Audio

Single Review by William Ruben Helms

New Audio: Tycho’s Punchy Remix of Elder Island’s “Pink Lemon”

Over the past decade, Elder Island — Katy Sargent (vocals, cello), Luke Thornton (bass, beats) and David Havard (guitar, synths, programming) — have built a dedicated fanbase while amassing 375 million streams globally with a sound that’s rooted in 90s club culture.

The trio’s latest album Hello Baby Okay was released earlier this year. The album sonically features lilting funk pop guitars, hypnotic synths, intricate rhythms and warm analog textures. Last month, the band released the Hello Baby Remixed, Pt. 1 EP, which features remixes from Tycho, Harvey Sutherland and Dam Swindle.

Album track “Pink Lemon” is a breezy, hook driven disco pop tune anchored around Nile Rodgers-like funk guitar, twinkling keys and a supple bass line beneath Sargent’s soulful delivery. Tycho’s adds a punchier, funkier bass line, and glistening synth arpeggios while retaining the original’s remarkably catchy hooks, giving the song his singular take.

Single Review by William Ruben Helms

New Audio: Puma Blue Shares Hypnotic Lullaby “Whispering”

London-based producer, singer/songwriter and Puma Blue creative mastermind Jacob Allen released his sixth Puma Blue album, Croak Dreams earlier this year through Play It Again Sam. “A Croak Dream is a prophetic dream where you see a vision of how you die. Half the songs on this record allude to how you might decide to live, act, if you somehow knew your awaiting fate. Being daring, romantic… saying what you really mean.” Allen explains. 

Recorded straight to tape at Peter Gabriel‘s Real World Studios, Croak Dream sees Allen and co-producer and mixer Sam Petts-Davies expanding the project’s sonic world a well as to channel the project’s sultry, emotional and conceptual complexity with an instinct-led take on experimenting with Allen’s art to its most evocative form.

Additionally, longtime collaborator Harvey Grant contributed to the textual quality and identity of the album. “Later at Real World Studios, the band and I recorded tape loops over a small fragment of the demo, none of them heard the finished song, and when Sam and I came back to London we cut those improvisations into this Frankenstein’s monster type collage,” Allen says. “We were really leaning into a mutual love for CAN, Aphex Twin and Queens of the Stone Age.”

The album featured the broodingly cinematic and uneasy album title track “Croak Dream.”

Yesterday, Allen announced that the deluxe edition of Croak Dream, Croak Deluxe is slated for a November 13, 2026 release through Play It Again Sam. Croak Deluxe will include five previously unreleased tracks along with four live recordings. The result is an effort that expands upon the trip hop, dub and nocturnal crooning of the acclaimed, previously released Croak Dream.

Along with the album announcement, Allen shared the previously unreleased “Whispering” is a slow-burning, hypnotic trip-hop-tinged lullaby with twinkling keys and dusty, boom bap beats paired with Allen’s soulful, breathy croon.

“Anything left on the cutting room floor usually stays that way in my creative process,” Allen says. ““If a song doesn’t fit on an album, I either feel like I have unfinished business with it on the next one, or maybe it just wasn’t meant to be. ‘Whispering’ is a curious song to me because sonically, thematically – it’s a sibling of the other songs on the record. It just wasn’t ready in time. It’s been a rare pleasure to see it through.”

Single Review by William Ruben Helms

New Audio: Warhaus Shares Thumping, Club Friendly “One Day”

Belgian singer/songwriter and multi-instrumentalist Maarten Delvodere is the co-lead vocalist and one-half of the songwriting team behind the acclaimed JOVM mainstay outfit Balthazar — and he’s the creative mastermind behind the equally acclaimed JOVM mainstay project Warhaus.

Devoldere’s fifth Warhaus album The Donkey is slated for a January 15, 2027 release through Play It Again Sam. The Donkey is reportedly Belvedere’s most raw and instinctive Warhuas effort of his career to date. As the backstory to the album goes: Delvodere was at home with his girlfriend and his dog, happy, calm and super zen. Nothing but peace and quiet in his life. But an overdose of peace of mind can be dangerous too; that’s how much energy came pouring out when he started writing the material which would eventually comprise The Donkey.

The filter was gone, the anesthetic had worn off and suddenly he wanted something else — something rawer, something perhaps more real? For years, he had churned out a collection of dandyish pop with each song better than the last with an almost insulting ease. So he wondered: what if he threw those beautiful, golden melodies out the window and wrought the primal urges lurking inside his chest?

