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Each intricate and delicate fixture in BAYWUD's latest single, "Lullaby," is gently and cautiously arranged. The double-tracked, harmonizing vocals and the sparse, acoustic guitar both feel nestled with a quilt of reverb and delay. As the LA-based musician lays to bed a failed relationship, the warmth of the production transforms the coldness of the lyrics into a shuddering ache. The idea of a lullaby takes on multiple meanings within the context of the single as the intentions blur. The grief at the core of "Lullaby" is deeply felt as BAYWUD seeks his own comfort through closure. The conclusion, he suggests, is monumentally influential on the healing process. Forge your own comforting closure, lest you agonize. "Lullaby" begins recounting the end of a relationship. "We said our last goodbyes / by an ocean filled with lies," implies deeper wounds without assigning blame. As the somber ballad creeps under your skin, you feel the intentions to lay the relationship to rest. The second verse, however, complicates this idea exquisitely. "When the light fades, I can't find peace / I don't know how to sleep." Hauntingly direct and revealing, BAYWUD poetically lays bare his struggle in healing from its end. The song becomes a "lullaby" to both the relationship and himself. As much as the production tenderly forges comfort in pain, he shapes closure for himself in the melancholy goodbye. Rather than expound and fret over the "ocean filled with lies," he marks the punctuation to that chapter in his life. BAYWUD is published to a division of Pure Pop Music LLC: Gone Global Music. Based in LA as an indie artist, musician, and songwriter, BAYWUD draws on his classically-trained background in piano. The artist frequently collaborates with producer and writer, Rune Westberg, releasing polished and introspective tracks. 2021 saw BAYWUD releasing five singles and a three-track EP. "Lullaby" arrives as his second release of this year. His debut album is slated to be released in October. Written By Andy Mockbee FOLLOW BAYWUD:

"Falling For You" begins with a choir of birds chirping peacefully. The beautiful single from singer/songwriter, Josh Holmes, responds to this natural display with his own: affection. Holmes paints a direct and effective portrait of a girl he—as the title suggests—has fallen in love with. A tender, acoustic ballad takes shape over three minutes as the Coventry-based artist expresses a delightfully heartfelt love-letter. True love, he believes, should feel as natural as a bird's song. It's hard not to be charmed by Holmes' doe-eyed adoration. "I wanna spend every minute with you" holds an infectious purity: rare at a time when cynicism is ever present in art. The cool breeze of the songwriting—bright guitar strumming and pleasant vocal harmonies—reflects this innocence perfectly. Most artists might jump at the temptation to sour this mood with a "too good to be true" angle, but Holmes smartly shows restraint. "I wanna tell you something that no one else knows," he provides earnestly. Sincerity breathes a freshness and familiarity throughout "Falling For You." While his current solo project as the artist Josh Holmes is relatively new, the singer/songwriter has been writing and recording music for much longer. Based in Coventry, Holmes began writing music as a member of band projects as well as releasing covers. In 2021, however, he began releasing under his own name as a solo artist. With collaborations in writing, producing, and video content, the polish of his latest releases is undeniably stellar. "Falling For You" arrives as his second single release of 2022, after "Falling In Love Again" in February. Written By Andy Mockbee FOLLOW Josh Holmes:

A sense of restlessness and frustration orbits the latest single from Justpeoplewatching, "The King of Nothing." Similarly rustic instrumentation to previous releases from the band collide with a new sense of urgency and calamity. Emotive vocals and self-destructive lyrics blend complexly with the bright guitar and sturdy percussion. The instrumental becomes a brace preventing the song from sagging into itself. An internal dialogue plays out in its almost-four-minute runtime, portraying the clash between one's desire to escape their own limitations and their deep-rooted compulsion towards self-laceration. They find few answers looking down from their isolation—instead resolving to risk adventuring out into the unknown. Narrated from "in a castle built in the clouds," Justpeoplewatching metaphorically paint a fantastical portrait of isolation. "Least I know I'm safe here," the lead singer justifies in regards to the loneliness. The song swings like a pendulum between this restless seclusion and internal despair, which only serves to exacerbate the severity of each. But where this might swing out of control, Justpeoplewatching cleverly creates a grounded foundation in its writing. Despite not finding any reprieve from this conflict in the context of the song ("My heart gets heavy thats why I'm lonely"), there is the sense that it might be on the horizon. "Show me something beautiful outside my walls." It might feel dangerous to liberate yourself, but beauty and relief awaits outside. Justpeoplewatching is an Edmonton-based alternative band. The group—consisting of a drummer, a guitarist, and two vocalists—began releasing music in 2020. While rooted in classic indie-rock, their tracks all experiment with a broader palette of inspirations and genres. The band focuses on discussions of mental health through personal and confessional lyrics. "The King of Nothing" is the band's first release of the year. Previous releases include 2021's "Superman" and 2020's "The Clock" and "Sniper's Nest." Written By Andy Mockbee FOLLOW Justpeoplewatching:

