With his new single “Flyin,” Ben Gage invites listeners to relax, take a deep breath, and escape into a somber state of reflection. Apt to its title, this song does not walk but quarter-jog in an unstoppable clip swept along by a warm breeze of blue folk textures that sound like the sonic version of an old rocking chair on a serene porch.

“Flyin’” exists there, in the excellent space in between, where late-night soul searching and simple, heartfelt melodies find comfort with each other. From the first few strums, you feel as if you can see the stars emerge through your twilight curtain, the summer night air cooling your skin. Gage’s delivery is refreshingly honest. There is a lot of flashy overproduction or unnecessary layers here, a completely open heart, and what feels like a song written for the listener, rather than to them.

The laid-back groove of the beat also runs through the song like a steady heartbeat line, giving Gage’s voice and lyrics room to shine. His voice is filled with the wisdom of miles traveled, but the story never burdens it. Instead, it soars, spirals, and, appropriately, flies not trailing off so much as leaving the listener with a wistful longing for something hovering just beyond the horizon.

What makes “Flyin’” so special is its timeless and intimately personal nature. It’s not reinventing the wheel but leans hard into the authenticity of folk-blue traditions, making space for a very modern vulnerability. If there’s a verb for such songs, it’s “haunt.” This kind of song you find getting under your skin, a week and a half later, settling into your bones soon after the final chord dissipates.

Ben Gage created a mood, a space you can return to whenever life is a tad too fast or heavy. “Flyin’” is a call to stop, to breathe, and to allow yourself to float for a moment. It’s a small, defiant act against the sound of the world, couched in a melody that flows as easily as a conversation between old friends.

Hallelujah The Hills, have returned and they’re raising it even higher with the release of their latest single, “Crush All Night.” Driven by insistent guitars, irresistible hooks, and an invigorating shot of pure adrenaline, it’s a song that prudently captures the chaotic thrill of being alive and, who knows, maybe a little bit reckless in the best way.

One of its best tracks, “Crush All Night,” gets a jolt to the heart, thanks to a killer collaboration with Sadie Dupuis (of Speedy Ortiz). Dupuis’ vocals slip in and out of the frantic instrumentation, giving the chaotic mix a pointed, shimmery edge that sounds like neon lights flickering over a late-night odyssey. Her presence doesn’t so much as complement the band’s sound as vault it, her voice takes the song to another stratosphere.

There are a few wasted moments on “Crush All Night,” which clocks in just north of 3 minutes. It explodes out of the gate with a vulgar immediacy that feels raw and painstakingly constructed, the equivalent of a live wire you’d have no choice but to grab on to. Hallelujah, The Hills have always been able to mix brainy lyrics with brawny, anthemic music, and here they tweak that formula to something dangerously catchy.

It’s a song you turn up on your headphones when you’re walking home from some rager, heart pounding, half in love with the world and half ready to tear it. There’s a wanton joyousness with which “Crush All Night” hurtles headlong, no guarantee, no denial, love in a bottle ready to explode.

“All Night” crushes it not just for existing Hallelujah The Hills fans weaned on the many life phases of their favorite working band, but also for anyone who wants to fall in love with some excellent indie rock already. It’s urgent without being hasty, emotional, melodramatic, and catchy without undermining the weird, wonderful core that has always made this band special.