The Donkey will include the previously released “The Baby” and “Simple Pleasures,” as well as the album’s third and latests single “One Day.” “One Day” is a swaggering, industrial-leaning banger, built around tweeter and woofer rattling beats, twinkling keys, and arpeggiated synth breaks beneath Devoldere’s punchy yet melodic delivery. It may arguably be the most invigorated and primal tune of Devoldere’s growing catalog. At it score, the song sees the JOVM mainstay playing with contrasting moods. pairing the familiar tropes and language of a love song with an uneasy, tense soundscape.

Devoldere explains that “I wanted the band to sound like a DJ. I wanted the love song to sound like a threat.”

Single Review by William Ruben Helms

New Audio: These Girls Are Electric Return with Cinematic “Our Day”

Indie electronic music duo These Girls Are Electric — Harris (vocals, organ, piano, synths, guitar, bass and sound design) and Zeno (vocals. guitars. bass, synths and sound design) — can trace the origins of their project back several decades: The longtime friends from Stuttgart began recording music in their bedrooms as teenagers in the 1980s. The duo cut their teeth in the local underground scene, playing in several bands in their youth including My Nature, First Approach, The B’Captains and Die Frohe Bootsfahrt among others.

Their early sound can be described as a melancholic blend of New Wave, synth pop, and underground music that was strange but frequently catchy. And over the years. they worked closely with several local musical heroes.

For the better part of the past two decades, the pair would meet at Musikladen Studio — a place packed with vintage synths, dusty guitars and humming computers, where time seemed to fold in on itself. During improvised sessions that they’ve dubbed “magnetic sessions,” the German duo would create raw, intuitive song sketches. Then they would start production: Selected material is reassembled without losing the original feel. Recordings from their “magnetic sessions” are re-edited, sorted and integrated into thee songs to preserve as much of the studio session feeling as possible.

As These Girls Are Electric, the German duo’s sound is a blend of electronica, lo-fi pop, post-punk and experimental soundscapes. Lyrically, the duo’s work revolves around love, hate, space, philosophy and the search for a lost universe — or a paradise that may have never existed. In their world, artificial intelligences meet broken hearts, cyborgs conjure childhood memories and stardust cigarette light tells stories of humanity in transition. Each song within their catalog is part of a multi-voiced narrative about life in a post-human world and the search for meaning, connection and renewal.

Last month I wrote about the broodingly atmospheric “Ghost In The Bottle.” The duo’s latest single “One Day” strikes me as being a bit of a blend of Public Service Broadcasting and Joy Division/Interpol-like post punk that showcases the German duo’s ability to craft cinematic and broodingly atmospheric material with catchy hooks and anthemic choruses that give the song a reflective yet urgent feel.

The duo explain that “‘One Day’ explores inner struggle, fading ideals and the search for meaning through cryptic, surreal imagery. The refrain ‘This is our day‘ captures a quiet sense of resilience, balancing melancholy with hope.”

Single Review by William Ruben Helms

New Audio: Mother Soki Shares Atmospheric “Mussel”

Minneapolis-based singer/songwriter Annie Tammeru is the creative mastermind behind the rising dream pop/electro pop recording project Mother Soki. Tammeru’s Mother Soki project received attention with last year’s “Rivet Gun,” a track built around beguiling, otherworldly textures and production paired with the Minneapolis-based artist’s velvety vocals caught the attention of millions across social media platforms, amassing over 26 million streams on Spotify.

Quickly building upon the growing momentum, Tammeru closed out last year with her debut EP, Fantasy, which she supported with a fall tour opening for Towa Bird.

The Minneapolis-based artist’s sophomore EP, Act 2 is slated for a November 20, 2026 release through Mom + Pop. Working with producers Jack Pfeffer and Bradley Hale, Tammeru set out to make something “uncanny and uncomfortable, that’s also very beautiful and digestible.” She goes on to describe the EP as a list of mantras and counter-mantras tied to the same world,” with repeated thoughts that mirror a ruminating mind. Sonically, sterile, computer-recorded stems were run through a multitrack tape machine, with speed adjusted on the fly, to pick up analog artifacts — and to blur past and present. Her mood board for the EP included The Cocteau Twins, Prince and Joni Mitchell’s experimental 80s records to David Lynch and the puppetry of The Neverending Story and Labyrinth.

“I like to think of Act 2 as like a journal entry,” Tammearu says. “I think it really speaks to where I’m at right now — I’m sort of at a crossroads of becoming a person.”

The EP will include the previously released “The Rot” and “Thicken,” as well as the EP’s third and latest single “Mussel.” Sounding a bit like a Jorge Elbrecht-produced tune, “Mussel” is built around atmospheric downbeat synths, twinkling electronics and crackling and metallic beats beneath Tammeru’s delicate delivery singing the mantra “Nothing’s ever gonna change” until it stops sounding like a statement and stars sounding more like an incurable symptom.

Tammeru says of the new single “Everything is different. Everything is the same.”

Single Review by William Ruben Helms

New Audio: GOODTWIN Shares Breezy and Sultry “Roadside”

Led by Augusta “Gus” Alexander, indie pop project GOODTWIN derives its name as an ode to Alexander’s very good twin sister. And with the release of handful of singles over the past two years, the […]

Single Review by William Ruben Helms

New Audio: Mynolia Shares Dream-like “Take the Mountain by Surprise”

After years of constant motion and relocation, singer/songwriter and musician Mynolia decided to embark on on a new beginning, landing in the remote wilderness of the American South, where in new isolation, she began writing the songs that would eventually comprise her forthcoming, new album Salt Around My Bed. And while in the South, she found herself turning into the mundane magic unfurling all around her, making friends with her superstitions and recognizing the holiness in the most humblest of tasks — including the burning of pictures, the scattering of salt, the crushing of eggshells for the garden. Minolta conducts each ritual with equal care throughout the album, small acts of protection that hold real power.

She then brought the album to celebrated jazz musician and co-producer Rich Ruth and with the help of a talented cast of musicians and friends around the world fleshed out the material including Pete Pételle and Florian Holoubek on drums and percussion, labelmate Spencer Cullum on pedal steel, Corin Droullard on horns, Patrick McGonigle on violin and mandolin, Sam Que on bass, All Them Witches‘ Charles Michael Parks. Jr. on bass, Blood Root’s Taylor Waffford contributed backing vocals, and co-producer Rich Ruth also contributed synths, guitar and bass.

The Rich Ruth co-produced Still Around My Bed is slated for a January 15, 2027 release through Full Time Hobby and will feature the previously released singles “Needle,” “Run Like Hell” and Holy Line,” as well as the album’s latest single “Take the Mountain by Surprise.” “Take the Mountain by Surprise” is a gorgeous folksy ballad featuring strummed acoustic guitar, gently bubbling synths and bursts of distorted guitar beneath Mynolia’s earthy delivery. Sonically seeming like a blend of old-timey mountain folk, indie rock and shoegaze, “Take the Mountain by Surprise” is both remarkably contemporary and timeless.

“This song had an unconventional birth, inspired by a weird guitar tuning with which I wrote a for-fun song called ‘Sweatpants and Straitjackets’ some years ago. That B part became the guitar foundation for this track, which then came out, lyrics, parts and instrumentation all at once,” Mynolia explains. ” I remember writing and then recording this song in one sitting after a severe rainstorm had washed out part of the mountain road to my house. An act-of-God natural boundary formed between my home and the outside world and it was exactly what I needed. I took it to Florian Holoubek for drums and then to Rich Ruth for final production, mix, and synth flourishes. ‘I wish the creek would rise, take the mountain by surprise / As the landslide pulls away there’s space for me too, today.’ Making yourself small for others to find you more digestible usually has an expiration date. Better to confess in song and set that boundary, as a mudslide won’t always do it for you.”

Single Review by William Ruben Helms

New Audio: Sam Zalta Shares Shimmering “I Might Die Tonight”

Over the past decade, Brooklyn-based singer/songwriter and multi-instrumentalist Sam Zalta is best known as a touring member of JOVM mainstays Bambara, an act that has toured alongside the likes of Foo Fighters, IDLES, Gilla Band, fellow JOVM mainstays METZ and Algiers.

As a solo artist, Zalta’s work occupies a world entirely his own, one increasingly shaped by elaborate storytelling, recurring characters, dreams, devotion and the uneasy space where beauty and pain meet over the course of four albums, 2015’s Paraiso Terminal, 2017’s o, 2019’s It All Ends The Same and 2023’s Memento Mori. The Brooklyn-based singer/songwriter and multi-instrumentalist crafts songs that feel superficially soothing but underneath is something more unsettled and stranger that sonically draws from dream pop, shoegaze, indie pop and the likes of The Beach Boys, Spiritualized, Big Star and Swans.

Zalta’s latest releases finds him pushing further into orchestration, narrative and world-building while still being anchored around his penchant for melodicism.

His latest single “I Might Die Tonight” is a shimmering tune that sonically brings Caveman, Tunnel of Love-era Bruce Springsteen and Cocteau Twins to mind and while expressing an aching yearning, there’s a churning unease just under the surface.

Single Review by William Ruben Helms

New Audio: SAOL Shares Earnest and Rousingly Anthemic “Lines”

Irish singer/songwriter and musician Zoë Gough is the creative mastermind of the recording project SAOL, a project that showcases a genre-bending sound that weaves elements of shoegaze, indie rock and grunge paired with vivid lyricism, catchy hooks and an uncanny knack for melodicism. The project is rooted in Gough’s dedication to engaging with music as a social platform while documenting her journey to situating herself within an Ireland that has undergone rapid change while holding onto the strands of the past that tie together the future and finding a way forward.

Gough’s work with SAOL has been played on RTE, RTE 2xm, Galway City Flirt FM and has received national radio play on Ireland’s Radio Nova while drawing comparisons to Hole, The Cranberries, My Bloody Valentine, Sinead O’Connor, and Garbage.

The Irish artist’s latest single “Lines”is a hook-driven tune anchored around earnest songwriting and performances, rousingly anthemic sing along worthy hooks and choruses, fuzzy power chords paired with her powerhouse delivery. While drawing comparisons to Hole, The Cranberries, Smashing Pumpkins and contemporaries like Soccer Mommy and Snail Mail, “Lines” draws out the prolonged process of loss and reckons with being the one left alone.

Single Review by William Ruben Helms

New Audio: Twin Temple Shares Breathtakingly Gorgeous “Nothing Matters”

Formed back in 2017, Twin Temple — married couple Alexandra and Zachary James — are an acclaimed Los Angeles-based duo, who specialize in a new sub-genre and style that they’ve dubbed “Satanic Doo Wop,” which blends their practice of Satanism with a sound that’s influenced by The Platters, Roy Orbison, Buddy Holly and the like. 

The Los Angeles-based duo have developed for being one of the contemporary scene’s most talked about crossover acts, earning widespread coverage from media outlets like Rolling Stone, NME, Billboard, American Songwriter, Stereogum, Consequence, Revolver, Kerrang!, Metal Hammer, Loudwire, San Francisco Chronicle, Los Angeles Times and a long list of others, and for being one of the most provocative acts out there right now. Their uncompromising artistic vision routinely sparks much larger and more serious conversations about artistic freedom, religious freedom, freedom of expression, censorship, the role of controversy in art, and on a broader sense, the wider role of art within the cultural landscape.

Now, some of y’all heard of the acclaimed Los Angeles-based duo after Charley Crockett abruptly dropped the band from his tour earlier this year — specifically because of their usage of Satanic imagery. That led to Jack White publicly inviting the band to open for his Los Angeles show back in September. And serendipitously, the duo’s highly-anticipated third album Doomed Lovers will come right on the heels of their latest, and arguably biggest controversy to date. 

Slated for an October 9, 2026 release through their own Pentagrammation Records, the Shooter Jennings-produced Doomed Lovers was recorded at Hollywood-based Sunset Sound‘s iconic Studio 3 and marks the acclaimed duo’s boldest chapter to date. 

Born from one of the darkest periods of their personal lives, Doomed Lovers is reportedly their most intimate and emotionally revealing work to date. Expanding upon the cinematic scope of the sound that has won them acclaim while remaining rooted in the timeless sound and traditions of early rock ‘n’ roll, the album is their most ambitious and fully realized artistic statement so far. The album continues the band’s commitment to analog recording while expanding upon their sound with lush orchestral arrangements performed by a 37-member orchestra. Yes, 37!

“We poured everything into this new record that we made with Shooter,” says the acclaimed and controversial duo. “We wanted to push ourselves creatively and expand the production further than we have before, drawing inspiration from the lush orchestral productions of Roy Orbison, The Ronettes, and The Shangri-Las, and added in some Countrypolitan flair. We brought in some incredible musicians like Matt Chamberlain and Jay Bellerose, and a 37-piece orchestra. We wanted to make something as beautiful as we possibly could – of course with our dark spin on things.”

The truth is, this album was made during one of the darkest periods of our lives. We had been struggling with grief, health issues, addiction, and depression. But day by day, going into Sunset Sound, making music with incredible people who believed in us, and being surrounded by that creativity slowly brought us back to life. We started smiling and laughing again. I was becoming alive again. It connected us to why we fell in love with music in the first place and became our most personal album yet.”

The album will include the previously released, “Doomed Lovers,” and “Haunt Me,” as well as the album’s last pre-release single “Nothing Matters.” “Nothing Matters” continues a remarkable run of breathtakingly gorgeous and cinematic material that to my ears at least, sounds a bit like a blend of Patsy Cline with Roy Orbison, anchored by a similar aching sense of loss and grief.

“‘Nothing Matters’ was born out of the bleakest, lowest point of depression and apathy following a devastating loss, functioning as a modern day Gothic lament for a love that refuses to die,” Twin Temple’s Alexandra and Zachary James say. “Channeling a kind of Nihilistic and Byronic romanticism, the song tackles the abject feelings of hopelessness, disorientation, and loss of self that profound grief evokes. We wanted to make something beautiful out of that experience, pairing the tragic narrative weight with the lush, cinematic sweep of a 37-piece orchestra.”

Single Review by William Ruben Helms

New Audio: Vlad Holiday Shares Groovy “By Myself”

Vlad Holiday is a Romanian-born, Nashville-based singer/songwriter and musician, who cut his teeth in the NYC lo-fi scene, building an audience on his own terms. Songs like “So Damn Into You,” “Quit Playing Cool,” and “Phonograph” introduced fans and critics to an artist with a distinct point of view — romantic without being overly sentimental, nostalgic without living entirely in the past. Sonically, his work frequently sees him blending his smoky croon with tape hiss, 60s-styled guitars, 90s hiphop beats and 808 sub ass.

Back in 2024, Holiday released his full-length debut My Favorite Drug. The album saw the Romanian-born, Nashville-based artist delving into dark subject matter with the songs openly talking about low moments in his mental health, substance abuse, the thin line between sanity and insanity and cynical patterns of familial abuse, all to place an element of love into life’s heaviest topics.

Holiday went on to tour alongside frequent collaborators Cage The Elephant and Declan McKenna. He played at Austin City Limits — and he went on his own headlining tours across North America, the UK and European Union. Adding to a breakthrough year for the Romanian-born, Nashville-based artist, he co-wrote tracks on Cage The Elephant’s 2024 effort Neon Pill, including the album’s title track “Neon Pill,” which received a Best Alternative Music Performance Grammy nomination. “Neon Pill,” along with another Holiday co-write “Metaverse” wound up becoming the band’s 11th and 13th Billboard #1 Alternative Airplay radio chart hits.

Since relocating to Nashville, Holiday has made even more of a name for himself as an artist, songwriting and producer. His latest single “By Myself” is his first bit of new material since the release of My Favorite Drug. “By Myself” features dusty trip-hop styled breakbeats, twinkling synth stabs, woozy guitar lines, atmospheric synths and a swaggering groove beneath Holiday’s cool crooning singing about fucking up a relationship — and being a bit proud because his narrator is free from an abusive, dysfunctional person. It’s an odd anthem of self-determination, fueled by heartache.

Single Review by William Ruben Helms

New Audio: A Cat Named Monty Shares Jangling, Hook-Driven “Welcome to Life”

David Jennings is an Aussie-born, Germany-based singer/songwriter and musician, who is an Australian Songwriting Club winner and a two-time Australian Songwriting Association runner-up, who has been a part of the Melbourne music in some fashion since the late 90s as the creative mastermind of A Cat Named Monty, which released six EPs to some critical acclaim.

Since relocating to Germany, A Cat Named Monty features members spread out across the globe. The project’s latest single “Welcome To Life” is a hook-driven tune that brings Blur, The Beatles, The Soundtrack of Our Lives, and New Zealand jangle pop to mind that take a hilarious — yet sobering — look at the difficulties of living in the modern world. Yes, first world problems but problems all the same.

Single Review by William Ruben Helms

New Audio: Quantic Shares Vibey “Subterráneo”

Will Holland is a British-born, New York-based producer, composer, multi-instrumentalist and DJ best known as Quantic. Emerging from the UK’s alternative dance scene of the early 2000s, Holland’s career features work that connects electronic production and beatmaking with soul, funk, jazz, and Latin music through recording, DJ’ing, collaboration and relentless create-digging.

Holland’s relocation to Colombia in 2007 marked a transformative chapter: He immersed himself in the country’s rich musical traditions, which led to collaborations with musicians across Latin America, as well as several different projects including Quantic Soul Orchestra, Flowering Inferno, Combo Bárbaro and Ondatrópica.

Currently based here in New York, Holland continues to combine vintage recording techniques, live musicianship and contemporary production to create music that’s rooted in the past, but specifically made for the dance floor.

Holland’s latest Quantic single “Subterráneo” is his first release on Play It Again Sam since 2024’s Dancing While Falling. “Subterráneo” is a warm, vibey blend of electronic music, melodic house and nu-jazz built with skittering beats, glistening and oscillating synths paired with a driving bass line. Evoking a rainstorm hitting on a window or a roof, “Subterráneo” reminds me a bit of Octo Octa‘s Between Two Selves.

“It brings together disparate fragments that swirl and swarm to create an emotional journey,” Holland says. “Through an organic approach, I wanted to hint at machine elements and human interactions through a collage of arpeggios and drifting sub tones.”

Single Review by William Ruben Helms

New Audio: Nouvelle Vague’s Breathtakingly Gorgeous Cover of Depeche Mode’s “A Question of Lust” feat. Beth Hirsch

Founded by Marc Collins and the late Olivier Libaux back in 2003, Nouvelle Vague was initially conceived as a one-off tribute to post-punk songwriting in a Bossa nova style. 2004’s self-titled debut, which saw them establish their unique fusion of melancholy post-punk, Bossa nova and French re-interpretational approach, unexpectedly achieved global acclaim. Since then, Nouveau Vague has become a global phenomenon.

Their 10th album, A Date with Depeche Mode is slated for an October 30, 2026 release through Kwaidan Records/[PIAS] Recordings. And as you can probably tell, the album sees the French outfit tackling the work of pioneering British electronic outfit Depeche Mode.

A Date with Depeche Mode will include the previously released “Never Let Me Down Again” feat. Brazilian artist Flavia Coehlo, “Only When I Lose Myself” feat. Mélanie Pain, and the album’s latest single “A Question of Lust” feat. Beth Hirsch. Originally released in 1986, the original is a slow-burning and atmospheric tune that balances entirely on the edge between desire vulnerability. For Nouvelle Vague, there was one choice that felt inevitable to interpret the song — Beth Hirsch, whose voice is an integral part of Air‘s ironic Moon Safari and has been etched into the collective memories of an entire generation.

Hirsch’s imitable vocal, which expresses yearning and vulnerability with an achingly wistful quality, ethereally sways over an acoustic Bossa nova arrangement of guitar and accordion. Simply put, the Nouvelle Vague rendition is a cinematic, breathtakingly gorgeous take.

Single Review by William Ruben Helms

New Audio: Yari M Shares Breezy “Adicta”

Yari M is a Carolina, Puerto Rico-born singer/songwriter and pop artist, who blends elements of Latin pop, Afrobeats and urban rhythms into a unique sound of her own. Her debut EP, 2020’s Yo Soy introduced her fearless energy, with EP track “Freshy” getting attention through a remix with Randy Nota Loca and Brray. The Puerto Rican artist appeared on Randy Nota Loca’s 2021 effort, Romances de Una Nota, 2021 Vol. 2 as the only female guest artist to appear on the album.

2023’s “Está Lloviendo” was her first Billboard-charting single. And adding to a big year, she launched her label Black Diamond Music and opened one of Miami‘s first Dolby Atmos studios.

Building upon a growing profile, the Puerto Rican-born, Miami-based artist’s highly-anticipated full-length debut Momentos, which will include “Últimta Vez,” a hit in Venezuela and “Sin Ti,”which reached #1 in the Dominican Republic features songs that explore joy, heartbreak, nostalgia and celebration.

Momento‘s latest single “Adicta” is a hook-driven blend of Latin pop, reggaeton and Afrobeats built around an an atmospheric production featuring squiggling bursts of funk guitar, skittering polyrhythmic beats and glistening synths beneath the Puerto Rican-born artist’s yearning delivery. While being a much-needed breezy and summery blast on a dreary and damp fall afternoon, “Adicta” is simultaneously club and lounge friendly — but at its core it captures the wooziness, the desperate longing of a new love.