- WE ARE BETWEEN – Modest Mouse (1)
- WELCOME TO THE PARTY – Jack Droppers & the Best Intentions (5)
- FLATLINE – Two Feet (2)
- BED HEAD – Manchester Orchestra (6)
- FOLLOW YOU – Imagine Dragons (4)
- METRONOME – Polarizer (3)
- CAN WE GO BACK – The Frontier (10)
- MARTYR – Oli Barton & the Movement (12)
- SINNER – Young Decades (13)
- ZITTI E BUONI – Måneskin (19)
- TYPHOONS – Royal Blood (11)
- NOT DEAD YET – Lord Huron (7)
- SHY AWAY – twenty øne piløts (8)
- YOUR POWER – Billie Eilish (15)
- BETTER – Michigander (16)
- CRAWLING KINGSNAKE – The Black Keys (18)
- COME FIND ME BACK – Philip Morgan Lewis (14)
- SAVE YOUR TEARS – The Weeknd (9)
- ALL YOU EVER WANTED – Rag’n’Bone Man (20)
- STARGAZING – The Neighbourhood (22)
- LIKE I USED TO – Sharon Van Etten & Angel Olsen (23)
- HIGHER POWER – Coldplay (21)
- NOTHING2 – Strange Souvenirs (24)
- STOP MAKING THIS HURT – Bleachers (25)
- STICKY – The Maine (26)
- SOLAR POWER – Lorde (27)
- MISSING PIECE – Vance Joy (28)
- EVERY WINDOW IS A MIRROR – Joywave (29)
- ENNUI – Dawning (30)
- BREAK MY BABY – KALEO (17)
As I’ve stated in previous posts, one of my favorite indie artists is The Frontier, the music project of singer-songwriter, guitarist and producer Jake Mimikos. Based in Fairfax County, Virginia, Jake is an enormously talented guy with a kindness and sense of humor to match, and I’m quite fond of him both as an artist and human. Since 2015, he’s released an impressive amount of music both as a solo artist and as a band under The Frontier moniker, and we’ve been following each other on social media for nearly that long. As with many bands, the members and lineup of The Frontier have varied over the years, but the act is at this time mostly his solo project. Drawing upon elements of pop, folk, rock and electronica, his music is always incredibly pleasing and flawlessly crafted.
I’ve featured The Frontier several times on this blog, most recently last December when I reviewed his gorgeous single “Sleep”. (You can read that and previous reviews by clicking on the links under ‘Related’ at the end of this post.) Since then, he’s been on a mission to release new music as often as possible, and followed a month later with an acoustic version of Bonnie Raitt’s “I Can’t Make You Love Me”, then a live EP, followed by “Can We Go Back” in March. “Sleep” went to #2 on my Weekly Top 30 and “Can We Go Back” is currently in the top 10, and between the two songs, he’s continuously appeared on my Top 30 since mid-January! In May, he dropped his single “Ghost” and now he returns with another brand new single “Shattered“, which I’ve chosen as my New Song of the Week.
About “Shattered” Jake confides “It’s about trying to understand how someone can say they love you and then leave you, and trying to find clarity after a difficult break up. It’s really just about these strong emotions I was feeling at the time and trying to process through writing about it. I imagine a lot of people will be able to relate or have experienced this type of heartbreak before. These last few songs have been the most personal and vulnerable I’ve written to date.”
I’ve enjoyed seeing The Frontier’s musical style progress over time, and it’s clear his musicianship and songwriting continue to grow stronger and stronger. His skill for crafting uniquely distinctive melodies ensures that each new song sounds totally different from the rest. He’s also gotten quite adept at programming synths to create captivating soundscapes that quickly draw us in, then hold us in rapt attention all the way to the finish. The chiming synths combined with what sounds like a strummed ukelele at the opening of “Shattered” instantly let us know we’re in for something special, and as the song unfolds we’re not disappointed. The song is exquisite and haunting, and I love the mix of ukelele and guitar that add such rich texture, as well producing a sunny vibe that contrasts with the darker lyrics about feeling abandoned by a loved one. As always, Jake’s vocals are heartfelt and genuine, conveying the hurt and despair expressed in the lyrics. It’s another winning tune.