"I was on fire," Lillian Frances muses in the buttery chorus of her latest single, "Direct Sunlight." It's a sparkling moment: multiple synths circulating her radiant voice. The indie-pop offering from the California native is a portal into her experience. The sound is otherworldly—both too warped to be lucid and too raw to be abstract—constantly making slight shifts and movements as though morphing before our ears. It's impressionistic: conveying feeling as it is felt and not easily described. This balance between measured intricacy and organic sensitivity is remarkable and rare; it's what makes pop-artist Lorde so indescribably beloved. Self-produced, "Direct Sunlight" proves that Lillian Frances is one-of-a-kind, sharing her masterful and fully-developed, artistic voice. For as complex as "Direct Sunlight" is, it's a testament to Frances' skill that it remains a cohesive experience. Repeated listens prove bountiful to the careful ear: picking out each nuance and intricacy. My favorite part comes at the bridge. "Play it again in my head," she soars over a harmony of pitch-modulated vocals. As the mix pairs down to a low synth, she repeats "it plays again and again." The sublime production morphs this repetition into a dreamscape of reverb and bubbling percussion. There are no words or easy descriptors for the experience—you have to hear it to feel it. But it's that loss for words that I'm left with that makes me so enamored with the song. Lilly Frances is a Sacramento-based indie-pop artist. Self-produced, her music effortlessly spans genre and stylistic influence. This trademark fluidity of sound meshes perfectly with her voice and lyrics—shifting between Spanish and English. Frances released her debut album, "Moonrise Queendom," in 2020. "Direct Sunlight" arrives as her second single release of this year. Additionally, she's played a multitude of festivals and even opened for Sylvan Esso. Written By Andy Mockbee FOLLOW Lillian Frances:

"Day&Night," the latest single from Taylor Roche, starts off like a simmering flame. "I don't want to admit it / are we finished?" He questions over the low rumble of bass and drums. There's the expectation that, at any moment, the song might burst into a wildfire. Instead, however, Roche makes a calculated and exciting choice: let the smoke fill the room. As the chorus breaks out, Roche's buttery voice is washed in a haze of 80s-era synths. "Every day and night / I leave my heart on the floor," he confesses. The catchiness of the song—a true ear worm pop anthem—goes hand in hand with Roche's inability to move on from the relationship. "We can't go back to what we had just because everything went wrong." At points, Roche is able to reach more clear-eyed conclusions such as this. These moments are tremendous peaks, feeling like small glimpses at the person behind the smoggy daze. Just as thrilling, however, are the less penetrable moments when Roche blends these observations into a mosaic much harder to distinguish. "Every text it was subliminal / was it a test you had finessed and now I'm stuck," reads one of the most scathing remarks. Just as, musically, "Day&Night" is a puzzle-box of false starts and trapdoors, the lyrics paint Taylor Roche as a mystery of his own. Taylor Roche began professionally performing out of America on cruise ships touring with bands. The New Zealand-based artist shifted gears to his solo career after the pandemic. Drawing upon a wide-range of stylistic influences and eras, Roche crafts each song with the polish and creativity of an expert. Spending the past year and a half collaborating with producers and songwriters, Roche is preparing to release a collection of songs in 2023. In addition to music, he has also garnered a wide following on the Tiktok platform. "Day&Night" arrives as the second single Roche has released this year. Written By Andy Mockbee FOLLOW Taylor Roche:

On their latest single, "Have to Make This Call," POLYDRIVE show the versatility and potential for the bedroom pop genre. Each moment is a new attraction showcasing their mastery over unique and complimentary sounds. From the dreamy, synth-based opening to the lofi, drum break backdropping the biting guitars at the two-minute mark—there's a precise movement to the song. The lush highs and sparse lows give "Have to Make This Call" its dynamism. The ever-shifting production matches perfectly with the complex mixture of emotions at the song's core. Lyrically, "Have to Make This Call" is more conflicted than the assurance of the title suggests. "I've settled in but I still don't feel at home," they admit. Much of the song lingers in this liminality between wanting to commit oneself completely to a relationship and fearing the isolation from life before it. "I'm with you 'til the end" suggests a devotion to weather the storms. But mixed in with these moments of commitment are the awareness that it's futile. "Just promise me you'll call," ends the song with the most hopeful resolve. POLYDRIVE perfectly capture the internal conflict of a relationship on life support; both parties know its over, but the love that fueled it is still very real and alive. POLYDRIVE is the bedroom-pop project of brothers Cole and Cam Tessier. Born in Boston, the duo now resides in Tulsa. On top of their own work, they have mixed and mastering for other small bands. They began releasing singles under the POLYDRIVE name in 2020. "Have To Make This Call" is the second single they've released this year. Currently, they are released completely independently from a label. Written By Andy Mockbee FOLLOW POLYDRIVE:

