1. “Papernote” – Tigertown. I had the same reaction to this song as I did the first time I heard The Naked and Famous: “whoa, now that is an electro-pop song.” Big, giddy, skittering all over the place; be still my heart.
2. “The World Is a Gumball” – Heavy Heart. Heavy Heart’s song-a-month project continues with a mid-tempo rock piece that blurs the boundaries between ’90s alt-rock and early ’00s female-fronted emo by dint of some shoegaze-y guitar textures. Hazy, dreamy, and yet oddly propulsive (thanks to the bass).
3. “Basic Instructions” – Gleneagle. Unhinged, permanently-threatening-to-come-apart alt-country is attractive because it always barely manages to stay together: here the vocals threaten to dissolve into an uncoordinated rage, only restrained by the carefully coordinated guitar rock going on behind it. The cathartic/jubilant conclusion is all you hope it will be from the first time you hear Bryden Scott’s vocals.
4. “Only at Night” – Candysound. Somehow strikes a warm, comforting balance between jaunty and subdued, like Bloc Party chilling way out or Vampire Weekend on downers.
5. “Revolution (feat. First Aid Kit)” – Van William. Everything that First Aid Kit lends their voices to immediately becomes 4 times better than it was before. This was a good folk-pop song with charming trumpet before their vocals come in; after their vocals, it’s a great song. Straight up.
6. “Life 101” – Sonoride. Shuffle-snare percussion, walking bass, rolling guitar and wistful vocals come together into an excellent folk tune.
7. “All We Do” – Daniel Trakell. The soaring vocal melody in the chorus of this acoustic-pop song just takes off and pushes this song to a whole new level.
8. “That’s All You Get” – Chaperone Picks. Raw, enthusiastic, lo-fi singer/songwriter with some country overtones. For those days when it seems like no one doesn’t use autotune and maxxed out production values, Chaperone Picks is there for you. Realness.
9. “Runaways” – Gabriel Wolfchild and the Northern Light. I feel an expansiveness in my soul when I listen to this song, not unlike that which I feel during Gregory Alan Isakov’s “The Stable Song.”
10. “Agata” – Sam and the Black Seas. This acoustic tune has serious gravitas and yet remains a floating world of a song, barely over two minutes.
11. “Alstroemeria” – TOLEDO. A dignified, composed, carefully constructed piece of acoustic music that shows off the male vocal tone and the ability to make all the pieces fit together intricately.
12. “I Found a Home” – Brooklyn Doran. The pristine guitar playing features an intriguing bass line. The guitar fits between Doran’s Adele-esque vocals and chord-heavy piano playing, creating a strong pop song.
13. “When We Were Young” – Anna Atkinson. Dramatic high alto/low soprano vocals and fiddle duet for the first chunk of this tune, evoking solitary, yearning mountain folk songs. The introduction of guitar somehow amplifies those feelings instead of diminishing them.
1. “Jep Shuffle” – Holy ’57. All of the lessons we learned about infectious pop songs from Tokyo Police Club, Vampire Weekend, and Lord Huron are crammed into this nigh-on-perfect indie-pop-rock song. I got this in the midst of a long Friday afternoon, and it cheered me up and caused me to dance in my seat. It’s just absolutely great.
2. “Make Me Change My Mind” – Jonah Smith. A fusion of garage-rock instrumentation with soul-style lead and background vocals turns out quite the infectious jam.
3. “Two Suns” – Jacob Mondry. It’s been a good run recently for horn sections. Mondry’s triumphant soul horns are pressed into service here for a snazzy, swaggering pop song.
4. “Pretty Thing” – HEAVY HEART. Continuing their song-a-month project, HH drops a low-slung rock track that reminds of Silversun Pickups with a female vocalist.
5. “Some Other Dude” – Everywhere. The electro-pop instrumentation here is a lot of fun. The quirky honesty and unusual phrasing (“I think I lost my groove / now she’s dancing / dancing with some other dude”) endeared me to the track even more.
6. “Thanks for Your Time” – Late Cambrian. Late Cambrian sets this track apart from its MGMT-influenced electro-pop brethren with a grimy, distorted bass synth that’s more common in house music. It creates a really interesting vibe.
7. “Simple Game” – Mackin Carroll. Equal parts Oasis and Death Cab kept me on my toes throughout this engaging pop-rock track.
8. “Clementine” – Dion Atlas. Sometimes you just need a skyscraping, cinematic, piano-led electro-pop jam in your life.
1. “Delightful” – Katie Garibaldi. A delightfully honest reflection on how to live life in this crazy world.This sweet-sounding song beautifully combines acoustic guitar strumming with Garibaldi’s unique voice.
2. “Alaska” – Tina Refsnes. This thoughtful folk tune starts off with minimalist guitar instrumentation and slowly expands to include a rather full orchestral accompaniment. “Alaska” is a lovely track that provides just the right amount of cheer for a rainy day.
3. “No Last Call”– Emily Rodgers. A contemplative, melancholic folk tune with alt-country influence coming out in her use of pedal steel. The long length of the track gives off a feeling like it may just be an endless beauty. When it comes to a close, you are left wanting to return to its peaceful arms.
4. “Little by Little”– Niamh Crowther. Crowther’s soaring sopranic voice pairs well with her playful instrumentation. Similar to the likes of Regina Spektor, Crowther hits, holds, and transitions through very high notes; it’s rather awe-inspiring.
5. “Miami”– Kara Ali. Soulful, jovial, and refreshing, the funky instrumentation of “Miami” makes me want to groove. Ali’s voice is this interesting combination of Mariah Carey and Joss Stone. This is a great ode to a fun American city.
6. “Cormorant”– Dana Falconberry and Medicine Bow. I love this song; it feels very Birdy meets Fleet Foxes with some Dirty Projectors thrown in. Heavy on the banjo and bass, this track combines unique instrumentation with quizzical lyrics and a powerful voice. Fun all around.
7. “Oliver”– Brooke Bentham. This simple, lovely singer-songwriter track will steal your heart with its raw vocals and compelling lyrics. I can truly feel the warmth emanating from this song.
8. “Tonight”– Ashley Shadow. This is a great example of how Ashley Shadow makes music that builds and climaxes magically, akin to The War on Drugs. And Shadow’s coy alto female voice correlates well with the male background vocals entering at the chorus.
9. “Next To You”– Dannika. Sit back, relax and chill out to this track. Dannika’s unassuming vocals paired with the guitar provide a perfect example of casual feminine rock.
10. “Late to the Party”– Heavy Heart. Another chill rock song, this female-fronted rock band makes great rock music. The crisp electric guitar steals the show from the start, but the layered strings certainly deserve an honorable mention.
11. “Midnight Blue”– Candace. Although the vocals are great, the instrumentation shines on this track. It makes me want to take a drive, roll down the windows, and let the wind mess up my hair as I listen to this song.
12. “Cementville”– Annabelle Chairlegs. This song radiates fun. The vocals are very reminiscent of the female from the B-52s, with raucous screaming to boot. I’m especially in love with the boldness of this song; feels very third wave feminism.
13. “Lies”– ¿Qué Pasa? With quaking electric guitar, sultry vocals and punchy lyrics, “Lies” oozes sex appeal. The multitude of false endings leaves you thinking it’s over and then the seduction starts up again. It somehow feels like something that Quentin Tarantino could have used in a Kill Bill Vol. 1 fight scene.–Krisann Janowitz
- “Rosebush”– Goldlight. I love it when a song starts off deceptively simple and progressively builds towards its climax. I enjoy the artist’s unique voice, but the driving beat and knockout instrumentation steal the show here. Listening to this track makes me want to blast it in my car, roll the windows down and drive fast– not many tracks stir that up within me.
- “Tired”– Ashley Shadow. The layered instrumentation and unassuming vocals pair beautifully. The strong driving beat also makes this track another potential car-song, but maybe I’d drive a little slower.
- “Cave”– Katie Zaccardi. This dark and brooding track combines Zaccardi’s strong voice with hard-punching lyrics that tell a poignant story about the tug and pull of toxic relationships. The guitar up-stroke even makes an appearance!
- “White Noise”– Swells. I am feeling the groovy vibes of this tune. Soulful female vocals get me every time.
- “The Wolf”– ALLA. This string-heavy song oozes with eerie. The repetitive lyrics and rhythms make it seem simple, but the string-plucking alone exposes the track’s complexity.
- “Help Yourself”– Bryde. Bryde’s powerful, Vanessa Carlton-like voice continues to entrance me. The hard-hitting lyrics and full-bodied instrumentation keep me coming back.
- “Bedbugs”– Amaroun. Amaroun’s unique alt-folk sound is akin to brilliant artists like Bjork and Jesca Hoop. You won’t want to miss taking a ride with Amaroun and her “Bedbugs”.
- “Love Dust feat. Mercy”– Christopher Pellnat. I am absolutely captivated by this juxtaposition of seductive Lana Del Rey-like vocals and circus-esque instrumentation. It feels uncannily like a 19th century cabaret, with an accordion to boot!
- “Speak”– Expert Timing. The sweet female and unadorned male vocals contrast great with the heavy electric guitar and drum kit instrumentation. This is one punk rock track to rock out to.
- “The Lost Ones (featuring Leah Hayes)”– The Gifted. Fun, playful, even includes whistling–everything you want an indie-pop song to be. There’s something about the vibrant sound and catchy lyrics that make me feel that this track could be an anthem for a generation.
- “What Became of Laura R?”– Heavy Heart. Summoning their inner MGMT, this track begins and ends with a slew of screaming kids. As the song progresses, Heavy Heart’s rock and roll vibes liken to that of the Silversun Pickups– breezy, laid-back rock and roll. –Krisann Janowitz