Belgrave's Golem Dance Cult have delivered a strikingly ambitious piece of work with "Pretty at Dawn," the second single from their album "Shamanic Faultlines." The track, featuring Inga Liljestrom's spectral vocals and Jean-Philippe Feiss's mournful cello, exists within a shadowy realm where post-punk ritualism collides with contemporary electronic experimentation.

Bog Witch's "Dream Birds" arrives like a visitation rather than a release—a delicate, unsettling piece of nocturnal folk that positions itself somewhere between benediction and haunting. The single occupies that peculiar territory where the sacred meets the strange, where comfort curdles into unease and back again, all while maintaining the gossamer touch of a half-remembered dream.

The opening bars of Parmy Dhillon's 'Nashville' arrive like a long exhale after holding your breath too long. Those warm guitar tones—unpretentious, weathered, honest—establish a sonic landscape that feels both intimately familiar and pleasantly worn-in, like a favorite jacket that's seen a few too many late nights but refuses to fall apart. The Melbourne-based singer-songwriter has crafted a deceptively simple piece of work here, one that reveals its complexities only after you've stopped trying to decode it.

Mikey La Luna's latest offering arrives as both provocation and prayer, a piece of work that refuses the easy comforts of either the spiritual or the secular. "Hallelujah" – rendered trilingual in its title, spanning Hebrew, Arabic, and English – is mantra-electronic music at its most ambitious, a track that dares to treat the club as cathedral and the DJ booth as pulpit.