ROUNDHOUSE MUSIC

It’s not even mid-March, and it has already been quite the year for Kiran the Nomad.

In January, he released his latest project Nomad, a concise, inward-looking seven-track offering steeped in glistening pianos, soulful synths and chipmunked vocal samples.

In late February, he returned with the single “BANKROLL,” putting his lyrical dexterity on full display over a skeletal, kaleidoscopic instrumental.

Now he’s back with another new track, “HIGHWAY TO HEAVEN,” a slow-burning jazz rap cut built around a spacey vocal loop and a thick, menacing bass line.

Matching the laid-back energy of the instrumental, Kiran sounds right at home, delivering his bars with a patient flow and calm demeanor.

The stripped-back production lets Kiran’s cutting breath:

“On this highway to heaven, heaven is a metaphor for who you truly are / Will you reach your destination, will you see what’s wrong?”

“HIGHWAY TO HEAVEN” stands as another highlight for Kiran in a year already full of them. According to his Instagram bio, he’s currently dropping a new single every two weeks — meaning it won’t be long until we hear from him again.

Stream “HIGHWAY TO HEAVEN” here: http://temple.groover.co/kiran-the-nomad

Chicago-based indie rock outfit Friko return with their new single “Choo Choo,” the second release from their upcoming sophomore album Something Worth Waiting For, set to arrive April 23.

In contrast to the slow emotional ascent of the album’s first single, “Seven Degrees,” the smooth yet weighty guitar lines that open “Choo Choo” establish tension from the outset, gradually cascading into a blissful catharsis of freedom and reckless abandon.

Lead singer Niko Kapetan’s fluttering vocals capture the boredom and restless angst of a young band chasing its dreams on the road—from racing across state lines to the less glamorous realities of a fast-food tour diet.

“Chili dog, Philly steak, feelin’ it in my gut / ’Cause Pepto, it don’t do it strong enough,” Kapetan muses in the track’s third verse.With “Choo Choo,”

Friko delivers a more explosive offering than “Seven Degrees,” yet the listening experience proves every bit as satisfying. The contrast in mood between the two singles highlights the band’s versatility, hinting that their upcoming album may prove just as compelling as its predecessor, Where we’ve been, Where we go from here.

Stream “Choo Choo” here: https://tr.ee/njvhb89QLl

Sammyoffthewall has shared a new single, “The Code”. Emerging from New York, Sammyoffthewall has steadily carved out a reputation for his versatility and soulful, yet hard-hitting releases. His music moves fluidly between vital atmospheres and unfiltered intensity, pairing dynamic soundscapes with raw, cathartic lyricism. Across projects like Coat of Armor and WALLS OF STONE, he’s built a catalog that reflects both emotional depth and stylistic range- qualities that continue to define his latest release, “The Code.”

On “The Code,” Sammyoffthewall sharpens that balance between grit and elegance. The track opens with swelling, colorful synths that feel both atmospheric and expansive, laying the foundation for a rhythm section that hits with a booming, buoyant pulse. Crisp drums cut through the mix while wide, rumbling 808s give the production a sense of weight and momentum.

Over this vibrant backdrop, Sammyoffthewall delivers the kind of performance listeners have come to expect- gritty, character-driven flows that feel focused and deliberate. His voice carries a textured urgency, weaving through the beat with precision while maintaining the emotional edge that has become a hallmark of his sound.

As the track unfolds, “The Code” builds with a sense of movement and immersion, its energy growing without losing its clarity or control. The result is a track that feels both polished and visceral- another compelling entry in Sammyoffthewall’s growing body of work and a reminder of his ability to fuse raw expression with dynamic, engaging production.

Listen to “The Code” here now:

Check out “The Code” on more platforms HERE.

Boston-based indie rock outfit Happy Just To See is back with a raw, cutting single, “Last Week’s Horse,” which dropped on Feb. 11.

Over heavy guitars and punchy drums, frontman Evan Benoit delivers an unfiltered confession:

“Sense of self-worth in the trash, you laugh it off but get real mad / How can I not see what you see?” Benoit muses, his words carrying the weight of a somber sigh.

