“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

Incorporating both confident swagger and a futuristic assortment of industrial synths, “Hump Day” is an infectiously confident effort from Miss Eaves, aka Brooklyn-based Shanthony Exum. The song’s topic is relatable enough: masturbation. Miss Eaves