Few artists I’ve encountered recently carry the same level of societal awareness as Chicago-based R&B artist Moyana.
On her new single “NON-FICTION,” which dropped Feb. 27, that awareness is on full display.
“NON-FICTION” opens with a thick, low-end grumble and icy synth chords before settling into mid-paced, head-bobbing drums and a hazy atmosphere.
Despite that cloudiness, a sense of urgency runs throughout the track, driven largely by those same synths.
Tackling heavy subject matter, Moyana’s lyrics are as kaleidoscopic as they are incisive:
“I don’t want to see another flag at half-mast from kids’ mass cut short by ‘stop and get down, class,’” she raps in the song’s first verse.
Even with its weighty themes, “NON-FICTION” remains a track with plenty to celebrate artistically. Most striking is how vividly Moyana captures the urgency of the current moment in her lyrics.
Baton Rouge’s rising alternative R&B voice Maudixi is steadily carving out a space that feels entirely her own. Blending elements of neo-soul, indie rock, and bedroom pop, her music carries a quiet confidence- one rooted in emotional honesty and a deep sense of self-awareness. With each release, she leans further into introspection, exploring themes of healing, personal boundaries, and self-clarity.
Following the warm reception of her recent single “not listening,” Maudixi returns with “Nothing So Divine,” a track that feels equal parts intimate and expansive. Built on a foundation of lush, groove-driven instrumentation, the song draws listeners in with immersive keyboards, buoyant percussion, and a rich, organic bassline that pulses gently beneath the surface. The production feels alive- vibrant without being overwhelming, polished yet retaining a natural feel that complements her vocal delivery.
Vocally, Maudixi shines, as she glides effortlessly across the track, her silky tone weaving through the instrumentation with a sense of ease and intention. She brings forth melodies that are airy and atmospheric, and at other times grounded and deeply felt- allowing the emotional weight of the song to unfold naturally.
The accompanying music video mirrors the song’s tone with a warm, understated visual approach. Rather than using heavy stylization, she leans into something more organic and grounded, which enhances the track’s emotional core without distracting from it.
With “Nothing So Divine,” Maudixi continues to refine her artistic voice, proving she’s not only capable of crafting immersive sonic landscapes but also of delivering songs that linger long after they end. It’s another step forward for an artist whose strength lies in her ability to connect- softly, honestly, and with intention.
Listen to “Nothing So Divine” here now:
Watch the music video for “Nothing So Divine” here now:
PLAYTÖ, an Arizona-based R&B duo, have landed on the pages of Roundhouse with their lovestruck, smoky new single “PEGASUS,” which dropped back on Feb. 25.
Producer JayRewind pulls together a minimalistic yet intoxicating production palette, fusing steady bass hits with feathery cymbal work and stretchy, watery synths that ripple and dissolve as the track winds down. It’s a sound that feels weightless but slightly disorienting, like floating just a little too far from solid ground.
Matching the hazy toxicity of the production, vocalists Z. Lew and Jonny Haze effortlessly trade verses, capturing the dizzying aroma of being in love with a kind of blurred, nocturnal clarity:
“Riding my high, like a white Pegasus, baby / Losing your mind while floating in time, babe / In love for the hell of it,” Lew sweetly whispers in the track’s first verse.
With “PEGASUS,” Lew and Haze pull together a moody, dreamy alternative R&B jam worth celebrating. They capture the hazy intoxication of love across the track’s instrumentation, lyricism, and vocal performances, their chemistry oozing through at every moment. It’s a feeling they never quite try to ground—and that’s exactly what makes it linger.
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.
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.
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.
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.
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.
Houston artist Zo the Sensational God has steadily carved out a distinctive musical identity, blending eclectic influences into a sound that is at once approachable and richly layered. With I Hate Watching Movies Alone, he delivers a collection of tracks that showcase his ability to balance atmosphere, groove, and emotional depth, creating a listening experience that feels both intimate and cinematic.
The album opens with “FIND LOVE TODAY,” which immediately sets a reflective, emotive tone with cinematic instrumentation and engaging vocals that convey longing. “YOU IN MY LIFE” follows with a warm, expansive energy, combining relaxed grooves with heartfelt, expressive vocals, while “PALM TREES” demonstrates Zo’s versatility, pairing soulful, natural instrumentation with sharp and immersive vocal performances. “SMOKING WITH BUTTERFLIES” introduces sunnier textures and potent rhythmic grooves, layered with wistful, reflective lyricism, and the project closes with “WISH YOU THE BEST,” a sparse yet moody track that lingers with rich character and atmospheric depth. Together, these tracks illustrate an artist in full command of both mood and sonic texture, weaving a narrative that is emotionally resonant and engaging.
I Hate Watching Movies Alone highlights Zo the Sensational God’s continued evolution, offering a project that balances vulnerability, sonic ambition, and creative experimentation. In traversing this range of moods and textures, Zo asserts himself as an artist unafraid to explore the spaces between reflection and energy, intimacy and expansiveness, creating a body of work that takes on its own character.
ROUNDHOUSE MUSIC 