With this single, along with “Everyday” and “Andromeda” the earlier singles from the album, Mering shows a lot of maturation from her 2016 release Front Row Seat to Earth. 

This is the cover you didn’t know you needed. Kelsey Lu (singer, cellist, producer) is known more for her cello chops, but this cover gives a capacious avenue for her other honed instrument: her voice.

Masego self-describes his music as "traphousejazz," making sure his originality isn't confused for being an amalgamation of other existing styles.

After hearing this first single following their first two EPs, we can all rest assured that Greta Van Fleet will avoid the dreaded sophomore slump, and that they are more than capable of living up to the tidal wave of hype that their incredible works thus far have produced.

Sam Evian’s day job working in a recording studio really shows in this song, as there are plenty of elements that are subtly manipulated, giving it a heavily produced sound.

"Reverie" is certainly appropriately titled, as its wide array of sounds and samples invite you to get lost in a structureless symphony that bears no resemblance to standard, formulaic beats.

"Dreamt I Was a Dog"'s aura exudes sincere appreciation and reverence for the uncomplicated, pure pleasures in life.

Sampling other artists' music in your own can be a way of honoring the original artist, a way of giving rebirth to forgotten tunes, and a way of adding your own brushstrokes to an existing landscape.

"Still Waiting" is a prime example of PHO's ability to slap listeners in the face with pure, unfiltered grooves, while incorporating stylistic variation that keeps you on your toes and gets you on your feet.

The song heavily features soulfully slow slide guitar patterns, which, in combination with steady acoustic guitar strums and bare-bones percussion, just bleed an aura of wistfulness.