"If I'm being honest I hate my whole body," is the blunt admission opening the latest single from Seattle-based pop artist, "Nicky Buell." This is not where the directness ends, however. What follows is an agitated vent lambasting societal culture of body shaming and appearance obsession set to a layered and polished production. Articulating the sound of "SYNTHETIC" is challenging: it has the dramatics of Queen if they were filtered through a smoother and more acoustic instrumental. The songwriting is hot-tempered: constantly shifting and jolting in energy, making for a dizzying listen. The smoother instrumental—groovy bass, sturdy brass, and dense percussion—smartly cools "SYNTHETIC" off enough to make for a danceable and cathartic listen that remains focused. The intelligence of Buell's lyrics comes with how he expresses the totality of body dysmorphia. Layering personal feelings with broader experiences, "SYNTHETIC" is as confessional as it is relatable. "Try every diet to keep our conscience quiet / we starve ourselves in private just to feed the desirability." The word choice is precise and impactful, expressing the severity of the issue without losing his trademark directness. The swirling whirlpool of symptoms and causes create an exhaustion that Buell targets at the song's center. "And honestly I'm over it: this superficial poser shit." When fatigue is this bone-deep, catharsis can feel as impossible as a solution. Nicky Buell is a Seattle-based pop artist establishing himself as a rising star in the queer pop scene. He publically came out at the age of 20 with the song, "Thirsty." Since, he has collaborated with many acclaimed musicians and producers leading up to the release of his debut EP in 2021, "Spongy Emerald Prince." "SYNTHETIC" is the fourth single of 2022 from Buell. His strength as a pop artist is in how he wields influential sounds and styles—bending them to add punch. Written By Andy Mockbee FOLLOW Nicky Buell:

"Whole Lot Left to Lose," the latest single from 7000apart, has the fatigue of someone worn down by everything going on in and outside of their head. Addressing how exhaustion has invaded every facet of life for her, singer Amelie Eiding brings a charming playfulness in the delivery of otherwise heartbreaking lyrics. Instrumentally, the single rides smooth and bouncy. Lofi samples, a whistle hook, and trip-drum beat all give the song a breezier feel. When you feel like there's not a whole lot going well for you, sometimes it feels best to respond with a playful shrug. Most noticeably, "Whole Lot Left to Lose" is on the shorter side for the band—only clocking in at just under two minutes. This is a clever choice, allowing for the buoyant feel of the song to leave an impact rather than staling. It will be even more effective, presumably, in the context of their sophomore record. Tactfully, they touch more on the broad feelings of depression and anxiety rather than specifics. "Sometimes at night I don't wanna close my eyes / because I know I'll have to open them up in the morning," the song starts off. This wariness is carried throughout the song as they express common frustrations: uncertainty, loss, and the trajectory of the world. At the end, the first line is repeated, though delivered differently. The words hold a weight to them: context. 7000Apart is the creative project of wife and husband, Amelie Eiding and Jon Kresin. After going long distance, 7000 km apart between Sweden and Wisconsin, the two started the project to navigate the difficulties of this separation. After being reunited and marrying in 2016, the project became a more serious, artistic endeavor. With the release of their debut record, "We Are More," in 2019, the duo developed their chameleonic pop sound with introspective lyrics touching on mental health and relationship struggles. They are currently teasing towards the release of their sophomore record, "Feel Your Feelings." Written By Andy Mockbee FOLLOW 7000Apart:

The ability to change and grow is one we are often pressured to suppress. On the latest single, "Forget About Me," by The Uncertain, the NYC pop-rock band declare a total metamorphosis. With pop hooks and alt-rock instrumentation, the trio set ablaze to each word with the force of someone officially sick of the bullshit. The bass, guitars, and drums pack a punch only matched by the lead singer's impressive vocals. Centering around a toxic situation, "Forget About Me" finds a triumphant vindication in squeezing out the poison. If people aren't willing to follow you through change, they're better off forgetting about you. "Took a trip to find myself / Cause I gotta get away," goes the opening verse. This self-discovery catalyzes the realization that the status quo is no longer sustainable for her. She leaves those who know her the option to "choose to step aside / Or take my hand and join the ride." "Forget About Me" is not a wholesale rejection of old friends, but a turned cheek to those not willing to accept her growth and change. Often we allow ourselves to be entrenched in toxic environments, relationships, or situations because we lack the courage to advocate for our own health. The Uncertain use irresistible pop-rock to encourage this self-preservation and willingness to change in spite of those who may reject it. The Uncertain are an NYC-based Alt/Pop rock trio. Their style pulls from a wide-range of alternative pop and rock to create a modern sound. Their lyrics are as complex and exploratory as their sound. "Forget About Me" is the band's fifth single, as the group began releasing last year. Each of their songs has an official music video on their youtube page. Written By Andy Mockbee FOLLOW The Uncertain:

