Ones To Watch

If you don’t know the name Beauty School Dropout, you’re missing out. After making a name for themselves through a series of rapturous pop-up concerts in Los Angeles and DJ sets at Bar Lis, the dynamic three-piece, comprised of Colie Hutzler, Brent Burdett, and Bardo, is setting the stage for a breakout moment with the release of their label debut single “Assassin.”

Spearheaded by none other than Blink 182’s Mark Hoppus under new label Verswire with Fall Out Boy’s Pete Wentz and Sherry Saeedi, Beauty School Dropout makes their grand debut in blistering fashion, bridging the nostalgia and angst of guitar-driven rock with a uniquely modern vision. Opening on Hutzler’s emotionally-charged vocals, which eventually pave the way for an electrifying breakdown of stampeding drums and thundering guitars, the trio’s signature sound surges forward to tell a tried-and-true tale of a toxic relationship.

“We chose ‘Assassin’ as our first single because we feel that falling out of love with our toxic relationships is the most universally shared experience in life that people can relate to, as quoted in the song, ‘Fell in love with the ways that you kill me.’ We hope that our fans and listeners resonate with the record as much as we do,” share Beauty School Dropout. 

“Assassin” feels like the first chapter of something much, much larger yet to come. And with pop-punk and guitar-led rock coming back in full force, there could not be a better time for a band like Beauty School Dropout, whose anthemic music screams stadium-ready, to lay their mark on the music world at large. 

Watch the “Assassin” video below:

Twin pop sensation KAIRO pay homage to their Houston home, Nigerian heritage, and the pure essence of love with their debut EP, Love Letters From Houston.

Living a bright life of color and play, what makes their music so infectious isn’t just the way that their angelic vocals swirl together in perfect harmony. Their music is only an extension of their devotion to living joyously, curiously, and graciously.

Generating attention on TikTok with their clever hooks and racking up hundreds of thousands of Spotify streams, the brothers remain effortlessly grounded in humility. With so much of their career still in store, it’s a pleasure to see their goodness remain good, a nod to a well-nurtured upbringing.

Influenced by the pop artists they grew up listening to, the brothers fell enamored with a genre of music that didn’t reflect back many artists that looked like them, but the most beautiful part of their unfolding story is that they didn’t cower away from this.

It’s been said that our purpose in life is found when we become what we needed as children, and that’s the exact call to action KAIRO took. They are what they needed to see and now give so many boys once in their position permission to do the same.

Simply put, KAIRO embodies the liberation that comes from being led by truth, committed to your authenticity, and forever rooted in love. We got the chance to sit down with their brothers ahead of their EP release to talk all about their musical journey.

Ones To Watch: Your EP Love Letters From Houston is finally here! Walk us through the process of creating this.

AK: So for every song on this EP, the idea stemmed from Houston.

EJ: Yeah, I wrote most of the hooks in Houston and then we’d take those ideas and we’d go to flesh them out with our producers. So eventually we thought, why not name it Love Letters From Houston?

What’s special about love in Houston? What is love like in the south?

AK: Love down south has a lot of intentionality! It’s slow.

EJ: Even the people, too! LA is really dope for connections and business but it definitely is a fast-paced, transactional lifestyle.

AK: Yeah in Texas it’s like, I’m gonna get to know you, it’s slow.

Love down south seems more home-cooked. Speaking of love, what happens when you guys are in dissimilar places with it? Have you ever had one going through heartbreak while the other is still falling and you still need to write the same love song?

EJ: Yeah that’s happened a lot and it’s kind of funny when we try writing in the studio and one of us is like “I’m so happy!”

AK: While the other is like “I’m not happy at ALL right now!” But we come together, you know. If we want this song to feel a way, we’ll write towards that goal.

And I’m sure there’s a lot to take from each experience! What do you think are the beautiful parts of heartbreak and the ugly parts of love?

AK: I think the beautiful part of heartbreak is rebuilding yourself and getting a better definition of yourself.

EJ: When you’re in love and infatuated with somebody, you might let a lot of things slide. And when you’re heartbroken, you get to take a step back and say “Okay what did I like, what did I not like?”

AK: I think, with love, you’re signing up for the possibility of you losing this person, but you’re okay with that. You’re deciding to cherish every moment.

That’s beautiful. So being that you guys are family, are you able to shut work off when you get back home?

