. Is it a personal insistence not to catch feelings, or an assertion that it is nothing more? Perhaps it is simply a remark in the midst of passion, but the haziness of their intentions make it into something far more fascinating. For as straightforward as something might seem, 7KY suggests there is always something more concealed beneath the surface. As a trap beat slices through the dreamlike synths, "Terrible Things" is most intoxicating in its numbing effect. Like the hookup at its center, sometimes its best to just savor the feeling. "Terrible Things" was released on the independent record label, Good Society. Earlier this year, 7KY released his debut album, "Ordinary Alien." The album featured nine tracks, including singles he began releasing in 2021. Like the title suggests, he features spacey production and aesthetics for warped and otherworldly music. Despite being relatively new under the name 7KY, he has extensive experience as a producer. Previously, he had scored a short film for SpaceX. His Tiktok features behind-the-scenes clips to his process, creating beats and playing unique instruments. Written By Andy Mockbee FOLLOW 7KY:

Relationships gone sour can warp you along with them. In an effort to fix the problems or justify them in your head, one might find themselves tangled in frustration. In his fantastic third single, "Better Alone," Ear Candy unravels over an instrumental as sweet as his namesake suggests. The English-based singer-songwriter and producer deftly weaves an alternative edge into the DNA of an upbeat, indie-pop track. His remarkable vocals match the enthusiasm of the song, but carry the underlying pain like a poisoned candy-apple. Electronic keys, dreamy synths, and buoyant bass all glide over the steady drums, resulting in an indie-pop gem that expands the borders of genre instead of outright defying them. "You're messing up the wires in my brain!" Jamie Jordan, creator of Ear Candy, exclaims right before bursting into the shimmering chorus. It carries the song's confessional directness, though provides the conflict's most vivid symptom. During the bridge, where the alt-rock flavors are sharpest, Jordan swings for a well-timed catharsis. "[I've] had it up to here with this / so easy to leave you." After laying out the complex and blistering feelings this relationship had left him with, the best solution is the simplest one. If someone doesn't make you happy, there is no point in overthinking it. The brightness of the song feels like a response: unburdened and liberated. There's still coldness there, but "Better Alone" documents the moment a ray of sun finally reaches his skin. Ear Candy is the creative project of singer/songwriter and producer, Jamie Jordan. While releases under the Ear Candy name began only recently this year, Jordan has written and performed for several years in pursuit of developing his production skills. The variety of genres he has written and performed prior to the solo project allows for the subtle and skillful stylistic blend within each song. While all three of his currently released singles inhabit an energetic indie-pop vessel, they are uniquely packed with nuances of other genres—such as the alternative edge in "Better Alone." Fortunately, Ear Candy has even more releases planned for 2022, making it a prolific and exciting debut year to follow. Written By Andy Mockbee FOLLOW Ear Candy:

Each instrument on Paul Vinson's latest single, "Keep Up," is sharp and impactful—like the blackest of inks contrasting starkly against a white canvas. That the Nashville-based artist's voice can hold the song's greatest power is a testament to his talent. Remarkably intricate and impeccably executed, the production to this ballad emboldens the grief and sorrow at its core. At each turn, something new takes center stage: twangy acoustic guitar, sparkling piano melody, delayed and distortion-heavy bass, and whistling synths. The complexity provides Vinson's melancholy lyrics with an assurance—acceptance in light of heartache. Stand firmly in your feelings, lest you become an enemy to your own sadness. "I don't wanna keep up with you," is given the central weight of the song: halting instrumental and double-tracked vocals shining a spotlight on it. It stands as the present answer for the end of a past relationship. The song opens with the memory of this person festering in his mind. The details get intentionally warped as he mulls them over ("I know I wasn't crying / it was the sun in the mirror that hit my eyes just right / I'm fine.") The song really picks up steam, however, when he bears his pain in its rawest honesty. As the bridge builds these emotions to a cosmic scale ("slowly built intention to the beginning of space and time,") he finds a newfound solace in the titular mantra. There is no easy answer or resolution to heartbreak, but a little self-assurance removes the need for one. Paul Vinson is a musician based in the Nashville, Indie-rock scene. In 2021, he released a four-track EP titled "Good God Get Me Out of Here." This year, he is set to release his debut, full-length album. "Keep Up" is the second single teasing towards the record. In May of this year he released the lead single, "Drama Queen." The sparkling roughness of its blown-out dramatics pairs nicely with the softer anguish within"Keep Up." Vinson's mastery over a diverse and complimentary palette of sounds is certain to make for a fantastic debut LP. Written By Andy Mockbee FOLLOW Paul Vinson:

It's not too late for a danceable summer anthem; the last dregs of the season are still worth indulging in. Producer, Glow Beets, collaborates with singer/songwriter, Tazmin, for the perfect soundtrack to summer's gentler moments. The collaboration proves for a gloriously smooth celebration of budding romance, entitled "Green Light." "Don't wait for the green light," Tazmin croons in the chorus. The tropically-infused instrumental blossoms but never overheats: a summer breeze wafting through the production, cooling the passion's intensity. The result is a playful call for immediacy that remains light with the knowledge that they've got all the time in the world. Glow Beets' impressive versatility as a producer and songwriter really shine in the production of "Green Light." On it's surface, it washes over as a sweet, dance-pop track. The mix, however, is laced with flavors of several genres and styles. The electric keys bobbing up in the pre-chorus lend to the stylings of House music, with the chorus bringing in more elements of the genre. The percussion bounces between tropical and electronic, the bridge infuses the instrumental and vocals with a distinctly EDM flare, and sometimes Tamzin's impressive voice is given center stage to give it an almost ballad feel. It's a dizzying feeling—being caught in the center of "Green Light's" magnetic swirl—but a rewarding and infectious one. "It's taking me higher" Tamzin repeats at several moments. "Green Light" is a celebration of the moment when two people decide to fall completely for one another. Glow Beets is the alter-ego of Jonny Amos. Amos is a songwriter and producer based in the UK. He's known for his electronic music spanning EDM, House, Future Pop, and other hybrid genres. In addition to producing for many successful artists, Glow Beets also creates sample packs for aspiring DJs, producers, and composers. Running his own label, Glow Beets has proven his mastery of all levels of the musical process from inception to release. "Green Light" follows up his previous single in April, "Better Times." Written By Andy Mockbee FOLLOW Glow Beets: