Anything remotely Griselda-adjacent nowadays will get the question of if some of these sorts of artists found their comfort zone and bottle up inside it. Even this track isn't breaking new ground for the artists involved. But it runs that formula spectacularly - Boldy James especially has a casual villainy to him that works best when the beat is as worn and as ominous as this one, courtesey of west Quebecer Nicholas Craven.

What appears to be the debut single from MisterWives frontwoman under the name 'Cherry Bomb', this track in particular feels like it'd belong on the same LP as Chappell Roan's 'Good Luck, Babe!' - a very similar extravagance and out-of-nowhere ambition, albeit with much less critical buzz. I think they're about on par, for what it's worth.

It turns out the surreal point-and-click dating simulator Twitter account is also a popular bedroom pop artist. Some of her earlier stuff might lean too ironic for my tastes, but this sound is much more in-line with the uncanny edges of Y2K worship. Apparently it's planned for her... third album? The second album comes out in October, and it's not on that tracklist, so... wait and see, I suppose.

The album cover may have promised me something closer to coldwave or EBM, but this is slick and nocturnal pop production all the same. Should this trio inch any closer into hazy or noisy territory, they might be reaching the same demographic that still swears by early Wolf Alice.

Easy but infectious house cut with looped samples from one half of this duo, plus in-house vocals from the other half. I wasn't familiar with their work prior, though the producer has an engineer credit on Chance the Rapper's 'Acid Rain', and later down the line you could see both artists under the 'Drama' moniker doing remixes for the likes of Martin Garrix, Gorgon City, and Poolside - not a far cry from their brand of house that tends to be a big hit at festivals and - in Drama's case - on KEXP.

Long-awaited and very well-delivered - I wouldn't rank the new Boards of Canada record as my favorite of theirs, but it scratches that same itch that few other artists have been able to do. I find their songs work better in-context rather than as separate singles or tracks, but if I'm talking strength in isolation, this is the one that resonates with me the most. That's in spite of it being far from the highest rated or most popular of the full LP, but that's just the nature of BoC I suppose.

As gorgeous as it is apocalyptic. Sacred Bones is the perfect label for this sort of thing - think Emma Ruth Rundle or Marissa Nadler, though you could also stray further from the labelmates and find similarities to Chelsea Wolfe or Anna Von Hausswolff. Lots of 'wolfs' in this metal-heavy ethereal wave niche, one that Maria BC isn't necessarily dependent on (much of the album aims closer to sparse and psychedelic), but fits comfortably within.

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