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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:

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: