To be loved as more than just a figment of the imagination is what Cool Grl is all about. The indie-pop debut single written by Los Angeles-based indie-pop, rock musician Maisyn is a complex melodicism incited by vulnerability and protection.

“Mind Me” is the latest single from Chicago indie rock band The Foons. The single hints at the new styling the group is moving toward in their upcoming EP, “Breakfast.” Unlike their previous record “Balloon Fruit,” “Breakfast” poses as a fuzzy, synth filled extravaganza

Chicago’s dream-pop band Fauvely’s newest single, “Always,” is filled with hope, self-examination, and pushing back against self-comparison. It’s nearly impossible to not hold yourself accountable to previous actions and who you think you ought to be moving forward.

In April, DeGenova and Fresh Paint released his fourth album, “Really Human,” with Ropeadope Records. The theme of New Age is again referenced in the song “New Age Babies,” and the titular song is about being human on the cosmic scale.

Lester Rey’s—a Peurto Rican Neo Latin Soul artist—newest music video “Juketeo” bounces in full of life, color, and creative expression. Unlike most music videos, Rey doesn’t focus on himself as the protagonist, rather it’s the three Black women dancers—Tarajah Echols, Kayla Kurns, and Desiré Jones—that take center stage.

Do you ever think about how much time we lose from blinking? Cause I didn’t until Andrew Christopoulos—lead singer and songwriter of Soul Honey Records—shared his newest song with me. But damn we blink a lot. I don’t think that was an intention of the song but it certainly got me thinking about it.

For all the weirdos, quiet kids, and emphatically lost souls, there is nary a better musical savior than Mr. Solo Dolo himself, Kid Cudi. I don’t believe it to be unfair to say that many of my generation have turned to Scott Mescudi’s music in the times when we are feeling at our lowest.

Viral love is often cold despite all the warm looking pictures. José’s music video does an extremely great job of showing this. Set to the song, we see couples of every kind. They’re happy and close to each other. After both choruses, the visuals shift from love to heartbreak. The screen starts to glitch, too, with a repeating soundbite of an intro to a video: “5 Ways to Dominate your Social Media.”

In her straightforward, lean writing style, Sgro exhales through the story of a holiday divided between two households, through the windows of which whole families can be seen doing holiday things in building snowmen and gathering around a tree. Santa is at the mall, though it is not specified whether he and the children are following CDC guidelines.

This year has given us many things. Confusion, dread, and meditation alike have swirled around the drain of an electoral climax. “Shapes,” the latest single from the Chicago band The Foons, takes listeners on a similar journey, although they intended it to be about being stoned speechless at a rock concert. So it goes.

In her 1988 essay titled “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,” Judith Butler argues that gender is a performance of societal conceptions regadring what’s understood as masculine and feminine. Her core idea lies in the notion that gender is an expression of what one does, not what one is. When one considers the definition of ‘to perform’ as being “to carry out an action or pattern of behavior,” it makes sense that Butler’s argument serves as the foundation for which many sociologists consider gender as a practice.

If there’s anyone who knew how to make an entrance, it was Little Richard. On the Dick Cavett Show in December 1970, Little Richard sauntered out, dressed in a majestic brocade ensemble: tunic, cape, matching bell bottoms, and a golden Lurex choker with taupe platform boots peeking out from underneath. His jet-black hair, styled in his distinctive fluffy bouffant, was accessorized with a headband reminiscent of his protégé, Jimi Hendrix, and his ferocious eyes were lined to perfection.

On Friday nights, I walk down the bayou to a concert. There's a global pandemic still going on, so I'm not headed to a club or an arena. Instead, I'm walking, iced coffee in hand, to a porch concert. I sit on Miss Mary's tangerine-colored steps and greet her pet corgi, Mo-mo, as I settle in for the show. Neighbors gather in the street on plastic lawn-chairs, and cars attempt to swerve around them.

What do you do when it’s too cold to go ice-fishing? You stay in bed watching kung fu movies and drinking home made mango smoothies with that special someone. At least that’s what the surf-rock inspired single “Sugar Melting in the Rain” by Chicago musician Andrew Christopoulos of the recording project Soul Honey Records says you should do. And honestly, that doesn’t sound like a bad idea to me.

TTRRUUCES’ self-titled, debut album “TTRRUUCES” feels like what I can only describe as trippy. The songs are filled with glittery chimes and jingles, synthesizers, and other electronic beats, fuzzy chords, and drama that pull the listener into a world of the artists’ creation. From the start, it’s apparent that we are merely spectators watching the coming of age story of Sad Girl and Lost Boy when they start using the mind-altering drug TTRRUUCES.

A bittersweet aspect of love is falling in love with the idea of someone. It’s not just the person that makes one’s heart skip a beat, but the thought of who they are, what being together would mean, and what a future life together could look like. Smitten by these hopes and dreams that could be realized, one may start to truly fantasize.

Three Filipino American rappers have been taking stages and dropping mics worldwide with sick beats and woke rap. Ruby Ibarra, Klassy, and Rocky Rivera have been creating anthems of Filipina empowerment through their music, chronicling the multidimensional and ever-evolving psyche of the modern-day Pinay. Not only do they have the flow and the rhythm, they vocalize the stories of Filipino American women that have long been untold.

There’s a sense of calmness that settles over me in my existential dread about the state of my life as I listen to “Jeopardy,” the newest LP from Chicago-based psych-rock band Dogs At Large. While my personal life is pretty much in shambles and I’m overwrought with the pressure of meeting expectations for everyone, including myself, this album is a sweet soundscape that promises an emotional journey, featuring happiness, contentment, depression, anxiety, excitement, and placidity.

“The Other Side” centers itself in the tale of a young man who longs for a time he missed out on: the Summer of Love. Much like the protagonist, singer-songwriter Julian Daniell yearns for that time and wishes he could have experienced it. Unfortunately, time travel doesn’t exist. So, Daniell manages to skip over this hurdle by writing a song where the premise opens up the other sides to your own life, allowing your experiences to be reimagined.

Manny 10x is back, and he’s been in the studio working to keep his listeners craving more. The last we heard of Manny 10x was in July when his singles “Warp Speed” and “On A Wire” were just hitting platforms. With his fresh and unique sound in your buds at the peak of summer, his new single “Shiva” provides a great shift into fall.