EJ: Honestly, no, haha. It bleeds into everything. When I was younger, I used to beatbox a little and then he'd start singing a melody and we’d record it on a voice memo. We were always singing around the house.

AK: Yeah, our friends get annoyed by it but we know it works.

You guys shout out Houston, but I know you also honor your Nigerian heritage. How do you maintain that connection to your roots?

AK: When we meet new people, in LA specifically, when they ask where we’re from we make it a point to say we’re Nigerian from Houston.

EJ: For us, we grew up on every American artist. Jonas Brothers, Justin Bieber, so I think it’s cool to see a Nigerian artist making pop music.

Representation is so important, especially being at the intersection of African and pop. Who were some Black artists that gave you permission to make your art?

AK: From our high school days, the person we looked up to was Khalid. He was in pop and no one said anything because it was objectively good. And we thought “Ok, we can do that now.”

EJ: Through him we saw that it was doable. In elementary school, I was listening to Justin Bieber and my mom had a wig that looked like his hair, so I would put it on and flip the bang like I was him. So I’m happy that we weaned off of that and are able to make our music with our skin, our hair, our real appearance, and be confident.

That’s so important. You guys living in your truth and authenticity is giving so many boys that look like you permission to do the same.

AK: That’s the goal, that’s all that matters. We always say, imagine two black boys looking at us, like our younger cousins or even our sister, seeing us and seeing that it’s possible for them.

Who are your Ones To Watch?

In their latest single, “Drowning,” WOAH explores the feeling of falling out of the honeymoon phase and looking for comfort in a relationship where it has been lost. The unsteady nature of an on-again, off-again relationship is a natural recipe for uncertainty, and this song encapsulates the moment where you decide that the relationship is worth saving and it is worth trying to move forward after having been emotionally absent for so long.

“Progressing from our previous release, ‘On Your Sleeve,’ we decided to amplify the energy, high production, and synthesizers that we liked in order to experiment and further develop our sound as a band. This song is a new step-forward for us, but we made a conscious effort to maintain our classic WOAH sound that has been developed on the Better Left Unsaid EP and 'On Your Sleeve' by recording and mixing in our shared apartment, while still bringing more attitude and energy with this new release,” shares WOAH

Emerging from the city of Charlotte, North Carolina, WOAH is a four-piece group made up of the Mikey and Ruben Gomez, Zac Tice, and Jackson Martin. Forming and debuting mid-pandemic, the band found their sound with ease. Recording their entire catalog on GarageBand, WOAH has been able to accumulate thousands of streams with zero editorial help. Using their social media to the fullest, they’ve built a unique brand that has helped gain a core ride or die fanbase. 

Their infectious indie pop is like a leech that grasps onto you for dear life. From their memorable hooks, steady guitar, to their clear songwriting abilities, each new track results in an instantaneous earworm. And you can hear their inspirations in full, from The Strokes, Hippocampus, U2, The 1975, to Turnover, all of which bleed through their writing to help establish WOAH’s unique sound that truly comes alive in “Drowning.”

Listen to “Drowning” below:

While it's far too easy to lose ourselves in the deluge of new music releases that grace us every week, one thing that cannot and should not be overlooked is the art of the music video. With the heyday era of MTV long behind us, Rewind sees us taking a look back at a handful of our favorite music videos of the past week.  

ARY - ‘My Awe Sustains’  

For a music video to hold your attention in black and white requires a level of visual intrigue that most videos of that palate desperately lack, not so in the case of ARY’s luxuriously textured “My Awe Sustains.” The visual takes a marbled approach, breeching between an effects laden science class and a detailed art history course. If you want to see how to make the most of simplicity and amazing shot direction, then look no further than director Pernille Sandberg and DOP Kristen Paulsen’s latest mesmerizing effort. 

Spacey Jane - “Hardlight”

We’ve become real accustom to Spacey Jane sharing dexterously crafted indie leaning pop tunes, but we had to wait a bit to find a video that captured their spirit with equal adroitness. Captured on a lazy bateau mouche through Melbourne, “Hardlight” showcases a live styled performance, dropped with wonderful tight shots of the band that oozes the same personality that is so easily heard in their music. Director Nock Mckk took the simplicity of the location and let the band and the backdrop shine, an easy breezy visual for a song of the same pace.