The track also serves as the title song for their upcoming album, set for release on May 15.

Benoit explains: “The song captures the energy and statement of the album as a whole — an evaluation of the human condition and the battles we have within ourselves to love who we are, warts and all. Lyrically, I wrote it shortly after starting therapy. While on first blush it might seem like a romantic breakup, it’s really a break-up with oneself — a stubborn, necessary step toward self-acceptance.”

As the song winds down, the guitars fade, the cymbals shimmer one last time, and Benoit is left alone with the thoughts still trapped inside his head.

Listen to “Last Week’s Horse” Here: https://open.spotify.com/track/51RB4V77tjpbVcaoalqHYd?si=tOtIbPDmRVW0zsmHR93o6A

(Photo credit/Alex Ilyadis)

Chicago R&B artist Ro Moore doesn’t need an introduction. A staple of the local scene for years, he has collaborated with everyone from D2x to other Chicago hip-hop mainstays like Kayo and Ausar.

Now, Moore returns with his latest single, “SMBDY”, a silky-smooth love jam released just in time for Valentine’s Day.

Over a grumbling, bouncing bass line and sparse piano chords, Moore’s light yet commanding vocals glide effortlessly:

“Tell me you don’t need nobody, when everybody needs somebody,” he croons.

Clocking in at just over two minutes, “SMBDY” is short, sweet, and undeniably effective—a concise showcase of Moore’s signature blend of intimacy and groove.

Listen to “SMBDY” Here: https://www.youtube.com/watch?v=MVMtZZgXfaE&list=RDMVMtZZgXfaE&start_radio=1

Over dreamy guitars and misty, kaleidoscopic cymbals, singer-songwriter Chloe Jobin lays her pain bare.

On her new single “Licking My Wounds,” Jobin stages a quiet fight for growth and personal healing, set against an intense battle with grief and heartbreak.

“You and me, we weren’t built to last/Time moves slow, but also fast/Do you feel the love that I’m sending?” she asks with a hushed plea.

Across the track’s brief runtime (just under three minutes), Jobin keeps telling herself that everything will eventually be fine — even if she sounds only half-convinced.

The instrumentation leaves plenty of room for Jobin’s ethereal vocals to breathe. The guitars begin with a soft hum before cascading into a pronounced crescendo in the final minute, mirroring the emotional swell beneath her delivery.

“Licking My Wounds” pulls no emotional punches. There’s no sense of closure here. Instead, Jobin finds a fragile self-acceptance amid the wreckage:

“It’s okay that the world is ending,” she sighs in one of the song’s opening lines.

Listen to “Licking My Wounds” here: http://tinyurl.com/4be63z9u

(Photo credit/Abigail Mueller)

On the opening bar of her new EP black sheep, Chicago lyricist Brittney Carter refers to herself as, well — just that: a black sheep.

“Feelin’ like a black sheep, feelin’ like an outcast / And I ain’t got nothin’ to prove ’cause look who I’ll outlast / not to brag, just a simple observation,” she spits on the opener “pinksweater.”

It’s not entirely clear why Carter views herself that way, but one thing is obvious: she’s creating from a place of confidence and artistic control.

Across four tracks and a brisk 11-minute runtime, Carter delivers a heavy dose of butter-smooth flows and keen, self-aware lyricism over a series of mid-paced, sample-driven beats.

The second track, “doit4less,” is a perfect snapshot of that approach. Over swirling strings and prancing bass, Carter reflects on her headspace at this stage of her career:

“Might just go on a run, might just blow up tonight / I was focused on a show and they was focused on likes,” she rhymes in the song’s first verse

The final two cuts bring more of the same. “urgency” leans into dramatic strings and heavy bass, while closer “untitled” rides an echoey vocal loop and descending piano line.

Carter’s lyrics remain potent throughout:

“And when I step outdoors, headphones on, I’m just tryna block that noise / Tryna filter out the things that I’ve seen so I’m still pure,” she raps on the EP’s closing verse.

Listen to black sheep here: https://tr.ee/AsIVldPRFQ