With Disney deep in her past, pop star Hayley Kiyoko’s Panorama navigates queer relationships with self-assuredness, packaged in accessible pop hooks.
Astragal reincarnate what made 1980s post-punk so compulsively listenable, helping them stand out in a fascinating genre with precious little competition.
Field Guides’ Ginkgo derives from a profoundly organic, indie-folk space that encourages a stream of consciousness and unique melodic lines seemingly plucked out of thin air.
Noah Deemer’s art-pop debut, The Sleepwalker, seeks to access deeper consciousness. Dreamy and off-kilter songs seek to unearth deeper emotions.
Two Margot EPs blend smoothly together for a 50-minute excursion into mind-expanding bliss, effortlessly straddling dream-pop and early ’70s psychedelia.
SOAK shows on If I Never Know You Like This Again that using uncomfortable past experiences for personal growth doesn’t have to be a drag. It can be a blast.
Whether Say Sue Me are surf-rock, shoegaze, or dream-pop, none of these categories seem to matter when listening to the delightful The Last Thing Left.
Girlpool’s Forgiveness finds the duo drifting through several iterations of low-key indie pop music, infused with electronic noises and acoustic folk.
Classic concert “Blurred Crusade Live” launches the Church to a place few bands ever reach, on stage or anywhere else. It’s a golden moment of transcendent ’80s rock joy.
By letting her existential anxieties take center stage, Hatchie embraces alt-pop sensibilities on Giving the World Away to process life and loss in all its messy glory.
Norway’s Mall Girl combine powerful math rock with alt-pop dreaminess on their debut album Superstar, where languid melodies reside with fast tempos and technical playing.
Whimsical’s Melt strikes a pleasing balance between droning Slowdive wash and a more kinetic Lush vitality – while also unafraid to slow things down.