Art d’Ecco - “Midlife Crisis”

People loved the satiated feeling of nostalgia, lustful for a time they can compress into the best memories; all of that is present in Art d’Ecco’s masterfully crafted “Midlife Crisis” but it is bettered by the ‘80s-layered video that sees the Bowiesque singer crossing from bathtubs, staircases, and the kitchen with stylish grace, replete with backing band via the mirror. Directed and edited by Brandon William Fletcher, who either was a fan of that era or studied it well, this video isn’t a lazy homage but a real standalone gem. 

Ray Laurél - “MANIC PIXIE DREAM BOY”

How do you introduce the energy that is Ray Laurél, a bright, boisterous individuality that bounces into your ears like zero gravity honey. Well, have said artist direct and edit themselves in this short hometown romp for “MANIC PIXIE DREAM BOY,” a video bristling with gleeful neighborhood cameos and diva behavior mid grocery aisle. A must-watch artist and a must-watch video.

payton - “all wrong”

Photo: Ryan Scott Graham

Up-and-coming artist grentperez has come a long way since posting covers on Youtube. After the success of his 2020 cover series, "Sing You to Sleep," more on that later, the indie singer-songwriter has melted our hearts and enamored our ears with his endearing blend of bedroom pop, soul, and R&B.

grentperez first started uploading covers consistently to Youtube in 2016 when he was a teenager, debuting with none other than Justin Bieber’s "Love Yourself." He continued to upload popular covers of songs throughout the next few years, showcasing his range with the likes of Ed Sheeran’s "Thinking Out Loud" and Daniel Caesar’s "Japanese Denim." In 2020, the budding artist would experience their first taste of internet fame with "Sing You to Sleep," a 14-part covers series designed to help others sleep during the stresses of the pandemic. After the unexpected success and a moment of self-examination on what he wanted to do with his life, education was an essential priority in his household, he dropped out of college, never looked back, and went all-in on music.

The first official single grentperez put out was a remastered version of his song "Confusing Girl." Released over a year after the original and demo version, the song featured production by Linden Jay, who had previously worked with artists like Doja Cat and Joji. The sun-soaked debut single featured what are now hallmarks of grentperez's work, including soulful yet sweet vocals and carefully crafted, intricate indie pop-rock sonics that make listeners want to dance and maybe cry a little. Not one to rest on his laurels, two weeks later saw the release of his debut EP, Demo(s) About Love, a collection of intimate and raw demos.

Only days later, as if to make up for lost time, grentperez revealed the release date and cover art for his next single, "Cherry Wine," the lead single from his sophomore EP, Conversations With The Moon. He teased the track on his Instagram by performing a snippet of the first verse and chorus. The tease would eventually result in his most successful song to date, earning over 39 million streams on Spotify alone.

Following the success of "Cherry Wine," grentperez released "My Heart It Beats for You," the second single from Conversations With The Moon, showcasing a more upbeat and uplifting side to the artist. The song, which also features a section in Tagalog, was a collaboration between grentperez and his Twitch community. "I started off by coming up with a chord progression that I liked, then moving into the writing," he shared with NYLON. "I just had an open floor for people to come up with certain lines that would fit, and I'd handpick them and adjust them slightly to tailor to the song." The lines he picked ultimately made up the second verse. In addition, the community aspect of the track carried over into the song's community music video, which features a combination of worldwide fan-submitted videos.

The singer closed out 2021 with the release of "Clementine," which effortlessly combined R&B, pop, and soul elements. The single explored the darker side of love, revolving around heartbreak and not being able to move on from a relationship. The track took heavy inspiration from cult classic Eternal Sunshine Of The Spotless Mind, so it was named after Kate Winslet's character. However, despite its darker, moodier theme, it still featured grentperez’s signature light and swaying sound. The top of the year saw the release of his last single, "Absence of You." The song tells the story of the aftermath of a harsh breakup and the painful realization that the relationship was never truly going both ways. 

On Valentine's Day 2022, Perez's long-awaited sophomore EP Conversations With The Moon finally dropped. Consisting of four of his previously released singles, the six-track record combined indie and R&B guitar melodies with pop and soul elements, urging listeners to feel the "feels" and, most importantly, served as a sonic testament that his music could touch hearts across the globe. 