She said it doesn't matter All the feelings that I had for you Now my heart is shattered And I'm drowning in a sea of blue Why you got to run away? What are you really running from? All you had to do is say we could be lying in the sun Some people tell me, love is just a four-letter word Nobody seems to understand All these lines get so blurred What is love without lust? What is lust without us? You just lit up a fire, girl Just so I could get burned She said it doesn't matter All the feelings that I have for you Now my heart is shattered And I'm drowning in a sea of blue Why you got to run away? What are you really running from? All you had to do is say we could be lying in the sun Here is my confession I was ready to die for you You were my obsession It's not healthy but it was so true There is some pleasure in pain There is a measure to save I know we both had our issues But who doesn't these days
It’s time for another installment of Fresh New Tracks, as there’s so much great music being released. Some of the best of it continues to come from the UK, so I’m dedicating this edition to that island kingdom. I’ve chosen three outstanding new singles from British acts I’ve grown especially fond of: Young Decades and Liam Sullivan, both of whom I’ve previously written about on this blog, as as well as The Banshees, who I’m thrilled to feature for the first time.
“Mediterranean” by Young Decades
Born from the ashes of Liverpool-based band COLOUR, Young Decades formed at the early onset of the Covid pandemic. Like every other artist and band around the globe, they were unable to tour or perform live, so they made the most of their down time by setting themselves on a mission to build up a catalog of songs, and I can emphatically state that they’ve succeeded quite nicely. They released their beautiful debut single “Islands” in April 2020, then quickly followed with four more excellent singles, as well as several collections of remixes and alternative versions. On March 5th of this year, they released an EP Let You Down, which featured all five singles, then soon dropped their sixth single “Sinner” on April 23 (you can read my review of “Sinner” here.) The stunning anthem has spent the past two months and counting on my Weekly Top 30.
They also gained, then quickly lost, a drummer, but in April they recruited a replacement, so their current lineup consists of James Tidd (vocals), Scott Harvey (guitar, keyboards), Liam Downey (bass) and Lee Cameron (drums). The various band members are scattered about the Midlands and North West England, but meet up for rehearsals and recording in the city of Stoke on Trent. Now the prolific group is back with a wonderful new single “Mediterranean“, a jubilant celebration of being able to travel more freely again. The band elaborates “Think back to that one perfect trip: the first dive into the water and the feeling of escape. With travel limited, the need for escapism has reached fever pitch. ‘Mediterranean’ is a blistering expression of that bottled-up feeling. Starting like some beachside dream, it kicks you right back to everything good about getting away and the lyrics are dotted with glimpses of holiday life: sleeping on the beach, burnt skin, foreign coins, full moons on open sea and diving into some warm Mediterranean waves. Another anthem built for live gigs… somewhere warm.”
All Young Decades songs are uplifting, melodic and beautiful, with exuberant synths, driving rhythms and stellar guitar work. But for me, the real highlights of their music are Scott’s dramatic piano keys and James’ impassioned vocals that make their sound distinctive from any other band and instantly recognizable as only Young Decades. They don’t disappoint with “Mediterranean”, delivering another top-notch song and a fine addition to their perfect string of exceptional singles.
“Jerusalem” by Liam Sullivan
One of the standout artists I’ve had the pleasure of getting to know in the past year or so is singer-songwriter Liam Sullivan. The Leeds-based musician is a fine songwriter and guitarist, with a vibrant and warm singing voice that’s both beautiful and comforting. His music can generally be classified as alternative rock with folk and singer-songwriter elements that make for an incredibly pleasing listen, and I love every one of his songs. Liam’s been writing and performing music for well over a decade, both as a member of various bands and, more recently, as a solo artist with a back-up band of musicians he assembled to help bring his poetic lyrics to life.
Like Young Decades, Liam has set for himself an ambitious goal of releasing a new single roughly every 6-8 weeks. While he hasn’t quite met that frantic schedule, he has released six singles over the past year, the latest of which is “Jerusalem“. (I’ve reviewed three of his previous singles, most recently his beautiful song “Stadium and Churches” in April, which you can read here.) The song has a harder rock vibe than his last several singles, with a faster tempo, a stronger driving rhythm and edgier guitars. Liam’s always emotive vocals have an even greater sense of urgency here as he sings about his faith and spirituality using biblical references. The song was inspired by his being asked to be a godfather to his friend’s twin babies. While he never considered himself to be religious, he was greatly honored and took being a godfather very seriously. It prompted him to explore what it means to have faith in a broader sense, and also search for answers and question his own faith and spirituality. It’s a beautiful and heartfelt song.
