Since launching her project as Zelma Stone in 2019, queer artist Chloe “Zelma” Studebaker has emerged as a distinctive songwriter, weaving the complexities of life with both tenderness and craft. “Be Free” might be her most focused work yet, reflecting a journey of sorrow, acceptance, love, and resilience as she confronts her painful past.

Her musical influences range from Patsy Cline to contemporary left-of-center songwriters, and I fell in love with her incredibly unique voice. It sits in the same space as Deb Talan of The Weepies, Madison Cunningham, and Adrianne Lenker of Big Thief. It's a very cool song, with a haunting, distorted instrumental lead line and drums that feel at once orchestral and alt pop. With music like this, Zelma Stone better be prepared to embrace future success.

I came up in the Portland music scene, and this song from Portland, Oregon native Shawn Brown simply felt like home to me. A midtempo, piano driven tune, it feels like early Jason Mraz, The Fray, and Matt Nathanson. I wasn’t surprised to discover this song features musical contributions from Grecco Buratto (Shakira, Gwen Stefani, Mandy Moore), Daniel Clarke (Ryan Adams, Jason Mraz) and Brendan Buckley (Morrissey, Shakira).

What they’ve made is a nostalgic treat. Brown really leans into his deep love of Roots rock on this one, but his vocals are incredibly soulful. I really appreciated the drum production at 1:28. It's a nice modern texture that keeps the song’s energy progressing. This hits literally all the right moments production-wise, and the lyrics are *chef's kiss.*

Kicking off with an atmospheric blend of ambient sounds, tape hiss, and rhythmic clicks, "evening body" is the opener from Bly Wallentine's latest album, oh hey! are you okay??? By the first chorus, it bursts into life with warbly vocals and punchy, compressed drums that explode with vibrant electronic production and lush harmonies. It’s a kaleidoscope of sound that will leave listeners breathless and humming the melody to the “sha la la” hook long after their ear buds come out.

From start to finish, this song showcases Bly Wallentine at their absolute peak—musician, composer, and engineer all rolled into one. This song stands as their most accessible work yet, seamlessly blending big-brain, avant-garde influences with an indie sensibility. Expect a soundscape that dances between folk, rock, and a touch electronica, while nodding to the glam rock legacy of David Bowie. It’s familiar, yet delightfully strange, proving once again why Bly Wallentine is a name to watch – whether it’s their original music or as a producer and a member of rising indie folk act Little Moon.

This track opens with exposed, twangy harmonies – the kind of harmonies that only come from true, down-home country music. But instead of launching into an anthemic and hook-heavy mainstream country sound, American indie artist Sarah Lake takes a much subtler approach, choosing instead to strip the first verse down to absolute basics. Listeners are invited to become intimately acquainted with Lake’s voice as she and an acoustic guitar wrap you up in a narrative about young love as told through Edenic metaphor.

It makes you work for the payoff, but it’s so worth it. When the chorus drops, listeners are treated once again to those gorgeous harmonies. This time, though, they’re paired with a thick, driving kick drum, slappy snare, and effective auxiliary percussion. It’s a really, really pretty song. Perfect for morning drives.