It wasn't long before the Australia-based artist started releasing new music. His latest single to date, "Wishful Thinking," is a track full of sweet, intricate songwriting and swooning melodies that poetically depict matters of the heart. The 20-year-old artist explained that the song was about a relationship that was yet to be and how people can "daydream a lifetime's worth of love from the first moment you met that special someone."

grentperez exemplifies the best parts of what it means to be a hopeful romantic. His music is a special blend of thoughtful, personal, honest, and endearing. It holds an infectious optimism that encourages listeners to keep their hearts open to love, whether it comes from the people we meet in our lives or from within.

“Desire outlives decay. You may feel like every step is just another action welcoming the unknown, and you may be right. But for right now, you are here, and the only way for you to leave the misfortune built around you is to do what seems impossible.” The spoken word excerpt signals the genesis of ercidoa’s long-awaited label debut, things with wings, as an intensive emotional effort just waiting to be unpacked.

Since his inception, the genre-defying singer, songwriter, and producer has readily reinvented himself, always existing seemingly one step ahead of the curve — from cementing his place at the forefront of digicore and hyperpop one moment to delivering an intoxicating experimental pop vision the next. And with things with wings, ericdoa takes flight, embarking on a 15-track epic that pairs his boundless genre-blurring appetite with dynamic, introspective songwriting.

Similar to ericdoa’s standout Euphoria-backed “sad4whattt,” “ocd” sees the artist wasting no time in conjuring up a wellspring of romantic ambiguity and confusion juxtaposed by an intoxicating sonic undercurrent that urges you to move. Meanwhile “victim” takes that penchant to heavenly new heights, as ericdoa delivers what is arguably his most radio-ready to contender date. And for anyone suffering an emotional hangover, “cheap liquor” is the cure for what ails you, opening on grunge-era instrumentation, which is quickly taken over by blown-out production that lays the foundation for a bout of heartbroken self-destruction.

“phases,” with its city pop-evoking bassline laying the foundation for a nostalgic-laced dancefloor meditation, arrives as another standout on a project brimming with diverse standouts. And while it’s all too easy to find the familiar comfort in ericdoa’s dance-inducing numbers, he’s at his most raw when he strips back the high-octane production to unveil his innermost self. The irresistible lull of “night that we danced” is one such confessional moment, seeing the young star reflect on a night he’s unable to leave behind him.

things with wings is an album rife with catharsis, drawing everything and more from the full emotional spectrum—highs, lows, and all the uncertainty in between. And while it wouldn’t be unsurprising for a project like this to culminate on a sonic victory lap of sorts, ericdoa instead closes with “commander dr - dear mama,” a genuinely moving ode to the woman and found family who have not only shaped him but who continue to help him ascend to even greater heights.

In her latest single “Human,” BUZZ proves she is not of this world and invites us to explore a galaxy unbound by time and logic.

A well-respected songwriter and producer, it’s always exciting to see what an artist who’s typically behind the scenes creates for themselves. Penning hits for artists like Kylie Minogue, Hayley Kiyoko, and Katy Perry, we’re finally getting to witness BUZZ’s talent manifest as an artist in her own skin, and “Human” is only scratching the surface of what’s to come.

With lines like “Show me where it started / Take me further into space from which I came,” this song feels like a tribute to those of us that have felt like aliens in a crowded room. While the world may convince you through whispers to dilute your sense of self, BUZZ gives us full permission to be more loudly different. To remain curious about your distinction and satiate your wonder.

Sonically similar to the likes of Tove Lo and Charli XCX, BUZZ’s vocals feel alive and electric. Her howls are chilling, taking you for a spin through the intricacies of the universe. She’s one of the few artists who could lay such existential questions over a pop track and somehow make it work. 

“When I have certain connections with people and the world around me, I have a deep sense that our fabric was together somewhere else,” BUZZ shares. “Before earth. Before words and us defining them. Before we developed a narrative of what it means to be human.”

When we live a life constrained by system, time can begin to confine us rather than liberate us. “Human” is a sci-fi lover’s fantasy, breaking the fourth wall and liberating us enough to question again.

Listen to “Human” below:

Photo: Nicole J Stephens

Post pop-punk band Dear Spring, comprised of vocalist and guitarist David Colon-Margolies, drummer Martin MacAlister, vocalist Jonah Tenney, and guitarist and vocalist Kamran Hassan, get personal on their latest single, "Newspeak." The track, the second single off their upcoming EP Moments, set to release June 3, is a full-bodied, unrestrained sonic experience fueled by high octane, guitar-driven instrumentation and emotional vocals.