“4AM” by The Banshees
The Banshees are an indie alternative pop-rock duo based in Liverpool, and comprised of Vinny Pereira on vocals & guitar and Paul Holligan on lead guitar. The two met through a mutual friend at a party in Liverpool, hit it off and eventually formed as a band in December 2018. They soon began playing gigs in Liverpool and in May 2019, released their debut single “Self Medicated”. Over the next two years, they’ve continued to release a string of outstanding singles, earning praise from critics and fans alike, along with features in prominent music publications and websites like NME, Rolling Stone, Pitchfork, Kerrang, Guitar Player, Stereogum and Spin, as well as TV music stations MTV and VH1. Their sound has been favorably compared to The Strokes, Arctic Monkeys and Talking Heads. I love all three of those acts, and after having The Banshees’ music on repeat in preparation for writing this review, I can confidently state that I love their music too.
On July 1st, they dropped their latest single “4AM“, a song the band describes as “harking back to the club scenes of the 90s panic, punk and angst all mixed up into a journey of the mind. Nobody wants to be nobody, or maybe it’s just that now we live in a world where self perception of importance carries more weight than the bigger life picture of just being happy.” To my ears, the song has an almost punk aesthetic, with a frenetic dance beat, a strong, thumping bassline, and emphatic gnarly guitars. The guys’ superb musicianship really shines through, with first-rate production values and powerful pulsating rhythms pulling us willingly into an exhilarating soundscape that compels us to throw all our preconceived notions and bullshit out the window, just let loose and be. With a wry matter-of-fact tone, imbued with a touch of cheekiness, Vinny emphatically laments “The habits you created to survive will no longer serve you when its time to thrive. No focus on yourself for a change. Woulda’ coulda’ shoulda’ kept your goal in range. I’m so tired of bein’ tired. I’m so hard to please. Just gimme the truth, so I can go back to sleep.” Give me more of this!
From the moment I first heard their single “Old Man’s War” back in the spring of 2019, I’ve been a big fan of Texas alt-rock quartet Roadkeeper. Blending dreamy shoegaze and dramatic psychedelic rock with complex melodic structures, they craft lush soundscapes that are a perfect backdrop for their intelligent, socially conscious, sometimes political, and always thought-provoking lyrics. Formed in 2018, the band consists of songwriter/producer John Hetherington (vocals, synths, rhythm guitar), Trevor Tull (lead guitar), Nick Cogdill (drums) and Daniel Griffith (bass). All long-time friends, Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio, and releasing their songs on their own label Equal Temperament.
I last featured Roadkeeper in January when I reviewed their magnificent single “Enemy Mine” (which spent more than four months on my Weekly Top 30). The song is a scathing attack on far-right white nationalist professional pundits who radicalize vulnerable young people by feeding them propaganda on social media and YouTube. Continuing in a similar vein, on June 24th, they dropped their 8th single “Take the L“, which addresses the ongoing immigrant and refugee crisis along the US/Mexico border, which has had an especially profound impact on Texas.
Written during the Trump administration and recorded in the Biden administration, the song shines a light on the fact this issue hasn’t gone away with the change in the White House. In an article in the webzine Clash, John explained “The song serves as an important reminder that the two major political parties in the US are just punting this issue back and forth to one another, so when is real change going to happen?“
Roadkeeper never fails to amaze me, and with “Take the L”, they once again deliver an exceptional single. The layered mix of psychedelic and shimmery guitars are gorgeous, backed by sparkling atmospheric synths and thumping rhythms, all creating a melodic and captivating backdrop for the powerful lyrics. John has a wonderful and mellifluous singing voice, and here his smooth vocals remind me at times of Mark Foster (of Foster the People) as he laments “Just take the L and go, so we both get our way. We’ll burn at both ends and say ‘Who started it anyway?’. All these stolen kids who die in their sleep don’t mean anything.”
