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.
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.
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.
Nashville-based artist Sam Varga released his new single “Minute Man” on July 4th. Varga is an rock/alt-country artist and has one full-length album he released in 2024 titled Shadow Work. His music is a unique combination of the distinct sound of country with some clear alternative and emo influences. Some of his songs lean more acoustic and it’s just his voice and the guitar, and others have that more alt-pop sound.
“Minute Man” has a modern country sound, and is a relatively simple production. There are a few minutes where it’s just the guitar playing, which switches up the main beat of the song. But Varga’s style makes this song different from any other country song, as the alternative elements are just as present here. Sam Varga’s vocals feel much more in line with an alternative style than the traditional country singer. The vocals don’t have the high pitch that is often present in emo music, but the tone is much brighter than country usually is. The drums are also more reminiscent of the alternative genre, which manages to give this song a complex sound with the simple production.
The single is also political in a way that’s fitting for our current world, a distinction from Varga’s other work. Different cultural references are sprinkled throughout the song, which catches the listener’s attention. It’s less of a specific political message than it is an observation of just how broken our world and society is right now. The song also mostly references different ways that the world is ending or “broken,” like the threat of nuclear war and the polar ice caps melting.
But the main “story” of the song is about falling in love with this apocalyptic background. It’s an interesting contrast between this love and the very current threat of the world ending. The lyrics “two kids kissing under bleachers in the fallout” are immediately followed by “heard you say we’re gonna die young anyway.” It’s dark, but the takeaway isn’t totally depressing. The title comes into play here, as the lyrics “I just need a minute, man” end off the chorus. “Minute Man” is interested in how screwed up our current political world is, but it isn’t a totally nihilistic song.
On its surface, KRAMON’s latest single “Morning Vapors” is a trance-like ode to early, easy smokes. It opens with an invitation to take a ride, offered via a sweet serenade from Meredith Adelaide over a gentle yet addicting guitar riff. From there, it takes the listener’s on a journey through an atmospheric headspace. The tune feels like a long, slow drive on Highway 70, with very few bumps in the road.
The second single of Josh Kramon’s newest project, simply titled KRAMON, follows in the footsteps of its predecessor “Crush.” It’s a dreamy, joyful rock tune, reminiscent of the psychedelic hippie hymns of the ‘70s.
Like “Crush”, “Morning Vapors” is spurred forward by Meredith Adelaide’s laid-back vocals. The multi-medium artist sounds like an old friend on the track. She overextends herself, rather choosing to float over the crisp instrumental.
It’s the instrumental that holds this piece together. It holds hands with both the lyrics and the vocals, guiding them along the journey the song promises.
The song gains its weight in its final minute and half. A slower, heavier harmonized bridge cues the audience to this shift in musical character. The ending chorus, a steady repetition of the song’s title, fulfills the promise of a new mood with the introduction of a tambourine and an increase in tempo. These last few minutes take the track where it’s been longing to go.
The direction of “Morning Vapors” paints a promising picture for Kramon’s newest project. And that direction is one full of potential for the composer, singer-songwriter, and multi-instrumentalist.
In what might be his better known work, Kramon has composed for various Television series, such as Veronica Mars. However, in his personal work, Kramon has explored his struggles with addiction and his complex relationship with his Jewish heritage.
Kramon is holding onto his vow to make music that speaks to him, rather than “chasing the latest musical trend.” So far, this latest project seems to break away from the themes of his previous work. Instead, “Morning Vapors” promises a future with less tears and more relaxation. Kramon is taking a ride, away from the heaviness of the past, in a vehicle that feels most authentic to himself – and he wants us to come along for the journey.
Yelawolf has been around in the music industry for a powerful fifteen years: founding record label and brand Slumerican, working with artists ranging from Eminem to Ed Sheeran, and now rapping his way through “Searching for Heaven”, a sneak peek from the album Whiskey and Roses, which will be released on July 11. The album is a collaboration with upcoming artist J. Michael Phillips, who combines raspy country vocals with trap beats, telling stories of his rough past which he has fought tooth and nail to push through.
“Searching for Heaven” aims to highlight the moment where life’s momentum breaks through distracting temptation. Phillips’ vocals traverse pop, rock, and country, piercing with genuine exasperation, as the path to salvation is broken. However Yelawolf plays a mere part in the song, leaving the impression that he is a featured artist rather than a partner. His verse picks apart the song’s rhythm, which is seemingly discombobulated either way.
There’s still a lot of promise with eight unreleased tracks from the Whiskey and Roses which you can pre-save now. The new duo has fresh music and messages for you to listen to and you won’t want to miss them.
Yelawolf & J. Michael Phillips – Summer 2025 Tour June 13 – Colorado Springs, CO at Ford Amphitheater June 14 – Denver, CO at Mission Ballroom July 3 – Charleston, SC at Refinery July 11 – Cleveland, OH at House Of Blues July 12 – Harrisburg, PA at XL Live July 13 – New Haven, CT at Toads July 15 – Albany, NY at Empire Live July 16 – McKees Rocks, PA at Roxian Theatre July 18 – Cadott, WI at Rock Fest July 19 – Grand Rapids, MI at Upheaval Fest July 20 – Cincinnati, OH at Bogarts July 22 – Louisville, KY at Old Forester’s Paristown Hall July 24 – Fayetteville, AR at JJ’s Live July 25 – Jefferson City, MO at Capital Region MJ Healthcare Amphitheater July 26 – Wichita, KS at Cotillion Ballroom July 27 – Oklahoma City, OK at The Criterion July 30 – Salt Lake City, UT at The Complex August 1 – Sacramento, CA at Channel 24 August 2 – Rancho Mirage, CA at The Show at Agua Caliente August 3 – Santa Cruz, CA at The Catalyst August 5 – San Luis Obispo, CA at Fremont Theater August 7 – Santa Fe, NM at The Bridge at Santa Fe Brewing August 9 – Sturgis, SD at Iron Horse Saloon August 10 – Sioux Falls, SD at The District