The single's driving vocals, catchy layered guitars, and robust rhythm section recall the heyday of pop punk while still sounding fresh and anthemic. Tenney's passionate vocals hook listeners right from the start, singing, "Another day at sea / The nights are getting colder and I'm feeling weak / Bet the wolves make easy prey out of them / Wish that I could say I have somewhere to be."

“‘Newspeak’ examines self-destructive tendencies and the struggle of expression in an age of extreme polarization,” shares the band. “The lyrics from the song were mostly written between March and May of 2020 and were heavily influenced by feelings of frustration and helplessness watching the pandemic unfold and examining the dichotomy of selfishness and selflessness on display in our society during that time."

These feelings of destruction and helplessness in the face of an uncontrollable situation are incredibly potent in the climactic choruses. Tenney laments, "I never say what I'm thinking / Always took more than you're given," and " Don't think twice, blame someone else / So cavalier you couldn't help yourself," as crashing percussion and thrashing guitar riffs rage alongside him.

The accompanying music video, produced by Carter Louthian, tells an engaging story featuring mysterious characters and unexpected plot points. Viewers follow the main character, played by MacAlister, as they go about their day, receiving mysterious text messages from an unknown number. The anonymous contact sends the protagonist coordinates to collect seemingly arbitrary items, including a toy crown and a chess piece, building to a nefarious and unexpected ending.

Watch the "Newspeak” video below:

Gritty and laid-back, Cannon’s new release “College Friends” possesses an undeniable warmth that is truly infectious. The gravelly guitars paired with slick vocals create a sound that is peaceful yet highly polished. The relaxed track exudes a nostalgic, Nirvana-esque feel, masterfully melding alternative rock with hip-hop and pop for a pairing that is a true sonic paradise.

We often find ourselves questioning our life choices, which makes "College Friends” so raw and real. When pursuing our aspirations, we can get so caught up in what we are trying to achieve that some things get pushed aside in the process. Cannon shares, "When I graduated from college, I found myself worrying about whether I was sacrificing too much time chasing my goals to spend time with my friends or sacrificing too much time with my friends to chase my goals. I soon came to realize that in trying to be two places at once, I ended up nowhere.”

The Chris D'Agostino-directed video seamlessly matches the song’s feel. With its grungy 90s aesthetic, the visual juxtaposes the carefree catharsis of a college party, red solo cups and all, with the dissociative experience of not being able to fully be present in the moment, as if your own life is passing by without you. For anyone who has struggled to live in the moment, this is the track for you.

The 24-year-old South Carolina native is known for his smooth, genre-spanning sound. His debut single “Water Glass” has racked up over seven million streams, quickly elevating him to success. Opening for popular artists such as Jon Bellion and Gavin DeGraw, Cannon is quickly making a strong early impression, and “College Friends” is just another example of his charismatic style exploding in full force.    

Watch the “College Friends” video below:

Photo: Brian Ziff

“I'm somebody you call when you're alone, I'm somebody you use, but never own, I'm somebody you touch, but never hold, And you're somebody I'll never really know.”

My fellow sad girls, Conan Gray’s latest single, “Yours” is about to be our summer anthem. Tears are not guaranteed, but resurfaced memories of the one who got away are. Tissues are not required, but they are most certainly recommended. Your heartstrings will be pulled and your post-break up notes app entries will be validated, but that doesn’t mean that any of your healing will be undone. If there is one thing healing isn’t, it’s linear.

Especially with recent upbeat releases like “Telepath,” a nod to 80s-synth-pop, and the angsty pop-rock inspired “Jigsaw,” Gray has been showing us the versatility within his songwriting and production. In “Yours,” Conan returns back to his roots, sitting down at the piano, taking a big breath, and singing completely and entirely from the heart. Equally simple as it is effective, “Yours” is proof that there is a strange kind of beauty that comes with pain.

“Yours” speaks to the experience of being used by someone who you thought was your forever. In the span of three-and-a-half minutes, Gray charts out the initial, stinging pain of realizing not only is that person no longer yours... but you were never actually theirs. In the beginning of the track, he isn’t willing to accept what has happened, singing, “The only thing that's harder than sleepin' alone is sleepin' with your ghost,” and “I want morе, but I'm not yours, and I can't change your mind, but you're still mine.” 