- WE ARE BETWEEN – Modest Mouse (2)
- FLATLINE – Two Feet (1)
- METRONOME – Polarizer (5)
- FOLLOW YOU – Imagine Dragons (6)
- WELCOME TO THE PARTY – Jack Droppers & the Best Intentions (10)
- BED HEAD – Manchester Orchestra (8)
- NOT DEAD YET – Lord Huron (3)
- SHY AWAY – twenty øne piløts (4)
- SAVE YOUR TEARS – The Weeknd (7)
- CAN WE GO BACK – The Frontier (11)
- TYPHOONS – Royal Blood (12)
- MARTYR – Oli Barton & the Movement (13)
- SINNER – Young Decades (14)
- COME FIND ME BACK – Philip Morgan Lewis (15)
- YOUR POWER – Billie Eilish (16)
- BETTER – Michigander (17)
- BREAK MY BABY – KALEO (9)
- CRAWLING KINGSNAKE – The Black Keys (20)
- ZITTI E BUONI – Måneskin (23)
- ALL YOU EVER WANTED – Rag’n’Bone Man (24)
- HIGHER POWER – Coldplay (25)
- STARGAZING – The Neighbourhood (28)
- LIKE I USED TO – Sharon Van Etten & Angel Olsen (29)
- NOTHING2 – Strange Souvenirs (27)
- STOP MAKING THIS HURT – Bleachers (30)
- STICKY – The Maine (N)
- SOLAR POWER – Lorde (N)
- MISSING PIECE – Vance Joy (N)
- EVERY WINDOW IS A MIRROR – Joywave (N)
- ENNUI – Dawning (N)
One of the most prolific and generous artists I’ve encountered in my nearly six years of blogging is Secret Postal Society, the music project of Welsh singer-songwriter, composer and multi-instrumentalist Craig Mapstone. Since the beginning of the year, he’s faithfully released a new single every week, and as I write this, he just dropped his 27th single “Here Comes Trouble”. At the end of each month, he bundles the four singles from that month into an EP, which translates to six EPs thus far in 2021. Here’s the cover art for his latest EP, simply titled June EP.
Based in South Wales, Craig has been writing songs and playing in various local bands over the years, primarily as a drummer. He was content to remain mostly hidden behind the scenes playing drums, but hadn’t been in a band for quite a while. As with virtually all musicians around the globe, the covid lockdowns prevented him from performing live and leaving him with lots of time for introspection, but also impacting his overall sense of well-being. He told me “After the crazy year that was 2020, I found myself refocusing what was important to me, and music was always a big part of my life. It was also my lifeline as it helped me with my anxiety. During last year I found myself playing guitar more and coming up with lots of ideas with no real focus as to what to do with them. Then literally a few days before the end of the year I just decided that I was going to create a band and then try and write/record a new song every week. I set up my YouTube channel and Instagram account and went from there.”
And thus, Secret Postal Society was born. Each week, Craig writes (or co-writes) and records a brand new song, playing all of the instruments and singing all of the vocal parts himself (with the notable exception of some solo guitar and backing vocals from Rev Rabbit (of Welsh indie rock band Revolution Rabbit Deluxe, whose three albums I’ve previously reviewed) on the song “Now Is The Time”. In addition to Secret Postal Society, Craig is also co-founder (with Raj Chand) of Weird Triangle, a business that offers design services for digital video projects, logos and promotional materials, and their own line of T-shirts and hoodies. Through his involvement with Weird Triangle, Craig designs most of the artwork for the Secret Postal Society single and E.P. covers, along with limited edition T-shirts for each song. He also creates most of his videos using free and publicly available footage he finds on the internet, then edits it to fit the particular song.
Secret Postal Society was not only a way to help Craig through a difficult time, but he also uses it to help others. Accordingly, he donates 100% of the profits from the sale of each T-shirt (with the E.P. designs) to a different charity each month. Thus far, he’s supported the following charities: MS-UK (January), Cystic Fibrosis Trust (February), Velindre Hospital (March), Mermaids UK (April), The Prince’s Trust (May) and Umbrella Cymru (June).
The very first song he released, on New Years Day, was “It’s Not Over“, an old song he originally wrote and recorded back in 2006. He said the song got him through some difficult times over the years, and felt it was the right track to launch Secret Postal Society. It’s a good example of his laid-back singer-songwriter music style, which is primarily pop-rock infused with touches of indie folk. But as I’ll show in this post, his music is actually quite eclectic, exploring elements of progressive, experimental, grunge, post-punk and alternative rock. Most of his songs are really good, but I’ve chosen a few of my favorites, as well as ones I think give a good representation of his extensive stylistic range.