The latest single from London artist, Anthony Benjamin, is an addicting love letter to 80's synth-pop. Electronic key chords provide an anchor for Benjamin's modulated vocals to whirl around. It allows for the song's shining moment—the bridge—to feel even more magical in their absence. As nebulous in lyrical concept as it is in sound, "Rainfall" is a vivid expression of pure feeling. With modern sensibilities, Anthony Benjamin uses 80's synth-pop as a vehicle to drive a lucid fantasy. "Rainfall, hear my call," Anthony Benjamin sings in the electric chorus. What it is he's referring to only becomes more of a puzzle. "Everything changed when the rain came around," he remarks in the bridge. Rather than shutting us out, however, this abstract nature becomes a mystifying and evocative quality. Strings swerving through the mix, synths glittering each corner, and a dance floor drum beat all make for perfect ingredients to a tune you'll never get out of your head. "Rainfall" is a phenomenal pop song full of curiosity and mystery. But it's the unanswered questions you're left with that provide it that concrete feeling. Anthony Benjamin is a London-based artist. He began releasing music in 2020 with a three-track EP. Since, Benjamin has released a slew of fantastic pop singles at an impressive rate. His motto seems to be "The world is mad, then there's music!" The artist does reveal demos, answer questions, and more on his instagram linked below. "Rainfall" is just the tip of the iceberg for this growing artist. Written By Andy Mockbee FOLLOW Anthony Benjamin:

On the debut single from pop-rock band, Blue Lush, titled "Save Me," the group reckons with who they can depend on at their lowest. The mix is rich and impactful, bringing each punchy instrument to the front. Dense vocal layers create an anthemic feel. This is most evident in moments like the pre-chorus, when they soar as they recount "reaching out to the stars tonight." It's a bright and brilliant track that packs a direct and affecting punch. The only reliable source of healing, they suggest, comes from oneself. "When the gust met the tide, you were there by my side," Blue Lush remark in the opening verse. The support of this person, however, was only felt in these moments of convenience. As they blast through the chorus, the band identifies the disillusion. "Wanted you to save me, but I didn't realize / that I need to save me." The immaculate production only serves to demonstrate their confidence in this assertion. On "Save Me," an astoundingly debut single, Blue Lush find strength in the times when there is no guiding light. It's the type of catchy and evocative pop-rock track that makes screaming affirmations feel cathartic. Blue Lush are a band of five members forming in 2019. The group's three original members met in college through music, with the other two members joining two years later. They're known for their unique rock sound—incorporating elements from a wide array of genres. Their goal is to create music meant to heal, preserve, and connect with others. "Save Me" arrives as their first released single on streaming platforms. Written By Andy Mockbee FOLLOW Blue Lush:

"Oh Shit," the latest single from Madison Davenport charts the multitalented artist's spiral into syrupy sweet adoration. Pulling from 80's synth-pop and 2000's grunge-pop, the immaculately produced track lives in a cinematic and nostalgic world of its own. The marriage of fluttering synth and rougher bass shouldn't work as well as it does, but it perfectly captures both competing feelings. Her emotional callouses in resisting love come through in the grungier aesthetics, while they're softened by the distinct sparkle and danceable hooks. "God, no! We're just friends," Davenport assures a friend in the song's intro, but the immediate flood of glittering production indicates without words that this is far from the truth. Even when our jaded nature resists, true feeling bleeds through. "I went and broke the rules I made for us," Davenport admits in the first verse. If one thing is clear, it's that she is getting dragged into love, kicking and screaming. But like the swarm of butterflies on the single's cover art, her true feelings are uncontainable. The clear-eyed songwriting and production prove her to be an artist with undeniable vision for her work. "Oh shit! I think I like you," Davenport shouts in the irresistible chorus. The way she delivers it carries the irrepressible giddiness laced in each expression of frustration. She may not have wanted to fall for this person, but she can't deny just how much joy it brings her. Madison Davenport's recent foray into music this year is preceded by a prolific career in acting. Her voice has always been her most powerful tool, used in a diverse variety of voice-acting roles in film, television, and video games. This year, she's made her debut into music with the song "Monster." "Oh Shit" follows as her second single, proving her as an unstoppable force. Beginning her artistic career at such a young age has given Davenport the experience and polish uncommon for someone so young. If one thing is clear, it's that she still has plenty of surprises left in her career. Written By Andy Mockbee FOLLOW Madison Davenport: