Release Radar: September 2023

At the end of each month, Afterglow presents a staff-picked list of new albums and singles that left a lasting impression on our ears.

Written by Afterglow Editors

Photos courtesy of NME, arama! Japan, and PAPER Magazine

Content Warning: This article contains mentions of sexual assault.

Here are our favorite albums and singles released during September 2023. For more reviews of recent releases, check out our album review page!

Shiny Singles We Loved This Month

“You Wish” by Flyana Boss ft. Missy Elliot & Kaliii

The internet’s favorite rap duo, Flyana Boss, dropped a remix of viral hit “You Wish” with the legendary Missy Elliot and rising rapper Kaliii. Featuring references to Marvin Gaye’s “What’s Going On” and Erykah Badu’s “On & On,” the remix is bound to make TikTok history. — C.S. Harper

“greedy” by Tate McRae

The Canadian pop princess is back with her well-anticipated single “greedy,” a braggadocious song in which she emphasizes that of course the object of her song wants her, because, “I would want myself” over ethereally blurred instrumentals and a steady pop drumbeat. — Arundhati Ghosh

“Pretty Girl Party” by Miss Madeline ft. CLIP

Self-described “popstar wannabe” Miss Madaline proves she’s already a main character in the pop world with “Pretty Girl Party.” Over a pulsating beat, the New Jersey native and fellow underground club singer CLIP revel in party culture. — C.S. Harper

“Kiss Me” by Empress Of ft. Rina Sawayama

Tethered by nostalgic keys that sound straight out of a Disney Channel Original Movie, this dreamy collaboration masks its yearning lyrics with alluring cadence and glimmering visuals in its music video. “Kiss Me” drips with 2000s decadence and gets the best of both worlds with Empress Of and Rina Sawayama’s synergetic vocals. — Janie Bickerton

“Sunglasses At Night” by Baby Storme

The mastermind behind the “City is a Graveyard” flash mob is back with an ‘80s throwback, complete with new wave instrumentals fit for trad goths. Baby Storme interpolates Corey Hart’s hit song “Sunglasses at Night” as she walks around town with sunglasses on — yes, at night — in her latest music video. — C.S. Harper

“Pacer” by Doechii

Opening with a spine-tingling alarm that reaches the eeriest of high pitches, game-changing Tampa-born rapper Doechii comes in screaming in her most recent single, “Pacer.” Her voice moves between hauntingly high pitched whispers, defiant and punchy rapping, and boisterous yelling that would make even a grandma want to join the mosh pit. In true Doechii fashion, she brings an unapologetically proud attitude to her lyricism and beats. — Isabel Alvarez

“Next Best Exit” by flowerovlove

After releasing her lovestruck bop “Coffee Shop” three months ago, flowerovlove opens the door to a new indie-pop-rock sound with her jaunty single “Next Best Exit.” Her vocals bounce around the bright guitar reverbs, and the stuck-in-your-head-for-hours peppiness of the song shields the tense, anxiety-fueled escapism of the lyrics. — Isabel Alvarez

“Good Feeling” by KAINA ft Sen Morimoto

Sounding like a dreamlike haze, Chicago artist KAINA sings, “Sometimes I get a good feeling” like a mantra. Over smooth strings and the occasional video-game-like synth noises, KAINA’s comfortingly warm vocals paired with Sen Morimoto’s soft singing bring in the rosiness of having blind faith in what is to come. — Isabel Alvarez

“Donde Se Fue el Sol” by Ambar Lucid 

Over a nightmarish lullaby, Dominican-Mexican songstress Ambar Lucid sings of looking for love and comfort where there is none. Released while on her Estrella tour, “Donde Se Fue el Sol '' emanates the tensity of desperation, shifting from her soft vocals over a whirring synth beat to heavy, auto-tuned belting over slow-strumming acoustic guitar. — Isabel Alvarez

“Mirror” by Jesse Detor 

Pop-rock singer Jesse Detor captures the rage of calling someone out on their shit with her most-recent single, “Mirror.” The saturated guitar pairs perfectly with her smooth, angsty vocals as she proclaims, “What you don’t like in you / You look for in me / You don’t want me / You want a mirror for your mind.” With influences like Hole and PJ Harvey, this Berklee College of Music graduate is bound to satisfy your girl-rock cravings. — Heather Stewart