On his next single “Happy Sad“, he delivers a somewhat heavier rock vibe, with some fine jangly guitar work. He almost reveals his entire face on the video of him performing the song.
One of my favorite songs by him is “Choices“, a dramatic and moody track released in February. On this song, Craig seems to delve more deeply into progressive and experimental rock, using distorted psychedelic guitars, somber keyboards and horns to great effect in creating a darkly beautiful soundscape for his ominous droning vocals. The video was produced by Rubén Velasco and edited by Craig.
His follow-up single “I Like You” has more of a grunge/psych rock vibe, with some terrific reverb-soaked gnarly guitars. His electronically-altered vocals sound almost robotic as he drones “Your love it isn’t science. My love isn’t art. We must redraw the line, cause you’re tearing me apart. Cause I like you. Yeah, I like you.” The cool animated video was produced by Cottonbro.
Continuing on a grunge theme, but with more alternative and electronic elements, is the pleasing track “Numb“. Released in April, it’s another one of my favorite Secret Postal Society songs. Craig’s synths are wonderful, and I also love his guitar work in this track, which reminds me a bit of “Lazy Eye” by Silversun Pickups. The beautiful video was once again produced by Cottonbro.
“Half Way There“, released in late June as his 26th single, marks the halfway point of his opus 2021 endeavor. It’s a beautiful guitar-driven track featuring some lovely keyboard synths and Craig’s soothing vocals. The optimistic lyrics speak not only to his half-year milestone, but also metaphorically of a struggling relationship halfway toward its fulfillment. And we finally get a good look at Craig on the video, which shows his creative process and him performing the song.
I’ll end with his latest single “Here Comes Trouble“, which dropped July 2nd. The song has a late-90s alt-pop/rock vibe, reminiscent of songs by artists like Duncan Sheik, Eagle Eye Cherry and Deep Blue Something. Once again, it showcases the breadth and variety of Secret Postal Society’s musical style. There’s literally something for just about everyone in his discography, and I’m dumbfounded by his impressive output. The ability to write, record and release a new song week in and week out is amazing in itself, but to have such high quality in nearly every track is quite an accomplishment. I hope Craig will be able to maintain the creativity and stamina to continue releasing a new song per week for the remainder of 2021, and look forward to hearing what he comes up with next!
Emma Young is a versatile and talented singer-songwriter, actress, model and producer based in Westport, Massachusetts. I first learned about her in April when I wrote about the song “Reanimate” by brett.grant.5 that she was featured on. Emma and Brett met as students at Columbia College Chicago, and played together in the band Sleep For Dinner, who released their self-titled EP in 2019. Over the past few years, she’s also released several singles as a solo artist, along with her debut EP Rise, which dropped a year ago in June 2020. On June 25th, Emma released a dark and provocative new video for one of the tracks on the EP “All You’ll Ever Need“.
The song and video explore the relationship between an artist and her fans. Emma explains: “People get a narrow, highly edited view of an artist. The artist’s job is to convince their audience they desperately need them. The next release is ‘always the best music to ever have been written’ and the next image is ‘always a flawless yet candid’ portrait of what the artist is selling. As I describe in my lyrics ‘This is how it works, parts of life are all you’ll ever see’. The artist singing the song knows their role is to tempt new listeners and get them addicted to their sound. So I play a siren of sorts, luring my follower (played by Wes Kader) through screens and song to the point of obsession. At the same time, I am watching myself through that dusty tv set, always judging the persona I have created, yet detached from her, as if all those photos and videos are just an ideal that I will never truly reach. I sit clawing at the tv set, lonely, viewing the alternate reality I created. I play both the artist and a fan because the artist must both create and be an observer of themselves to calculate the best plan of attack. When I see the fan start to follow me I am satisfied with the result. It’s a dark and multi angled view of music. I am also into horror movies and wanted to play off of some classic scenes!“
Musically, “All You Ever Need” is darkly beautiful and mesmerizing too. Emma has done a masterful job creating a moody, yet sensual soundscape to perfectly express the double-edged aspects of artistry and celebrity. The song opens with discordant sounds and a rather ominous, droning synth lasting around 30 seconds, then transitions to an enchanting dance beat, accompanied by spooky ethereal synths and hauntingly beautiful piano chords. Her breathy vocals are captivating, with an almost ghostly feel as she sings to an imaginary fan who’s quickly becoming obsessed with her. The result is an outstanding song that brilliantly evokes her siren persona.
