I’m not really keen on posting covers, and especially those of famous tracks, but I’m always fond of orchestral ambitions taking hold of more pop and rock-oriented originals. Classically trained Atlanta alternative

Tropic Harbour made an impressive introduction to the world with “Glowing Eyes” about two months ago, showcasing a sound that resembled Johnny Marr playing guitar on a Wild Nothing track. It was

“Old Amsterdam” places listeners into nocturnal city streets, with the glistening harps, funk bass, late-night brass and sonorous vocals making for a very enticing and illustrious sound. The track is the new

“Cold Car” is a twinkling new effort from The Edward Furlongs, who impressed previously with “Nagasaki“, a faster-moving piece with Beirut-like brass flourishes. “Cold Car” is a bit more scaled-back, allowing a

Mark Bacino produces an immediately likable vein of power-pop, which on “Not That Guy” reminds me lovingly of the bouncy keyboard/guitar-led sounds of Jellyfish, particularly on their underrated classic Spilt Milk. The

Bartholin is the duo of Drew Danburry and Cat Leavy, with a seemingly lofty aim of exploring “the Freudian subconscious.” Their self-titled EP, out September 29th, features the excellent “Paraphones”, which works

Los Angeles-based folk/dream-pop act Hannah Telle produces an elegantly hypnotic sound on new track “Hollow Glow”, which is also the title of her first album, out September 21st. A native of Shelby,

“Brother Jonathan” is a great piece of songwriting from Glenn Meling, an independent artist, songwriter, and producer from Oslo. With an anthemic and professional sound reminiscent of U2 and Daniel Lanois’ production