As the song continues, Gray comes to understand that, perhaps, it’s not his loss after all. The music slowly crescendos as we hear melancholically beautiful strings and subdued drums, and then it all fades away, as if it never happened at all. The subtle buildup, and sudden disappearance of the supporting instrumentals reflect Gray’s thought loops throughout the song’s narrative.

“Yours” is set to be the sixth track on Gray’s forthcoming sophomore album Superache, set to release June 24. Despite their opposing sounds, “Yours” is reminiscent of “Jigsaw” – specifically with the lyric “All the things that I’ve done for you not to notice” (calling back to the line “All the things I did to make you happy, still you don’t even fucking love me”). It seems like an unrequited love story is unraveling with each release, where one person is giving their all to someone who fails to recognize and appreciate it. I am curious to see how the storytelling unfolds on “Superache,” but until then, I will be mentally pregaming the project by listening to “Yours” and re-reading old texts with my ex-person-who-ended-up-not-being-my-person.

Watch the “Yours” video below:

Cameron Philip has that destiny-like feeling in his face, voice, and music. Known for being a fearless creator online and via music, his new single “Yellow” demonstrates a shift in his sound that left us more than intrigued. Wanting to know more, we reached out to this rising Canadian talent to see what’s next, how he keeps his friends happy, and what else we should be on the lookout for.

Ones To Watch: Who is Cameron Philip?  

Cameron Philip: Cameron Philip is a boy with a lot of emotions and feelings who turns all of that passion into music.

What is “Yellow” all about? 

“Yellow” is about becoming overwhelmed with the feeling of the color yellow when you are around a certain someone. Every time you are near them, even the darkest parts of the world seem bright.

The song has this nostalgic, future retro vibe. How’d you settle on the sound? 

I always love mixing in retro sounds with modern production. I think it gives songs more of an authentic feel, especially when intertwined with real emotions and a story.

Any co-writers? Who produced the track? 

I wrote the song myself, and produced the track with Matee.

There is a lighter pop polish on “Yellow.” Is this an evolution of your sound, or is this song-specific? 

I think each song I make continues to be an evolution of my sound! I love to explore many types of genres, and then mix them together. It feels boring to continue to make the same type of music over and over again.

Can we expect more of this style in the future, potentially on an upcoming album? 

Yes, I believe some of the upcoming album's songs carry the type of sound “Yellow” has, though many of the songs probably carry a bit more of a "rock heavy" vibe.

Besides this excellent single, what else should we be on the lookout for? 

The next single! The next album! More shows! Lots and lots and lots of new stories, and new emotions being conveyed through new music.

What’s inspiring you right now outside of music? 

Love and heartbreak.

Long weekend ahead of us, how do you cut loose when given the time? 

I bake !!!! My favorite thing in the world (other than making music) is baking vegan treats for my friends. It makes me really happy.

Who are your Ones To Watch? 

“All my favorite songs are slow and sad.” It's surprising how long it took Weezer to coin a term that has been ubiquitous with millennials for the better part of the last decade. But regardless of the reason you find yourself in your feelings, there is a good chance that the perfect song for you is out there just waiting to be discovered.

In comes Gallipoli, with one hell of an emotional ride on their On Vodno EP. The fact that this LA-based duo sequestered themselves on a mountain in North Macedonia for six months to create this project tells you all you need to know about how introspective and raw these songs are. Every aspect of this EP is meticulously woven together to curate a soft, ethereal, and somewhat hypnotic sound.

The beauty of On Vodno is found in its subtleties, like when Gallipoli choose to crescendo the guitars and raise their voices, providing a sense of hope within the melancholy like on “My My.” The best example of this emotional juxtaposition is found within the lyrics on perhaps the most moving song in On Vodno, “Blurry Mess.” The track reflects on a struggling relationship. “It's all one big blurry mess, but I'll see you in the morning,” sings Gallipoli. The duo’s laid-back, seemingly effortless vocals combined with the atmospheric electric guitars make an idyllic combination in “Pick Me Up Tonight” and “Poets.” One of the more standout elements on the EP is the incorporation of the gang-vocal hums on “Poets,” a powerful and moving musical component that brings the song together perfectly.