“Impossible Tightrope” by Steven Wilson

Neo-progressive rock extraordinaire and founder of Porcupine Tree, Steven Wilson continues his mission to revive the long-gone sound of ’70s progressive/art rock with one of his newest singles, “Impossible Tightrope.” Within this 10-minute-long prog epic that echoes the chamber sound of the Electric Light Orchestra, Wilson finds an ideal combination of airy, bubbly sonics , jazzy passages, and perfect riffage geometries that will delight any listeners looking for rich art-rock sound. — Avirat Thakor

Glowing Albums & EPs We Loved This Month

Eurostar by Swank Mami

Image courtesy of Honeymoon

With her debut EP Eurostar, Norwegian singer Swank Mami (real name Umal Moses) explores the dimensions of romance, from self-love to heartbreak. Inspired by the likes of Caroline Polachek and Shygirl, the project combines the bubblegum stylings of hyperpop with the sultry lyricism of alternative R&B. Opener “Bad B*tch” parallels fellow experimental pop singer Arca’s KICK ii opener “Doña,” with its pitched up vocals and repetition of the line “Swank is a bad bitch.” In contrast to the fast-paced, raucous instrumental of “Bad B*tch,” “Poison” leans more R&B with Moses’ soulful inflections backed by clubby percussion. Going further into the EP, its most popular song, “I Saw U,” was also released as a single with its own music video earlier this year. A lowkey track, “I Saw U” has no shortage of vocal distortion and instrumental experimentation — with spiraling synths and snaps amid the beat — to make for the perfect crying in the club anthem. Closer “FWU” begins with Moses’ ethereal harmonies and descends into an array of vocal samples telling the listener to let go of toxic relationships and “do better.” Overall, Eurostar is a strong EP, one that is bound to make Swank Mami rise among the ranks of PC Music adjacent pop stars. — C.S. Harper

Zoundtracks by Towa Tei

Image courtesy of Tower Records Shibuya

Nearly three decades after his solo debut, artist, record producer, and DJ Towa Tei is still thriving in the familiar space of subliminal melodies, buzzing synth, and thrumming percussion. Zoundtracks, an entirely instrumental album, makes its home on the line between comforting and experimental, maintaining an exquisite balance between both throughout all 12 deeply distinct tracks. Though no one tune sounds alike, all contain the dreamline quality that is Tei’s calling card. Nostalgic “Feather” evokes childhood coming-of-age memories of playing outside to the rhythm of bicycle bells and the sounds of nature, backed by an airy orchestral harmony. “Tipsy,” xylophonic in nature, also juggles off-kilter flute and random analog bubbling within its inherent music. The penultimate song, “Amiko,” is haunting in nature, building up suspense with ghostly slide-rule interjections and twinkling reeds. Zoundtracks sounds how the album cover looks — directly from a dreamland far, far away. — Arundhati Ghosh

A Familiar Place by Axolotl

Image courtesy of R3MIS Records

The at-home producer Remark has released a total of 12 records since 2021, but their newest ambient album, A Familiar Place — released under the alias Axolotl — is the first of hopefully many. Adorned with a calming sunset, the solely instrumental LP scratches an itch its listener's brains had for what seems like forever. Although there are no lyrics to guide the audience through the calming soundscape, Axolotl creates an all-consuming atmosphere to satisfy an engrained lyrical hunger. Some sonic standouts are “Memories On The Other Side,” “Lee,” and the artist's personal favorite, “Aijōbukai.” Fourth track “Memories On The Other Side” begins with a melody reminiscent of an 80s-era computer start-up. As the song continues, there is a menacing drone backing random radar bloops; glass bulbs are plonked together, producing a ribbiting effect. The leading single of the record, “Lee,” emerges with soft flowing wind and drizzling raindrops that slowly die out with soft piano and synthesized precipitation reminiscent of soothing video game soundtracks. Much like its predecessor “Lee,” “Aijōbukai” trickles with rain and soft ambient drones, setting the stage for another peaceful prose. However, with less than a minute left on the song, Axolotl layers orchestral strings, static piano keys, and heavenly humming just to ease each of these aspects out before listeners are once again left with dribbling drizzle. On A Familiar Place, Axolotl displays an immersive, personal sound and immense potential for a career to come. — Sydney Meier

