motel void

Summer’s been overflowing with incredible tracks, and here are three more that stood out recently.

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Herbal Tea – Seventeen

Clocking in at nearly seven minutes, Seventeen by Bristol-based artist herbal tea (Helena Walker) is a dreamy lo-fi journey paired with a gorgeous visual accompaniment. Walker’s production is beautifully understated, full of ambient layers and ethereal vocals. Even with its slow pace and extended runtime, the track never drags – thanks to Walker’s hypnotic presence and strong sense of mood. Around the 3:45 mark, there’s a shift that’s absolutely incredible – one of those moments where you just stop whatever you’re doing and listen. It’s dreamy, melancholic, and emotionally charged, showing just how captivating dream pop/slowcore can be when it’s done right.

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Harper – Road Kill

The UK-based project Harper is no stranger to this blog – I think I’ve previously praised their singles headlock and indigo. Road Kill continues in the same vein, kicking off with a rush of energy: sharp guitar lines, a captivating vocal hook, and gritty textures. The track builds with subtle layers and background noise, but remains anchored by its memorable main melody and warm production. At the halfway point, a brief interlude gives you a breather before the song coasts to its dreamy finish. It doesn’t try to overcomplicate things – and that’s its strength. When it ends, you’ll likely find yourself hitting replay just to relive that opening again.

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Skinny Dippers – I Just Can’t Help Feeling Curious

New York band Skinny Dippers have long been one of my favorites – and if memory serves, they were among the first acts I ever featured here. Their new single I Just Can’t Help Feeling Curious feels like a natural continuation of May’s Breathe, both in mood and artwork. The cover art alone (which kinda reminds me of visuals from David Dean Burkhart’s YouTube channel) already gives you a sense of what the song is about: nostalgia, emotion, warmth. Skinny Dippers are masters of lush, polished production. The first half has an intimacy reminiscent of Angelo De Augustine, but the track reaches its peak in the final minute — where synths swell, drums intensify, and the chorus takes on a darker, more serious tone. It’s a beautifully executed moment, and one of their best songs to date.