As we enter February, emotion and sentimentality are around every corner. Thankfully, we’ve got a list of artists who could work well as the soundtrack of your romance (and lack thereof) – and who are all suspected of making big moves this year.

Halfloves

Halfloves might be the most notable indie band from Iowa, and they’re a bit of a genre anomaly. Their songs range from Keane-flavored ballads to Radiohead-esque experimental jams, but with synthesizers aplenty and a locked-in rhythm section, their more recent work feels accessible without sacrificing the band’s endearing quirkiness. The group recently updated the photos on their Spotify profile – which feels like a clue that things are in motion.

Teddy at Night

I somehow slept through Teddy at Night this past year, but I’m not going to make this mistake again. I didn’t really know what to expect off name alone (there’s the unfortunate word association with Teddyswims, for instance) but was pleasantly surprised to hear a nice mix of punchy electronic percussion, Bleachers-flavored vocal parts, and huge choruses that instantly get stuck in your head. Since last year saw the group get some time in the spotlight, chances are this year will be even bigger for them.

Badlands.

Colorado-via-Arizona-via-St. Louis-via-everywhere project Badlands. has allegedly finished recording for their new record – a first for project mastermind Ernest Brockman who had previously planned to release an album under the TREY moniker. Badlands. has managed to gather a fanbase pretty quickly and has even performed with some larger artists; hopefully they’ll quickly integrate into the Denver scene as well.

Hotel of the Laughing Tree

Maybe it’s a stretch to call Hotel “pop” – but it’s undeniable that there’s something fun, optimistic, and energetic about the band’s songs. Their latest song sees a return to their original lineup with the addition of Neil Scalesse and the result is a fanfare of bombastic horns, popping grooves, and a resulting sound that sits somewhere between classic doo-wop and modern alt-folk. It’s clear to see what “Amaretto Thundersong” has been blowing up and finally get the group recognition after over a decade of hard work.

Tor Miller

I discovered Tor Miller back in the American English era, and it was clear even on his debut that he was a thoughtful and skilled songwriter. “Chelsea,” “Stampede,” and, of course, “Carter & Cash” sold me on Miller’s piano-centric arrangements. Surviving the Suburbs took more of a rock-based direction, but Miller’s wrestling with being disillusioned, not living up to expectations, and having to move back with his parents saw him lay his whole heart out. Subsequent releases haven’t had quite the same staying power, but Miller continues to exhibit lyricism beyond his years. The recent release of “One Box” seems like a good sign more music might be on the way.

Graveyard Club

Even though Graveyard Club’s lyrics tend to deal with the macabre, the mystic, and the other side of the grave, these elements are used in a literary sense. It only takes a few seconds of one of their songs to be convinced Graveyard Club is anything other than a dark band. Even when they’re singing about how “it hurts” on repeat, lush guitar lines and bright synths dance around in glorious fashion. The band hasn’t exactly been quiet, but their most recent recording project was stripped-back versions of their songs; with “Ur Baby” released, chances are we might see another full-production album soon.

Logan Pilcher

I first discovered Logan Pilcher through a request to review his music here. Some artists have short-lived careers that only last an album or two. I’m glad that’s not the case here for Pilcher – he’s got a new album due shortly, and his production and songwriting only get better with time. His lyricism is introspective, dealing with the complex matters of love, life, death, and meaning. It’s not too late to get on the Logan Pilcher hype train before he takes off.

Left Out

Columbus, Ohio female-fronted Left Out delivers a unique blend of lofi pop with nostalgic overtones. Left Out manage to borrow from mainstream pop contemporaries, all without forsaking influences from surf, jazz, and easy listening. The arrangements feel liquid, shifting gently like a weak tide. You won’t be screaming out your lungs to these tracks, but they’d be the perfect backdrop to a night staying in or candlelit dinner.

Opelika

I’m not sure how I found this band with under 150 monthly Spotify listeners – typically, that’s a sign that they’ve been broken up for a few years. But this small band named after a city in Alabama provides a pleasant mix of male-female vocal parts, gentle synths, reverb-drenched drums, and production that surely deserves more traffic than what they’re getting right now. Maybe you can do your part and add their new single to a playlist?

Silver & Gold

Silver & Gold is definitely a rock band more than a pop act, but between the classy vocal delivery, decadent piano parts, and catchy choruses, chances are there’s enough crossover. The crew manage to keep the energy strong without ever getting too wild, and they maintained this dynamic across their entire discography. Maybe you could call it soft rock, but, regardless of how you name it, it’s clear that Silver & Gold have something special going on. Now that they’ve released “better,” it sees like they’re back out of hibernation.