Who needs Coachella? Discover new music with Blonde Vibrations and be the Joe Cool friend!
- blondevibrations
- 4 hours ago
- 6 min read
If you were not in the desert this weekend, do not worry. Away from the Coachella noise, this week’s new music has space to actually land, and there is a lot worth catching. Take your time discovering this collection of new tracks, build a new playlist, and find some future headliners.
Blonde Vibrations and Joe Cool approved... obviously!
Dolder - 'Bone Structure'
Dolder has yet again shown how locked-in they are. Their music feels almost instinctive, with their taste developing in tandem with each other. It is a chemistry you cannot manufacture, which is exactly what makes ‘Bone Structure’ land with a sting. Dolder doubles down on their hyper-honest, slightly unfiltered take on indie-pop to explore the spiral of knowing someone is not good for you but wanting, needing them anyway. There is something frustratingly relatable in it, the way you can see the situation clearly and still choose to stay in it. What gives the track its edge is how it does not romanticise any of it, allowing that anger to come through the realisations of knowing how far you overextended yourself for someone who did could have the capacity to step up and meet you halfway. It captures the idea of being reduced to how they saw you rather than who you actually are and faces that head on, in such a sonically beautiful way.
Ellen Benediktson - 'Jealousy'
Ellen Benediktson makes an immediate, uncompromising entrance on ‘Jealousy,’ her sharp electro-pop cut that feels designed around presence as much as sound, it has its own centre of gravity. With that exterior confidence, she also presents a tension underneath. Ellen unpicks the comparison and the resentment that often sits alongside that insecurity. The lyrics expose this discomfort and allow contradiction rather than elevating it into something palatable. There is a particular honesty in the way she approaches that emotional space. Ellen moves between sharp self-awareness and more impulsive reactions, capturing the split-screen experience of wanting to be above comparison while still being pulled into it. It also signals a clearer artistic frame emerging around Ellen herself. There is intent in how she is building this world, sonically and conceptually, with a focus that feels increasingly defined. ‘Jealousy’ sits so well within this evolution, and we cannot wait to see what comes next.
Natanya - 'DON'T ASK!'
‘DON’T ASK!’ sees Natanya step in like she already owns the room, and honestly, she kind of does. This track is sharp, self-aware pop, built around a voice that never waits for permission. This sense of intention running through it is clear. This is empowerment as behaviour, the refusal to soften or over-explain. The whole track feels anchored in the idea that silence costs you more than speaking ever will, which Natanya leans into with ease. Lyrically, it is all confidence in motion, agency and self-belief delivered without any apology. Crisp, forward-driving pop production frames her vocals in a way that keeps everything feeling light on its feet. You can hear the groundwork built upon from previous releases, and she is now truly ready to be loud about her talent. Do not blink, or you will miss her. It feels like the overnight success is imminent.
Chrissi - 'HEARTLESS DARLIN'!'
Chrissi takes firm control on 'HEARTLESS DARLIN'!' with a clear sense of emotional repositioning, reframing the idea that proximity to relationships with men should define the contours of a person’s life. Rather than orbiting romantic fixation, the track actively dismantles it, stepping back from familiar narratives around love and validation with a knowing distance. The concept that ‘my proximity to men is the least interesting thing about me’ echoes through the entire listen. Currently opening for Skye Newman on tour, Chrissi is stepping into a visibly ascending moment as an artist already operating with a defined sense of direction and authorship.
BEASTIE - 'does it still rain?'
‘does it still rain?’ feels like something to dissolve into. It made me immediately wonder how I have not listened to BEASTIE sooner. BEASTIE uses the track as a space for experimentation rather than definition, letting sound stretch out and breathe rather than locking it into a fixed shape. There is an openness to it, an instinct for atmosphere that gives the song a sense of movement as it exists slightly outside of time. Glossy, almost weightless vocals take form across something more grounded and gritty underneath, while a spacey energy melds everything together. There is a freedom in how it is built in the way it allows space to exist. ‘does it still rain?’ isn’t trying to be pinned down to a single idea or interpretation, and in that, masters true listener immersion. You drift with it, and by the time it ends, it becomes less about what you have heard and more about where it has taken you.
Lexie Carroll - 'written'
‘written’ by Lexie Carroll takes a deceptively simple idea, someone in the crowd who quietly occupies space in her writing, and turns it into something relatable. There is an elegance in the way she frames it, pulling from something niche and still managing to make it feel like it could belong to anyone who has ever run into somebody whom you have written about in your journal or who has made a home in your thoughts. The song moves forward with a light, breezy touch. Even in its most casual moments, the writing carries weight. Lexie has a way of making songs feel almost like fragments of thought or conversation, and that is why her listeners feel so drawn to how she articulates herself.
Martin Luke Brown - 'back of my mind'
With his latest material, Martin Luke Brown pushes beyond the boundaries of his usual indie-soul sound, experimenting in spaces between delicate psychedelic and unpolished country touches. The result feels unpredictable and nostalgic, drawing subtle inspiration from the character of 60s and 70s records without a dated feel. ‘back of my mind’ explores the persistence of love after a relationship has ended, reflecting on the emotional remnants held onto over time. He allows these confessions to piece together the fragments that become markers of people who once meant everything. The track highlights Martin’s ability to balance conflicting emotions, bringing together lightness and heaviness in a way that feels effortless. There is a sense of humour, paired with deeper introspection, allowing him to acknowledge both the strange absurdity of life and its more meaningful questions. The result is something that feels slightly offbeat but completely human.
Zinadelphia - 'The Boutique'
‘The Boutique’ is a delicious new project from Zinadelphia. She opens the door to a glamorous, theatrical indie-pop and soul-inflected world. It opens with ‘The Seamstress', a track that immediately establishes Zinadelphia’s strength in storytelling through aesthetic detail. The sound carries a timelessness aspect. It feels equally at home in an intimate, smoky live setting as it does within a contemporary, editorial playlist. ‘The Boutique’ is built on an organic sonic foundation. The instrumentation is warm and deliberately unpolished at the edges, leaning into a tactile quality that makes the project feel physically present rather than digitally constructed. Vocally, Zinadelphia remains the central focus throughout. Her delivery is controlled, allowing emotional nuance to emerge through phrasing and tone. Each track feels carefully placed within a wider conceptual frame and that is why ‘The Boutique’ is best experienced front to back. Overall, with this body of work, Zinadelphia occupies a compelling space between pop accessibility and conceptual artistry, and is someone to keep your eye on this year.
Maryon King - 'THE ONE'
On ‘THE ONE,’ Maryon King writes from the grey area of attachment where presence does not equal possession, and where you can be with someone while still feeling that part of them is always elsewhere. She has perfectly captured that emotional limbo of partial commitment. Her voice truly anchors the song with its rich, controlled energy, soulful as she stretches each syllable to make that delivery sit even harder. There is an addictiveness to the tone itself, drawing you in for its duration. For listeners keen on the emotive charge of Nieve Ella or the warm conviction of Olivia Dean, Maryon sits in a similar space with her own slow-burning intensity. ’THE ONE’ ultimately thrives in the imbalance it describes, carried by a vocal presence that feels unguarded, giving it that power.
This could actually be the Coachella 2027 line-up, much to think about...
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