No Ordinary Crown by Will Johnson 

Image courtesy of Keeled Scales

Texas troubadour Will Johnson’s latest solo album, No Ordinary Crown, is a gem within his three-decade-long presence in the Lone Star music scene. Opener “Along the Runner (No Ordinary Crown)” welcomes listeners with resonant iron plucks amid Johnson’s raspy vocals. While “Sinker, Sinking” kicks off with steel strings from its start, “In Granada” offers a menacing momentum that builds with layers of stirring cello notes, guitar plucks, and swelling drums. A medley of alternative country, folk, and everything in-between runs through No Ordinary Crown, unabridged and non-formulaic. The subtle bending twang on “Tempest Time Again” shines through wavering strings, and the plucky “Inverio” embodies the atmospheric folkiness that lingers through the record. The absence of vocals on “Alta (Warped Kite)” paves focus for the percussive instrumentals as electric rhythms chase the track’s strident drum beats. “The Conductor Calls” is an upbeat vessel of layered guitars, steel pedals, and sonnets for lyrics: “Our history always casts its darkest shadow to the east / Sometimes I fail to feel a thing / Other times I’m awake for days just sweating every smile and every sting.” The singer’s vocals croon atop slow vignette “Conduct,” contrary to “Swine,” in which a static whirlwind and distorted vocals mask the track's poignant lyrics: “Was all that deceit / Revenge for a love that you lost / Or never had?” The record closes with the token “Of Passengers and Plight,” a mournful reminiscence of the past guided by flickering steel notes, soft strings, and hushed drums. Johnson woefully sings the final lines, “As the season limps along / And I find my place near you / And I leave these gifts in hopes / That they ring true” before steady instrumentation carries the song to its final note. In 10 tracks, No Ordinary Crown is a sonic expedition through the mountains and valleys of longing, with each song more melodic and heartrending than the last. — Miranda Garza

There’s a Monster by Farmer’s Wife

Image courtesy of Tiff’s World

Austin locals of the grungy, indie-rock band Farmer’s Wife (formerly known as Sludge) guide listeners through a twisted fairytale on their latest EP, There’s a Monster. Adorned with angsty lyricism, ambient rock instrumentals, and hauntingly enchanting vocals, Farmer’s Wife’s debut EP is immersive and gut-wrenching. “Goldiloxxx,” a play on the classic “Goldilocks and the Three Bears” story, starts the record off with rhythmic drums and a growing buzz of an electric guitar, which peaks at the start of the catchy chorus. In said chorus, the lead singer emphatically chants “Just right!” The verses’ narratives are reminiscent of some of the dark themes apparent in Disney’s original princess stories: “She’s got big blonde hair / Curls down past her back / And is turned away / So she can’t see the incoming bear attack.” The following track, “Swarm,” differs with a slower pace, but continues to darken the EP’s subject matter. Mentions of feminine revenge and murderous insects are backed by twinkling, minor guitar chords, but it’s not revealed until the song’s midpoint that the head-banging, rage-eminating instrumentals and lyrics are directed toward rape apologists. “Bones” acts as a bridge to the latter half of the EP, which balances out the instrumental heaviness with shoegaze strums (but still maintains its delectable depth). With a nod to Nirvana’s “Heart-Shaped Box,” it’s no surprise that the essence of Farmer’s Wife is reminiscent of ‘90s grunge. The fluttery “Keep Hate in Your Heart” alludes to a refuge from the EP’s initial fear-mongering as the lead singer softly sings, “Green-eyed monster keeps you safe.” The introspective “Shoe Goo” leaves listeners with a psychedelic close. The lead singer calls back to the fantastical nature of There’s a Monster one final time, lamenting that “nothing feels real.” Her vocals melt into a lackadaisical trance, dripping into a titular final word, “goo,” as an ambient echo in the background closes in. There’s a Monster is a delightful descent into darkness. — Heather Stewart