I was immediately sold on Marian Hill’s R&B track, “Got It,” the second I heard the trembling saxophone.  With the right amount of horns, thumping bass, and Samantha Gongol’s slow, steady verses, “Got It” is jazzy, seedy and all kinds of sexy.  The Philly-based duo describes themselves as electronic pop but they are all sultry rhythm and blues, as is evidenced by “Got It.”  They do blend in their computerized skills, synthesizing sounds and creating razor sharp stop-and-go moments, but it works amazingly well with the organic sax blazing through the track.  This is that late night, smoky jazz club music.  Enjoy.

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Blackbird Blackbird aka Mikey Maramag has been churning out chill, spacey indie tracks for the past few years.  What’s incredibly impressive is that this young solo artist has produced a wealth of unique, creative music all on his own.  His recent single, “Love Unlimited,” further explores his patient, spacey music style with hollowed vocals, soft synths and a pronounced, hypnotic guitar riff.  Enjoy.

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Roger Sellers creates simple, calming music to get completely lost in.  His single, “Lates,” off his recent album, Primitives, is no exception.  There’s a magical way that this Texas native’s music absorbs you and unravels all that entangles you.  His songs are uncluttered and precise, yet effortless and unbounded.  “Lates” is the perfect track for when you need to turn things down and fade away for a bit.  Enjoy.

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Alt-J has really mastered the indie/electronic/folk vibe.  Every time I play their sophomore album, This Is All Yours, released a few months ago, I discover a new gem.  The most recent gem that is getting repeat play, “Every Other Freckle,” has made its rounds on the indie blog circuit.  What’s remarkable is how they can really mesh so many genres together into a slow, sexy track that even makes ridiculous lyrics seem perfectly fitting (I’m gonna bed into you like a cat beds into a beanbag).  Only Alt-J can craft such an alluring track while referencing cats and beanbags.  Enjoy.

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Zola Blood leave little on the internet about who they are and therefore leave a lot to the imagination.  One thing we do not need to imagine is the level of talent based on their first single, “Grace,” which was released over the summer.  Dark and rich, “Grace” gives us a hazy peak into a band that looks to be taking a more ominous approach to synth music.  The electronics are grinding, the bass is heavy, the vocals are desolate, and my fascination is barely containable.  Enjoy.

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I might have been in the minority of people who didn’t love The XX’s second album, Coexist.  However, a remix of one of the bonus tracks, “Reconsider,” produced by band member, Jamie XX, captures the essence of what made the trio’s first album a game changer.  Not as subdued as the whole of Coexist, the “Reconsider” remix has sharper beats, a more aggressive pace, and is a great reminder of what made The XX a dominant force in the indie scene and one of the defining bands of dream pop.  It’s good to have them back.  Enjoy.

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Odesza has a way of taking vocals, bending and slicing them, and turning them into musical instruments as sharp and smooth as anything originally created by a computer.  “Say My Name,” the last single to emerge from their second album, In Return, is as addicting as anything that the duo has put out before it.  With the addition of singer, Zyra, Odesza brings its sleek orchestration and penchant for pixiesh vocalists in full force with “Say My Name.”  Odesza is not your throw away electronic group.  So many synth groups release one great track and disappear into nothingness.  I hope you are ready for the exception.  Odesza isn’t going anywhere.  In Return is out now.  Yes, you must buy it.  Enjoy.

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Whenever pop music aspires to be more than just pop music, it’s worthy of our attention.  Such is the case with “Strange Enough,” the second single from the mysterious NY artist, Verite.  “Strange Enough” is darker and delves into more emotional complexity than your average pop fare, making it unique amidst a sea of songs churned out with cheerful electronics and upbeat, lighthearted vocalists.  Verite is off to a pretty impressive start and it will be interesting to see how she continues to stay miles ahead of her peers.  Enjoy.

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Most indie female songstresses use breathy, pixiesh vocals to disarm you.  But on Indian Summer’s “Shiner,” guest vocalist Missy from Ginger and the Ghost drops eerie vocals that are pulling double duty: scaring you while luring you in for more.  Indian Summer has been grinding it out as producers for the past few years and has found a unique sound with their latest piece of work.  “Shiner” starts off like a ghost in the shadows and then the bass drops, shattering the ground at your feet.  I’m hooked.  Enjoy.

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Seriously, old school motown has never been captured more perfectly (in the modern era) than in Kailo’s “Need Ya.”   With a sprinkling of blippy electronics, “Need Ya” doesn’t feel dusty or old, but fresh and exciting.  Other than his Sydney, Australia roots, there is little known about this throwback producer.  There’s a feeling of waking up to Saturday morning cartoons or cutting out of school early whenever I stumble onto this song.  I’m looking forward to see what other powers of time travel Kailo has.  Enjoy.

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