Hailing from New York City, Jiwon is slaying the current indie/bedroom pop vibe. His song “Sunshine” feels like Forrest Frank vocal melodies with the textural elements of Porches, and I’m here for it. The drums are a perfectly blended combination of 808s and smashed room drums; the acoustic guitar is melodic and vibrant, making great use of extended harmony while also incorporating plenty of rhythmic space; and the chorus features some wonderfully warped vocal processing.

This track is the late summer anthem I need right now. As I bask in the fading, golden days of sunshine while the days grow shorter and the nights grow longer, this song has been keeping me company. Carefree vibes all around.

The vocals on display here are incredibly pure. Adeline V. Lopez has an approach that is endearingly delicate. The first half of the song is sparse and simple and, to be honest, wouldn't hit so hard if her voice wasn't so good. She carries that first half on the back of her vocals alone.

That being said, she’s also a really smart songwriter and arranger. The vocal production when the song hits its climax is stacked to the max, but not in an overly polished way. It feels rough around the edges and never loses its folksy charm. Subtle, swirly synths underneath it all – as well as the added guitar textures – are tasteful and well executed. And the rhythmic stops at 1:45? Stellar. I love this track.

This is the lead single from HAZY DAY PARADE’s 2024 debut Big Feat. For anyone craving some feelgood nostalgia injected into your brain via straightforward rock n’ roll, this might scratch the itch. The vocal production is perfect for the band’s lazy-edgy sound; the melody is catchy; and the bass is fuzzier than fleece. This track has everything: planned unison cuts and drops; thick harmonies; dynamic variation; and a unique and fearless sound. This one has been on repeat.

This is an incredibly emotive indie ballad – the kind you could hear playing in a medical drama or on the latest season of Love Is Blind – and Sarah Biddick has just the voice for it. The piano begins in an appropriately simple and sparse fashion, but the added piano flourishes after the first chorus really kick things up a notch. The string texture is a nice touch as well, and really helped fill out the piece and dig into the gritty sadness on display here. This song is beautiful in its simplicity.

This is the second song from Sarah’s upcoming EP. She’s showing immense promise as a young artist. She’s someone who can really immerse listeners in a melancholic, introspective atmosphere. This song is for anyone confronting the painful reality of false love.

HOT DANG. This mix is GREAT. It’s nothing flashy, but it does its job and it does it well. The drums sit subdued in the pocket while the gritty rhythm guitars deliver some smooth mids in the left speaker and the lead guitar lets out delightful high end squeals. There’s also a super subtle guitar in the right ear playing sustained chords with a delicious tremolo that would be easy to overlook, but adds so much to the vibe.

This song wastes no time pouring out the soul in the opening instrumental, but the lead vocals that follow are magical. The vocal performance is simultaneously reminiscent of both Carrie Underwood and 00s MySpace indie darling Kate Voegele. It's a really great mix of styles: raw blues, outlaw country, and soul-folk.