The latest single from British indie-pop band, DAME, "All Night" contains itself within a party, though there is an unmistakable restlessness in its emotion that begs to break free from its constraints. The sparkling and polished pop provides the smooth backdrop to contemplative lyrics that feel like an intimate letter we aren't meant to read. As the song blossoms with lush instrumentation, DAME find themselves drilling deeper into weighty confessions until the restrained disquietude evaporates. The song charts the course of a party, though the event itself is hardly of concern for the narrator. "Tonight is the time / for you and I to fly together," she sings over grounding keyboard chords, setting her expectations on someone she meets. "You take me outside / told me about the time you got caught with a cigarette." The specificity of these details paints the song in vivid hues: tangible and animate. As the song escalates into its shimmering climax, any previous discontentment fades away into pure bliss. DAME is an indie band based in the UK striving to write "glittery poptimism." Back in March they released their first single of 2022 with "Be There." The band has been releasing since 2016, with their self-titled EP. Their upbeat, indie-pop music is consistently danceable and nostalgic. Written By Andy Mockbee FOLLOW DAME:

The breakup catalyzing "Myself" is intentionally left vague. In the debut single from Georgi Clarke, the Cheshire-based singer/songwriter is more focused on asserting her self-assurance than wallowing in the past. Pulling from the styles club and disco, "Myself" is an infectious and extremely danceable pop track serving as a mantra. The attention and space she gives to her own self-love in lieu of the loss of a connection proves to be a productive and mature process of healing. The result is more than just a "glass-half-full" perspective: it's an artist taking control of her narrative. The prechorus is a lyrical slight-of-hand. "I found someone to love who never let me down," implies a fresh relationship, getting over an ex with someone new. Before the chorus breaks through, however, she reveals the truth. "I choose myself / I love myself." It is on this level of sincere appreciation for herself that Clarke's lyricism can feel personally revelatory. Informed by a culture obsessed with finding esteem and security in a significant other, she constructs a refreshing alternative that critiques this custom merely by holding a mirror up to it. Georgi Clarke is a 20 year old singer/songwriter from Cheshire. Her talent as a multi-instrumentalist and musical arranger led her to release "Myself" as her debut single. No future releases have been confirmed yet. Her goal is to release infectious pop music that expresses her bubbly optimism. The danceable pop music soundtracks her positive lyrics meant to uplift listeners. Written By Andy Mockbee FOLLOW Georgi:

Relationship dynamics can be onerous to navigate and shape. Two people with different experiences, desires, needs, and ambitions can find themselves lost in trying to blend their lives in a healthy and satisfying way. The latest single from pop-duo, 7000apart, titled "Player 2" expresses the heartache of this experience. Dreamy synths and strings give the song a soft quality, allowing the resonant and hammering percussion and piano to crash through like waves. As they navigate an evolving perspective on life, the duo reckons with the tunnel-vision this can create in a relationship. They argue that relationships shouldn't be seen as the limitation to experiencing life. The verses of this song chart Eiding's personal trajectory in life. These center around her relationship with ambitions and goals. "Dreams aren't reachable / when you aim way too far," she remarks in the second verse: an implication of failure. But as the resounding chorus crashes through, these ideologies are contextualized by a relationship. They never directly connect these two ideas, but their proximity speaks for itself. Two people with unique experience and dreams can often view relationships as a limiting factor to managing life. "The world should be big enough for the both of us." The song reverberates as a plea to find strength in togetherness—not challenge. 7000apart is the pop project of husband and wife duo, Amelie Eiding and Jon Kresin. They met when Amelie Eiding attended high school in the US, creating the project upon separation when she returned home to Sweden (7000 kilometers away). Their previous releases, such as their debut album We Are More in 2019, achieved them acclaim and brought them to higher stages to share their art. Feel Your Feelings is the title of their upcoming sophomore record; the group is collaborating with GRAMMY-winning songwriter and producer FEMKE. The couple's music focuses on mental health and sharing their experience and journey with its highs and lows. Written By Andy Mockbee FOLLOW 7000apart:

Love has often been related to a fever: sudden, overwhelming, and short-lived. On his latest single, "Flawless," Jordan Jones subverts this with a more patient, smoother delivery. Simmering in these intense feelings, allowing typically-expeditious desires to loosen, he brings out a more sustainable type of romance. The instrumental is airier than conventional earworm-pop, allowing the negative space of the mix to soften its blows. The result is a pleasant and impeccable listen more akin to a cool breeze than a smoldering heatwave. There are enough smooth one-liners in "Flawless" to keep its momentum going. "Baby blow my mind, I gotta clear my head," is a particular highlight. But if these flirtations read as urgent, Jones' buttery vocals give them a contentment and tranquility. The effect is closer to documenting small moments of affection on a peaceful day rather than an impassioned deluge. It's a soft, sustainable smile. The airy synths swirl around each line, pushing forward and retreating in the mix like a temperate tide. Before breaking out into one final chorus, Jones delivers the song's most immediate plea: "I want you over and over and over again." But the slightest hint of a smirk in his tone implies that he has all the time in the world. His love is steady and unfading. Jordan Jones is a Canadian-based musician in Alberta. The goal of his music is making a connection with his audience through his songs. He is currently booking for a 2023 tour. Previous releases include 2020's "Break My Heart" and this year's "Stumble." His catchy pop music is especially pleasant thanks to his impressive vocals. Written By Andy Mockbee FOLLOW Jordan Jones:

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: