Tamela D'Amico and Wolfgang Lohr let the machines take the dancefloor, not the world

Brenna Menz turns a two year situationship into a genre shifting confession, and refuses to make it pretty.

On 'Summer On A Sunday,' the South African born, London based pop artist turns a fleeting season into something you can hold onto

Amanda Holley's "Seasoning" video turns slow burn desire into cinematic movement, threading NYC grit with waterfall serenity, proving her five octave voice was built for surrender.

"TON 618" turns a black hole into a metaphor for love that consumes everything, ending with real NASA audio of the sound one actually makes.

Blue Nightgown is what happens when a breakup stops asking for sympathy and starts asking for silence.

"Capitalism" expresses the industrial confession of becoming a part of somebody's facilitation.

Inside “Fairy,” the Armenian born, Austria based artist swaps opera for something she can only describe as true.

Nikki Nouveau surfaces with Siren's Dream, an EP built for open water and closed eyes.

"Nexus (Acoustic)" is Rachael Sage stripped bare. A tribute to Nex Benedict that turns grief into solidarity, strangers writing pain on cardboard until it becomes hope.

Zachary Mason returns to folk with three raw songs about sadness and endurance, joined by musicians from Rose Hill Drive and Little Big Town.

C'batch turns a breakup anthem into a house floor confession, and somehow both versions are true.

Leon Rhymes steps out of Too Many T's and into the light, seven years after a song found him and refused to let go.

On JUST LIKE JESUS, the New Zealand born, London based artist turns fifteen years of waiting into a queer joy anthem built for throwing your arms around everyone you love.

On "Anonymous," the Bergen producer turns the algorithm's favorite delusion into a pop song with teeth.

Savia Ashby turns dating disappointment into a glittery, unbothered anthem with "Juiceboxx"

On Hindemith Abstractions, the German quartet treats structure like something you can break and still trust.

The Midlands four piece make their entrance with "Blunt," a post punk transmission about cutting ties and refusing to look back.

"Stina Cello crosses the desert not because it's romantic. Because she knows the other side exists."

Piper Connolly's "beautiful life" is the kind of song that sneaks into a season before you've named it.