Release Radar: November 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 Staffers

This November is Indigenous Heritage Month, so here are our favorite albums and singles released during November 2023 from Indigenous artists everywhere! For more reviews of recent releases, check out our album review page!

Photos courtesy of Nina Satie, Dalton Buckman, and Betsy-May Smith

Shiny Singles We Loved This Month:

“Rock My Boat” by Maoli

With an eclectic mix of horns and Hawaiian instruments, Maoli’s single from EP MMO2 is a unique blend of country and reggae. “Rock My Boat” reflects the band’s joyful tendencies, with lighthearted lyrics but a focus on delicate instrumental perfection in guitar and trumpet. — Anjali Krishna

“Part Two” by iskwē

Iskwē, a Cree-Métis singer-songwriter, reflects on the ending of a relationship in her new electric pop single, “Part Two.” Sonically ambient, the track radiates an upbeat energy, despite the emotional nature of the lyrics. Mystical and sensual, the track is guaranteed to pull even your most introverted friends to the dance floor. — Claire Hookstra

“III” by Anachnid

On single “III,” Oji-Cree artist Anachnid creates a creepy and surreal ambiance with a combination of sounds of nature, electronic drums, and vocal manipulation that pitch-shifts her voice into a haunting instrument. The many movements of “III” intrigue and excite, creating a unique sound unlike anything Anachnid has released before. — Rachel Green

“Passo” by Nelson D

Brazilian electronic artist Nelson D stays creating infectiously dancy music, especially in one of his latest singles “Passo.” Beginning with low tapping synth beats, the track quickly moves into a storm of energy, with Nelson D’s auto-tuned voice speedily repeating “yá te quiero passo” over a track of clapping and a low, samba-sounding beat. — Isabel Alvarez

“96 Bulls” by Snotty Nose Rez Kids featuring Drezus

Haislan rap duo Snotty Nose Rez Kids teamed up with Plains Cree artist Drezus to craft a bumping Indigenous pride anthem. Between their spunky disses and boasts, they celebrate their strength by equating their excellence to that of Michael Jordan. The rap song brings a fresh vibe to a traditional sound, especially in the way it references aspects of their Indigenous cultures in the way pop culture is typically alluded to. — Isabel Alvarez

“Moment” by Stella Standingbear

Over a soft alternative, afrobeat track, Lakota hip-hop artist Stella Standingbear dances in the euphoria of being in the moment. Her high pitched autotuned voice jubilates with the bouncy synth rhythm, and you can feel her joy of being in the present radiate through the music. — Isabel Alvarez

“We Don’t Talk About It” by Thelma Plum

Singer-songwriter Thelma Plum contemplates an abusive relationship on the mesmerizing track “We Don’t Talk About It.” The song’s poignant lyricism invokes feelings of reflection as Plum states “If it happened to me, it’ll happen to her / What the girls went through, yeah, they didn’t deserve it.” The single marks a new chapter for the 28-year-old Gamilaraay musician who supported Coldplay in Perth earlier this month. — Sophia Guild

“Won’t Give Up” by Pattie Gonia, Yo-Yo Ma, and Quinn Christopherson

Transgender Ahtna Athabascan and Iñupiaq singer-songwriter Quinn Christopherson teams up with environmentalist drag queen Pattie Gonia and renowned cellist Yo-Yo Ma to create an homage to Alaska’s melting Exit Glacier. The delicate guitar strums erupt into a beautiful amalgamation of cello strings and hopeful vocals to provide an anthemic feel. — C.S. Harper

GLOWING ALBUMS & EPS WE LOVED THIS MONTH

PATH OF THE HEEL BY THE HALLUCI NATION 

Image courtesy of Radicalized Records

Over a throbbing bassline and drum machines, The Halluci Nation’s screaming voice over creates a political statement best fit for the dance floor. The group has members originating from multiple First American Tribes who lived in what is, today, Canada. Blending modern Western dance music with traditional First Nations stylings, the group’s discography has a distinct style called “powwow-step.” In the track “ALie Nation,” the speaker states that “the time for hallucination is over” as a clapping audience and intense piano beat backs him. On “Tree of Woe,” the group outrightly says Canada's colonial government “find[s] a way to weaponize nothing.” Even more blatantly, they say “And nothing is as evil as god’s missions.”“The Eater of Worlds,” which features chanting in the dubstep after the beat drops, best exemplifies the medley of styles. Path of the Heel is excellent not only as a continuation of The Halluci Nation’s previous work, showcasing the development of their style and sound mixing, but the EP also carves out an unique space for a First American musical genre. — Anjali Krishna

Support The Halluci Nation on Spotify and Apple Music.

