“What’s next in music is first on SoundCloud,” the platform proclaims; sometimes that first is a somehow pitchy mumble rap set over an ‘experimental’ drum mix. But, sometimes, you find something interesting and innovative.

Caroline’s debut taught me that the best releases are not whole; they need tension within themselves that can be continually unfurled in catharsis. Unfortunately, the “Total euphoria” of this track doesn’t pay off as much as it tries to.

“This is ridiculous for a photographer to experience this kind of attention, you know? So the fans have been coming out and, I mean, this has been amazing. Just all so kind. Everybody's just been amazing. The sweetest, kindest people, man, it's really been incredible.”

Quiet Light is a tour de force; Houston native Riya Mahesh has not only produced five albums and two EPs in three years but has done so while being a full-time medical student.

The bubbly backing synths are subtle: entrancing and catchy while creating space for the lead vocals. Bladee’s grittier sound grounds Oklou’s airy lyrics–this isn’t just a song but a conversation of trust between the two.

Ethel Cain’s musical craftsmanship reached new heights on Perverts. On January 8th, the Florida native dropped the highly anticipated follow-up to her 2022 debut, Preacher’s Daughter. The nine-track “project” breaks the 90-minute mark, with individual songs spanning over fifteen minutes. 

If a breakdown is the disassembly of a riff/groove to its heaviest, most primal instincts, Spineless takes theirs to a different level. The sheer force of Spineless’s instrumentals is so violent that it seems like even the microphones struggle to contain it.