With On Vodno, Gallipoli gives us a collection of songs that are thought-provoking, comforting, and relatable. All the fundamentals for music to listen to when it seems life isn't going your way. But regardless of how you're feeling right now; whether it’s elation, despair, or somewhere in between, this EP is fantastic and a worthy listen.

The loose metaphors of music journalism allow for a wide breadth of analogous language, but it's rare when music sounds as an artist looks. Descriptively, we often see places, objects, or behaviors that match people we know, but on her latest EP, Hajime, Yumi Nu has made her music a visual key to herself. 

The intimacy and depth of the project are unsurprising — she revealed most of the project is her actual writing. It's a product of a respite from writing, reducing the pressure on the princess, which uncorked a more meaningful autobiographical effort. Hence Hajime, which translates "the beginning" in Japanese, is a rebirth of Yumi’s talent. It's a much more reflective effort, truly a self-portrait reflecting her truth. True to life, it is hard not to lose yourself looking inward. As Nu herself says, “I’ve grown so much as a songwriter and artist since the beginning and this project simultaneously feels like the start for me, while also an accumulation of everything I’ve learned and who I’ve become.”

Hajime is a collection of singles, each a delightful pocket of feelings and moods, all cast in her sultry R&B sound, stirred gently into a delicate rhythm by her salubrious voice, a soothing tonality that lulls you into trance-like appreciation. Opening with an older single “Bouquets,” the pace of the EP is set, a fresh and fruity textured song with a sludgy drum sound that slowly pushes you to an understated chorus. “Sin” is a fresh song off the EP, a bouncy track that creates a firm base for Nu’s airy lyrics. It's a song that has a fluttery, lighter-than-air feeling. “Sandcastles” has larger, plush energy, and a stadium-made pop sound, which it accomplishes without leaving Nu’s intimate voice behind, instead highlighting her vocal strength. “Gully” is a favorite for her day one fans, a funky bassline upon which drips over her voice like watering a thirsty plant. At this tempo,Nui’s cadence is attached perfectly, a genuine, sweet song for cloudy days. “Illusions” takes a small turn, both vibe and tempo-wise, adhere to a more alt-indie vibe, a personal favorite on the project. “Pots and Pans” is another single from 2021 that, at the time of its release, hinted at the searching narratives of her new works. It's a song about other people's drama (always the best fodder for inspiration). 

Overall, Hajime is a jewel to add to Nu’s already significant sparkle. The delectable approach, reminiscent of her grandmother's memoir, makes the EP feel like an intergenerational gift, an epilogue of success that sounds as beautiful as a new beginning feels, a fresh face for old emotions to navigate to happiness.

Photo: Martina Martian

Rising London star Rachel Chinouriri invites us into the pages of her diary with her latest EP, Better Off Without.

After racking up streams and insatiable anticipation with the release of her single “All I Ever Asked,” this four track EP arrives perfectly on time. It’s personal and intimate, holding our hands as she takes us through the trenches of her heart. This project feels like an extension of her, an organ outside of her body.

The cocktail of airy vocals and emotional storytelling makes it evident that she was born from the same nebula as songstresses like Nao and SZA, while maintaining an idiosyncratic indie charm.

“Happy Ending” tells a story of when hope and cynicism collide, while “Fall Right Out Of Love” is an acoustic ode to setting love free. The title track feels whimsical, with Chinouriri’s vocals captivating you so effortlessly you’re mesmerized out of noticing how truly heartbreaking the song is. That seems to be the theme of this EP— pain that feels romantic.

“These four tracks blended together to form what is a story of the ending of a relationship. Music has always been so healing for me. It has helped me move on from a lot of hard times in life. I feel every emotion very deeply, and going through leaving my five-year relationship, I felt heartbreak like never before. In writing this EP, I felt myself heal and grow into a better person; I feel more myself and comfortable in who I am today. This EP is just as much about claiming yourself after going through a time when you may have been neglecting yourself,” shares Chinouriri.

Her musical honesty is what makes her so magnetic. There’s no boundary between the artist and the listener; we’re dancing in her innermost world. She feels safe, reflecting back to us our own personal truths by baring hers. It’s oxygenating to witness a performer be so fully human.