Here I am again, waiting for you in the dark Here I am again, I know exactly what you want from me, what you want from me See you through the lens, staring at me through the cracks See you through the lens, you are waiting for a chance to see, you are waiting for a chance to see me You don't blame me for, all the things that I've done I left you wanting more, you left me with a new history, you left me with a new history This is how it works, nights with you out on the streets This is how it works, parts of life are all you'll ever see, they're all you'll ever need Whoa whoa whoa Oh I'm all you'll ever need Whoa whoa whoa Oh I'm all you'll ever need I'm all you'll ever need All you'll ever need I'm All
The video was beautifully filmed by Bob Klein, who co-produced it with Andrew Bernard.
I’m sharing this well-researched and beautifully-written article about acclaimed British record producer Hugh Padgham by Pierce Brown of The Press Music Reviews blog. It’s truly a master class in writing, so do yourselves a favor and give it a read! And while you’re there, follow his terrific blog too.
Though we’re officially only one week into Summer 2021, it’s already turning out to be an exceptionally hot one for a large swath of the U.S., and around the Northern Hemisphere. Temperature records have been shattered in many locations, including here in the Coachella Valley of Southern California where I live. On June 17th, the temperature in Palm Springs reached 123 degrees, setting a new all-time record high for June (after hitting 120 two days earlier). In the normally temperate Pacific Northwest, Portland, Oregon set a new all-time record high of 108 on June 26th, with Seattle also breaking their all-time record with 102 degrees. Those new records look to be short-lived, as they’re forecast to be broken later today!
(Late update: they were indeed broken on the 27th, as high temperatures reached 112 at the official airport station in Portland, and 104 in Seattle, then broken again on the 28th, with temperatures soaring to an unbelievable 116 in Portland, 117 in Salem and 107 in Seattle!)
These crazy-hot temperatures got me thinking about one of my favorite songs from the 1960s, “Heat Wave” by Martha & the Vandellas. Originally formed as the Del-Phis in 1957 by Annette Beard, Rosalind Ashford and Gloria Williams, (and briefly renamed The Vels in 1961-62), the act was redubbed Martha & the Vandellas in 1962 after Martha Reeves replaced Williams as lead vocalist (and later to Martha Reeves & the Vandellas as Reeves gained prominence). “Heat Wave” (also known as “(Love Is Like A) Heat Wave”) was written by the legendary Motown songwriting team of Brian and Eddie Holland and Lamont Dozier, who also penned numerous hits for the Supremes, Marvin Gaye, Four Tops and many others. It was the second hit song they collaborated on with Martha & the Vandellas, following their first hit “Come and Get These Memories”.
- FLATLINE – Two Feet (1)
- WE ARE BETWEEN – Modest Mouse (4)
- NOT DEAD YET – Lord Huron (2)
- SHY AWAY – twenty øne piløts (3)
- METRONOME – Polarizer (5)
- FOLLOW YOU – Imagine Dragons (6)
- SAVE YOUR TEARS – The Weeknd (7)
- BED HEAD – Manchester Orchestra (9)
- BREAK MY BABY – KALEO (8)
- WELCOME TO THE PARTY – Jack Droppers & the Best Intentions (12)
- CAN WE GO BACK – The Frontier (15)
- TYPHOONS – Royal Blood (16)
- MARTYR – Oli Barton & the Movement (18)
- SINNER – Young Decades (19)
- COME FIND ME BACK – Philip Morgan Lewis (17)
- YOUR POWER – Billie Eilish (20)
- BETTER – Michigander (21)
- ROSE HIPS – Dawning (10)
- BREATHE – Ships Have Sailed (11)
- CRAWLING KINGSNAKE – The Black Keys (24)
- AT HOME IN THE DARK – Au Gres (13)
- HYPOTHETICALS – Lake Street Dive (14)
- ZITTI E BUONI – Måneskin (28)
- ALL YOU EVER WANTED – Rag’n’Bone Man (27)
- HIGHER POWER – Coldplay (29)
- WAY LESS SAD – AJR (23)
- NOTHING2 – Strange Souvenirs (30)
- STARGAZING – The Neighbourhood (N)
- LIKE I USED TO – Sharon Van Etten & Angel Olsen (N)
- STOP MAKING THIS HURT – Bleachers (N)