KEEPERS OF THE EARTH, VOL. 2 BY WHISPERHAWK

Image courtesy of Michael Gross

A sequel to their 2020 release Keepers of the Earth, Whisperhawk’s Keepers of the Earth, Vol. 2, gives life to the storytelling nature of the Northwestern Band’s culture as part of the Shoshone Nation ( located in modern-day Utah). Michael Gross of Whisperhawk reflects on themes such as the cyclic nature of life and protecting the earth throughout this album. Overall the record has a folk feel, emphasizing acoustic guitar and raw vocal stylings. Opening with “Keepers of the Earth, Pt. 2,” Gross sets up the foundations of the record’s narrative. “Life’s a gift from your creator,” Gross harmonizes. While many songs are sweet odes to his past memories, others depict Gross and his outcries of activism. Heavy bass and percussion, “Sleep Pt. 2” chants “We will never rest / Until our story’s told.” Emphasizing the hardships his tribe has endured, Gross includes this song in the middle of the album, a break from the soothing nature of its surrounding tracks. Keepers of the Earth, Vol. 2, is nothing short of a concept album, combining culture with pleasing acoustics. — Claire Hookstra

Support Whisperhawk on Spotify and Apple Music.

SINGING INTO DARKNESS (EXPANDED EDITION) BY HATAALII

Image courtesy of Dangerbird Records LLC

Singing Into Darkness (Expanded Edition) is the extended version of Hataalii's fifth studio album of the same name released earlier this year. Featuring eight new tracks, Hataalii transforms into a midcentury-style crooner, contrasting from the modern indie sound of his previous albums. The surf-rock instrumentals often take a backseat to Hataalii’s smooth voice —- which is fitting, given that “hataalii” is the Navajo word for “to sing” —- but throughout the whole album, the band accentuates the feeling that the audience is listening to a lounge singer in a smoky club. Hataalii’s voice and poeticism take center stage in songs like “Story of Francisco,” where he croons about how “Darkness rose / Just to get well-dressed.” In other tracks, like the ten-minute epic “Double Doors,” Hataali’s vocals melt into the background, becoming another instrument rather than a vessel of storytelling. Despite this, the message against exploitation and objectification of Native Americans on this song, as well as on the album as a whole, remain poignant. “Double Doors” contrasts Hataalii’s Navajo heritage with the identities of outsiders, singing “Touch me in your tourist mind / Touch me in your cargo shorts,” a cheeky but solemn line about enticing tourists to give into their impulses to treat him as if he weren’t human. Overall, Singing Into Darkness (Expanded Edition) is a bold venture into honesty and a departure from Hataalii’s usual indie style, resulting in a powerful and career-defining performance. — Rachel Green

Support Hataalii on Spotify and Apple Music.

THE GOLDEN CRYSTAL KINGDOM BY VINCENT NEIL EMERSON

Image courtesy of Thomas Crabtree

Following his 2021 self-titled release, Vincent Neil Emerson’s The Golden Crystal Kingdom is a triumph for the East Texas native. Touching on themes of growth, abandonment, and loss, the 31-year-old singer-songwriter showcases a new side of his lyricism. Emerson transcends from traditional honky-tonk styles to impactful, deeply personal storylines. Each track takes the listener into a new story, ranging from classic country narratives to bold, rock-oriented accompaniments. Steel guitar takes the centerpiece on “Time Of The Rambler” and “The Golden Crystal Kingdom,” while bold tracks such as “Hang Your Head Down Low” and “The Man From Uvalde” provide a welcome deviation into rock and roll territory. On the closing track, “Little Wolf’s Invincible Yellow Medicine Paint,” the artist’s Choctaw-Apache roots come into play, giving listeners a musical look into Emerson’s heritage. Ultimately, The Golden Crystal Kingdom proves that there’s more to the story for the Americana-inspired songwriter. — Sophia Guild

Support Vincent Neil Emerson on Spotify and Apple Music.