After a five-year hiatus from new releases, Rainbow Kitten Surprise has officially returned with their latest single, “Dang”. A smooth, woozy track that just begs to be played with the windows down on a humid summer night.
The North Carolina-born band, originally formed in Boone in 2013, has always lived at the crossroads of contradiction. Their sound? A rich stew of indie rock, hip-hop, folk, and soul. Think Frank Ocean meets Modest Mouse by way of the Appalachian mountains. Core members Ela Melo (vocals), Bozzy Keller (guitar), Ethan Goodpaster (guitar), and Jess Haney (drums) bring something unexpected to the table every time. And with “Dang”, that streak continues.
“Dang” is the latest taste after they dropped another single earlier this year. The track hints at the raw honesty and genre-defying boldness. Maybe, we can expect a full project with this single from the website RKS released along with the song? This song has lyrics that feel both personal and performative, like a love letter written on the edge of a napkin in the back of a dive bar.
Sonically, the song skates somewhere between late-night confession and daydreamy dance floor anthem. Melo’s vocals float over a laid-back groove as she sings, “I’ve been working on a project / it’s called you / and I do or die / and I’m grieving love.” There’s a tenderness here, gritty yet graceful, that sets RKS apart in the alt-pop landscape. The chorus swells with the kind of melancholic joy that makes you nostalgic for something that hasn’t happened yet.
True to form, the band still plays with unexpected lyrical references: Mother Mary, barked warnings, and shoutouts to Cage the Elephant weave in and out of the track like coded messages. It’s clever without being inaccessible. Like an inside joke, you’re just beginning to understand.
With over 2 billion streams under their belt and a fanbase as devoted as it is diverse, Rainbow Kitten Surprise is a band that continues to defy convention. This is a group that has taken the messiness of mental health, identity, and love and turned it into something melodic, magnetic, and unforgettable.
It’s hard not to picture “Dang” playing in the background of an indie short film. One with a little too much filter, sure, but also with a lot of heart. “Dang” is available now on all streaming platforms. And if you get the chance to catch RKS live, don’t miss it. You might just find yourself howling along.
With an unmistakable ache in his voice and piano keys that sound like whispered memories, Anson Seabra returns with his second single of the year, “Haunt Me”. A raw, introspective track that perfectly captures the emotional aftermath of a relationship that once burned bright and now refuses to die quietly.
Anson Seabra, a Kansas City native, has carved out a unique space in the indie-pop and singer-songwriter landscape. Blending confessional lyrics with gentle piano melodies, his music has long served as a balm for listeners navigating heartbreak, mental health struggles, and growing pains. His breakout moment came with the viral success of “Welcome to Wonderland” in 2018. A whimsical yet melancholic exploration of escapism that quickly established Seabra as a go-to artist for emotionally resonant bedroom pop.
But his journey into music wasn’t straightforward. Seabra began playing piano at just six years old and spent his younger years juggling music and academics. After earning a computer science degree and working as a software engineer, he eventually decided to pursue music full-time. Since then, he’s become known for turning late-night feelings into beautifully produced songs that sound like they were written just for you. Especially if you’ve ever found yourself staring at the ceiling at 2 a.m. with earbuds in and the weight of the world on your chest.
“Haunt Me” fits perfectly into that lineage. The track tells the story of a love that’s ended, but not emotionally over. In the lyrics, Seabra returns again and again to the image of a ghost. A kind that stays behind after the final goodbye: “You haunt me every night / Haunt me every time / I think I am fine / Then you’re right there, it’s a nightmare.”
The production feels slightly more upbeat than some of his previous releases, but the content remains as heartbreaking as ever. There’s a subtle juxtaposition between the song’s pacing and its subject matter; a sonic push-and-pull that mirrors the emotional whiplash of trying to move on while still being emotionally tethered to someone.
What makes the song even more compelling is Seabra’s ability to take accountability within the narrative. In the pre-chorus, he sings: “’Cause I was a boy playing a grown-up / And you were a girl hopelessly in love / And I was afraid of letting you see me / So I ran away ’cause running is easy.” It’s a quiet, devastating confession that gives the song an added emotional depth. This isn’t just about loss; it’s about regret, self-awareness, and the weight of knowing you were the one who walked away.
Fans of Lauv, Jeremy Zucker, and even early Ed Sheeran will likely find themselves drawn to this track. But “Haunt Me” is unmistakably Seabra: honest, aching, and melodic in a way that feels timeless. It’s not just a song you listen to once. It’s a song that finds a place in your memory, echoing back when you least expect it.
Personally, as someone who’s had Seabra’s music in my earbuds during some of my lowest points, this release feels like a gift. He has a way of making you feel seen in your sadness, like he’s writing directly to the quietest part of your heart. “Haunt Me” may describe a love that lingers painfully, but it also feels like a familiar companion. One that holds space for your grief without judgment.
Whether you’re discovering Anson Seabra for the first time or you’ve been following him since Songs I Wrote in My Bedroom, this new single reminds us exactly why his music resonates so deeply. “Haunt Me” isn’t just about being haunted by someone else… It’s about the ghosts we carry inside ourselves, the ones we try to outrun, and the ones that keep showing up when the world goes quiet.
If you’re not ready to move on, or even if you are, this song might follow you for a while. And honestly? That’s what makes it beautiful.
New artist TAZ (Brandon Niederauer) just released his debut single “Say Something” on July 18th. TAZ is a New York native and a recent Yale graduate, gaining his nickname from his impressive guitar playing skills. He started playing the guitar at eight after watching the movie School of Rock, and four years later he starred in the Broadway production of School of Rock the Musical. TAZ has appeared in “Saturday Night,” Jesus Christ Superstar Live, and the Netflix series She’s Gotta Have It and has played festivals and venues such as Coachella, The Met Gala, and Madison Square Garden.
The single is primarily a mix of pop, R&B, and rock. There are moments of filtered vocals and electronic sounds that add a little complexity to the pop sound of the song. The influence of rock here is mainly present with the addition of drums. The drums are most prominent at the bridge, and both the guitar and drums build in intensity during this bridge. From this bridge, we go back into the chorus again and end with the lingering guitar sound as the song tapers off. It’s an upbeat, catchy song that can be listened to over and over again.
Despite this, the lyrics still express complex emotions and indicate that there’s something deeper. The song is about an argument that’s bothering the singer. It’s clearly a repeated experience as TAZ sings “I don’t know what you want this time.” The overall takeaway from the single is what the chorus repeats: “Something is better than nothing.”
For this being a debut single and TAZ only being 22 years old, “Say Something” is impressively polished and already stuck in my head. TAZ is certainly talented on his own as the singer/songwriter for the single, but the addition of Grammy-winning Theron “Neff-U” as producer adds a level of musical experience that’s clear when listening to the song. If you want to see more of TAZ, a celebration of “Say Something” will be held on August 14th at NYC’s Mercury Lounge and then he will be going on a U.S. tour with Jon Batiste.
Garbagebarbie’s new single “kiss” is a lighthearted bubblegum garage pop ear-worm that toys with the idea of catching feelings. Garbagebarbie is a staple band in the Los Angeles DIY scene, and routinely make an effort to host free shows for their fans, which they call “garbageparties”. Their sound can be described as an amalgamation of pop punk, indie, garage rock, and Britpop.
“kiss” starts off strong with distorted bass tones and whispery lead vocals that profess apathy towards going out. The track’s instrumental qualities blend excellently to create a shiny and textured song. The jangly electric guitars coupled with the absolutely infectious melody have certified “kiss” as the song of the summer.
Fletcher Milloy’s whispery vocals in the verses aid the song in building tension as he eventually leads into chant singing the melody, “I didn’t know you could kiss like this.” The melody discusses realizing feelings for someone that you initially thought would be a fling.
The song’s subject matter is extremely reminiscent of summer flings and romances as it discusses playing around with the idea of falling for someone and actually catching feelings in the process. When Milloy sings, “I didn’t know you could love me like this,” he captures the hidden ways that love and romance can seek up on you when you least expect it. It’s a light and playful track, but the message behind it is indicative of the current dating scene and many people’s eagerness as well as avoidance to develop feelings.
If you would like, plan, or already have fallen in love with someone this summer, Garbagebarbie’s “kiss,” is the perfect soundtrack to capture that journey. This track’s infectious melody, playfully vulnerable lyrics and excellent production, cement “kiss” as a summer classic. Check out the music video for “kiss” below.
Beloved artist Rachael Sage is back with a brand-new single that’s here to add a spark of joy to your summer playlist. “Live It Up”, out Friday, July 25, is a spirited piano-pop track that embraces optimism in the face of uncertainty. It encourages listeners to let go, shake it off, and move forward with unapologetic flair.
Written as a response to the chaotic times we’re all living through, “Live It Up” channels a bright, almost theatrical energy that will feel familiar to fans of vibrant, narrative-driven pop. It’s the kind of track you can imagine scoring a spontaneous musical number. Full of pep, charm, and that distinct Rachael Sage warmth. Backed by her longtime band The Sequins, the song lifts with buoyant piano melodies and cheerful harmonies.
Sage calls for radical joy, self-acceptance, and living authentically. A thread that runs through her recent work, including the singles “Canopy” and “Just Enough”. The track is set to feature on her upcoming album Canopy, due October 2025, and a special performance video will accompany its release. If this latest single is any indication, Canopy promises to be a colorful collection of resilience anthems rooted in inclusion and inner strength.
Currently on her Joy = Resistance Tour, Sage is bringing her music and message to major cities across North America this summer.
Over the years, Sage has built a celebrated career not just as a prolific songwriter and multi-instrumentalist, but as a creative. A six-time Independent Music Award winner and founder of MPress Records, she has shared stages with artists like Ani DiFranco, Judy Collins, and Shawn Colvin. Her art spans multiple mediums, as well. From her visual artwork to her poetic music project, Poetica, and always leans into sincerity and storytelling.
With “Live It Up”, Rachael Sage once again offers listeners a dose of unfiltered positivity.
2025 TOUR DATES: August 6 – Ayurprana Listening Room – Asheville, NC++ August 7 – The 5 Spot – Nashville, TN++ August 8 – Redbud Venue – Chattanooga, TN August 10 – Smith’s Olde Bar – Atlanta, GA August 13 – Awendaw Green – Charleston, SC^ August 15 – The Sentient Bean – Savannah, GA+ August 16 – The Purple Onion – Saluda, NC September 26 – Rendezvous Jewel Box Theater – Seattle, WA September 27 – Al’s Den – Portland, OR October 5 – Hotel Café – Los Angeles, CA^^ October 8 – The Lost Church – San Francisco, CA^^ October 11 – Fanwood Performance Series – Fanwood, NJ* October 16 – 04 Center – Austin, RX** October 17 – Mucky Duck – Houston, TX**
with Sean Kelly ++ with Christie Lenée ^ with Danielle Howle ^^ with Tom Goss
After lending his pen to some of the biggest names in the industry, Grammy-winning artist Derrick Milano is stepping further into his own spotlight. His latest single, “Beauty Pageant”, produced by the legendary duo Cool & Dre, arrives with polish, poise, and purpose.
Built on velvety, nostalgic production with a sleek modern sheen, “Beauty Pageant” isn’t just sonically rich, it’s thematically focused. It’s a tight, self-assured record that doesn’t ask for space but claims it, making room for women to be seen without compromise. The title might evoke images of glitz and competition, but Milano flips that idea on its head. There’s no judgment here. No points to tally. Just women existing powerfully, unapologetically, and on their own terms.
Hailing from Philadelphia and currently based in Florida, Milano’s career has spanned high school rap battles, church choir roots, and songwriting credits for artists like Megan Thee Stallion, Beyoncé, and Cardi B. While he’s long been a powerhouse behind the scenes, “Beauty Pageant” is another confident reminder of what he brings to the mic as a solo artist.
Where his previous track “We Listen We Don’t Judge” offered emotional vulnerability, “Beauty Pageant” is pure elegance and energy. There’s a smooth self-assurance that radiates through the beat. Lush and retro, yet distinctly current. It’s the kind of production Cool & Dre are known for, and Milano glides across it with effortless control.
But what truly makes “Beauty Pageant” stand out is how it encapsulates Milano’s artistic vision. It’s a clean, focused track that speaks not only to self-worth, but to the kind of music he’s carving space for: smart, stylish, and grounded in intention. Empowering without preaching, fashionable without feeling empty, the track walks a tightrope with confidence and grace.
This is the kind of single that doesn’t shout for attention. It simply commands it. With “Beauty Pageant”, Derrick Milano reminds us that he’s more than a collaborator with range. He’s a storyteller, a visionary, and an artist claiming his space in full.
Luke Tyler Shelton‘s debut EP, Blue Sky, is a folk country masterpiece, as Shelton successfully forges his place in the genre by maintaining balance between inspiration and innovation. Luke Tyler Shelton is based in Los Angeles and aims to inspire the same wonder he feels when listening to the music that inspires him. Shelton’s influences are obvious on the EP, but at the same time feel uniquely like Shelton himself, despite the similarities to artists like Neil Young and Don McLean.
Shelton’s ability to harness his influences into a work that is truly his, is because of his unique and rich vocals, and the superb band that is backing him throughout the EP. The EP starts with “Anna”, which is an acoustic track featuring finger picked guitars, which are airy and colorful. The 70’s influence is immediately apparent, and the chorus is an ear-worm for sure. The lyrics are melt in your mouth sweet, as Shelton sings, “Oh, Anna. My heart is high, in the wake of your tide.”
We see the talent of Shelton’s band immediately on “Ana” as the fiddle comes in and has it’s moment to shine and assist Shelton in expresses his deepened love. Because of the tightness of the song, it already feels like a well established classic—something your parents would play countless times on the way to school. Every aspect of this track is harmonious, from the vocals, guitar, fiddle, drums, and so on. Shelton’s voice cuts perfectly through the music to deliver an excellent and harmonious love song to our ears.
“Feeling Always Down” drops off from the high of “Ana” and slows us down to feel the sadness of the track. The electric guitar hums and rings subtly but vibrantly on this one, as it takes on an almost mourning tone. The guitar really gets a chance to shine mid song as the keys build to aid the guitar in singing out this sorrowful ballad. Where the lyrics repeat, the instrumentals most definitely don’t, as Shelton sings out “Feelings Always Down” and the band builds and builds til the very end of the track.
“Love On My Mind” is a classic 70’s folk country song. The song is upbeat and sweet, and the chorus uses layering to deliver the lyrics, “No one loves me like my lady, she’s my sweet one, she’s my baby”. The bass, electric guitar and acoustic guitar aid Shelton in singing mid-track as they shine and hum their rich tones. This album midway has proved itself to have an excellent blend of intricate instrumental melodies as well as rich and impressive vocal capabilities from Shelton.
“A Bus Ain’t A Home” uses a light and bouncy acoustic guitar and a flighty piano to emphasize the songs traveling themes. The electric guitar sings and cries, as a female backing vocal comes in and excellently blends with Shelton’s rich vocals. A twangy guitar bounces off the acoustic guitar, spotlighting both of their capabilities. Although Shelton is singing a traveling song, it’s subversive of the typical flighty and detached traveler as he expresses his excitement in seeing his lover again.
“Where The West Begins” is a light country track with inclusion of the harmonica! The firm drum beat makes it perfect for two stepping and dancing in a classic country joint. The bass and drums are the driving force of this track, as they aid Shelton’s lyrical delivery as well as the instrumental breaks. The harmonica is used almost to converse with Shelton as he sings lyrics about the unique experiences of being West.
“Hell Of A Ride” is a.steady rock country track with mid-tempo beat, almost like riding a horse. Shelton uses the steadiness of the song to profess his love towards his woman. The guitars are subtle but complimentary to Shelton’s voice. The piano comes in mid-track and provides a bright and open feeling to the song breaking up the steadiness. The bands builds at the end to give a firm and melodic ending to the track.
The EP’s title track, “Blue Sky” features darker guitar tones and finger picking guitars. It’s a classic folk country song as Shelton sings about missing his love, and dealing with loneliness. Subtle orchestral strings in the background give a deeper layer to the rich world that is created through the layering of the guitar strings. This track in particular is very reminiscent of Don McLean. As the song continues, the beat becomes firmer and steadier as the strings work together to give background to Shelton’s lyrics. His lyrics are earnest and hopeful, as he wishes to see the light shining through. It’s a hopeful note to end the EP off, and a really great combination of the aspects of the EP that Shelton and his band have excelled in.
Blue Sky was an amazing listening experience and it’s truly exciting to think about what the future holds for Luke Tyler Shelton. Shelton’s debut EP has the ability to capture both people that are unaware of classic folk and country anthems, as well as the people that grew up on them or experienced their release.The EP was instrumentally breathtaking and complex, Shelton’s vocals were both exquisite and raw, and his lyrics were universal and relatable to a variety of people.
After eight years of silence, Paul McDonald has reemerged, not with polish, but with purpose.
The Alabama-born singer-songwriter who once charmed American Idol audiences with his gravel-coated vocals and signature Southern swagger makes a thunderous return with So Long to the Dark Side. A full-length testament to heartbreak, healing, and hard-won hope. This is not just another Americana record; it’s the kind of album you don’t write unless you’ve been through hell and made the long walk back.
“The last time I put out a full record was in 2018,” McDonald shares. “Since then, I wrote and recorded more music than I care to admit… whole albums, multiple times over, only to shelve them all.” After pouring his soul into chasing a sound that kept slipping through his fingers, McDonald found himself creatively exhausted and unsure if music was still his calling. So Long to the Dark Side is the sound of him finding his way back.
And it shows. There’s a rawness pulsing through every track that feels earned, not engineered. Opener “Dark Side” sets the tone with a gospel-tinged urgency, the kind of song that kicks up dust in your chest. You can almost hear the weight he’s carrying, and the light he’s chasing. That tension continues throughout the record, teetering between cosmic Americana and Southern soul.
“Rosemarie” shimmers with nostalgia, a smoky ballad about a love that lingers just a little too long. “Unwind” offers a gentler reprieve, like the first deep breath after a long stretch underwater. An ode to letting go of the hustle and leaning into grace. But it’s “What’s the Point?” that cuts deepest: a philosophical spiral into life’s meaning, anchored by the simplest and most profound answer: love.
Throughout the album, McDonald doesn’t shy away from the darkness, but he never lets it win. “Stardust” and “Star of the Morning” flirt with celestial themes, while “Forgiveness” dives into the messier parts of being human and trying to let go. On “Never Coming Down” and “Higher Power”, McDonald reaches for something bigger. Maybe faith, maybe clarity, maybe just solid ground. He closes things out with “Good Time,” a rollicking, full-circle celebration of the now. It’s not naive joy, it’s earned joy.
Though Paul McDonald once dabbled in shiny LA pop during a public-facing relationship with actress Nikki Reed, So Long to the Dark Side is a return to his roots. To the dive bars of the Southeast, to the soul-soaked storytelling of Petty and Parsons, to a sound that doesn’t chase trends, but reverberates with truth. With his band The Mourning Doves, McDonald has rebuilt his musical foundation in Nashville, not as a comeback, but as a continuation. His annual One Big Love festival has become a quiet fixture in the community, and his live shows are part revival, part rock séance. A full-body reminder that this man was never gone, just rebuilding.
So Long to the Dark Side is imperfect in the best way: raw, human, and gloriously alive. And just like the publication you’re reading this on, it knows that imperfection is the most honest form of art.
Houston-born R&B artist Bryant Barnes released his new single “Two Sides of Goodbye” on July 11th. Barnes, a singer, songwriter, and instrumentalist, has many popular hits including “Why Can’t You” “Is This Love To You” and “I’d Rather Pretend.” He originally went viral on tiktok for piano covers, but now has millions of streams on his EP Vanity. Barnes has been featured on Genius and at 19 years old, Vevo declared him as a DSCVR 2025 Artist to Watch.
“Two Sides of Goodbye” is a beautiful ballad. It’s a classic break-up song, but it’s anything but cliche or boring. If you’ve never heard Barnes’s vocals before, he has a very distinct tone that fits this type of slow, syrupy song. His harmonies in this song add another layer to the production that makes a more complex sound. The instruments are pretty basic here, but it adds to the song more than anything. The piano is soft but steady in the background, and the addition of strings right before the chorus is just a little touch to support Barnes’s vocals.
The single’s main story is about how the singer feels like he’s heartbroken by this break-up, while the other party has seemingly moved on. The chorus gives the listener this:
“I’m stuck in our memories You’re making new ones without me Smiling while I cry We’re on two sides of goodbye”
It’s the idea that one person is ready to move on and the other just isn’t yet, which I’m sure many listeners have related to at one point or another in their life. Something I love about “Two Sides of Goodbye” is that the song isn’t about placing blame on one party or another. Barnes in the second verse sings “I”m not being jealous, I just wanna know what it’s like” which explains the tones and emotions behind the song. It’s not bitter, which for me makes the song even more emotional.
If you want to see more of Bryant Barnes, he’s currently on the Withered Tour with artist D4vd. “Two Sides of Goodbye” sets the tone for a debut full-length album to come out later in 2025.