As a promising artist on everyone’s radar, we’ve been keen on hearing what Chinouriri has next to say, and Better Off Without has made it very clear: love in its rawest form can be both ethereal and destructive, and we’re having a hot, heartbroken, healed girl summer.

Photo: Jimmy Fontaine

Matt Maeson is no stranger to these pages, having left his mark long before we found ourselves praising his debut album, 2019’s Bank on The Funeral. It is a journey, from sold-out headlining shows to chart-climbing singles, that we have been lucky enough to witness firsthand, but that’s the funny thing about the journey — it can’t all be names displayed proudly on marquees and fans screaming in adoration. In his latest single, “Blood Runs Red,” Maeson grapples with the idea of ego and returning to the world he knew as a changed man.

“Blood Runs Red” marks Maeson’s first standalone single in nearly a year but it retains all the hallmarks that make the affecting crooner such a force to behold. Opening on hypnotic guitar strumming and his unique timbre that effortlessly draws you in, the unique confessional soon layers upon itself, building to a fever pitch that carries with it all the fervor of an impassioned church sermon. “I did too much living and I’m dying again / I guess I lost my head at the Holiday Inn,” sings Maeson before reflecting on his previous statement, “Couldn’t let go of my pain / Think I found myself at Holiday Inn,” hinting at the idea that maybe the places where we find and lose ourselves are one and the same.

“‘Blood Runs Red’ is a song about being a successful artist and the narcissistic tendencies that come along with it. I toured for three years straight and received copious amounts of validation but when that ends and you go home, you’re left with yourself and who you’ve become while everyone else around you has remained the same,” shares Maeson.

The new single arrives alongside a Jesse Deflorio-directed music video that features grappling with the physical manifestation of the change he’s experiencing within himself. “Blood Runs Red” is a story often left untold in music. It is one that shies away from imagined, real, or aspirational fame, instead choosing to zero in on the reality present in those quieter, uncertain moments — the days spent sitting on tour where you’re left to ask, “What’s next?” and “Who am I, now?”

Watch the “Blood Runs Red” video below:

Photo: Steph Verschuren

Energy, the anxious frenetic kind that collapses around someone like an orb, radiates off Anna Sofia in all she does. One of those rare children who grew up endlessly performing for the family, singing amongst patrons in their Greek, Toronto establishment, she never lost her passionate drive. Any distance from the act of creation became uncomfortable for her. 

Since her debut output two years ago, Sofia the artist has been bottled up by the pandemic, expanding her influences, honing her aesthetic, and growing in confidence. The all-caps yell that is LET ME OUT I’M FREE! is the release valve on that creative pressure cooker being unclasped. The substantive beauty of the project is equaled by a nearly 15-minute short film co-directed by Sofia that is set to release May 25. 

For all of her multi-disciplinary talents, music is clearly a bulwark of her talent; it's a place where the creative crystallizes into blissfully irreverent storytelling and melodic castigation. Sofia explains the causation of this attitude, “The EP tells a story about a point in my career where the voices of the industry took control over me. I was unable to share my true creative vision, my true taste in music, and overall my true art. I built this world in this facility as a metaphor to express the way I felt during that period of time. I felt trapped, controlled, manipulated, and this was exactly how I wanted to execute those feelings.”

The lead track “Fuck Your Money” is a self-explanatory, vintage revelry about a creative refusing to be bought or commercialized, and with remarkable irony, it's an absolute jam, worthy of label attention. “Caged Birds Don’t Sing” is a wickedly tight, autotuned, Gospel-adjacent tune that mellows into R&B softness that makes you wanna cuddle the outro against your cheek. 

“Cruel World” is a prior single that has a proper, rolling baseline and rock feel that begs to be played loud and live. It's followed by another prior single, “Surround Me,” that's on the complete opposite end of the spectrum — a slow-burning balad, replete with strings and pianos worthy of any bejeweled diva’s catalog. “No. 5” is a gem of a tune, and the one I’d insist anyone listen to in order to understand both the frantic energy and well-crafted song composition previously referenced. Ending on “Go” the EP once again demonstrates the elasticity of Sofia’s sound and possibly best showcases her vocal range as well. Driven by snare paradiddle and staccato lyrics, it has a haunting, longing feeling that stays with you. 

Truly, Sofia is irrepressibly talented, and LET ME OUT I’M FREE! is a culmination of her creative vision, a reason to not cage your birds, and take joy in watching them fly free.