Though German metal truly rocks, New Yorkers will be happy to discover that the Tacoma-based, Brooklyn-transplanted Oberhofer is a bit more mellow…something like MGMT rather than Rammstein. And if names can be deceiving, why not age? At 19, Brad Oberhofer transforms youthful emotional exaggerations into mature articulations of feeling, while retaining that messy rawness. “AWY FRM U” with its ADHD drumming style and frantic guitars is a perfect example — "You’re pushing me away from you/Oh and I know what I’ll do/I’ll hop the fence/So I can get out of this mess." Oberhofer showcases simple, imaginative lyrics from the mind and heart of someone in synch with his feelings, especially when they’re confused or contradictory, as feelings often are. His recorded vocal has a psychedelic, surf-like quality, with lots of “ooo’s”, like he’s arriving from some far off place – perfect, for say, a Sobe commercial featuring a near-nude Ashley Greene on the beach (the genius “o0Oo0Oo” soundtracks the spot). – Read Paul Dunn interview with the NYC scene’s favorite teenager here.

California-born, New York-grown We Are Scientists, have undergone multiple transformations and experimented with musical chairs on their path to the top. College buddies, a literature, and political science major, who shared a mutual passion for their “hobby,” the band’s nucleus formed shortly after meeting, and relocated to Brooklyn postgraduation to make their premise a career, catching the ear of The Deli (who interviewed them back in 2004) and then Virgin Records. With three EPs, four full-length albums, including their newest, “Barbara,” released this June, on their resume, W.A.S represent to the NY Indie scene a prime example of survival of the fi ttest. Pioneering the fusion of danceable-pop/rock with cerebral intensity and an urgent energy that umpteen bands strive to clone, Keith Murray and Chris Cain are not simply business; they make funny their business, as well. – Read Meijin Bruttomesso’s article on We Are Scientists here. – Read a vintage Deli interview with WAS here (year 2005).

Matt Jones, Brian Bonz (pictured) and The Third Wheel Band are performing on the second night of Brooklyn’s 4th Annual LC Fest, along with 10 other independent NYC artists. The festival, organized by independent music community Local Correspondents at Bar4 in Park Slope, runs through Sunday, July 11. Jones’s guitar-driven Americana can be heard on his first independent release, Butter and Rum, as well as a new EP, to be released later this year, and indie darling Bonz is currently working on a follow-up to his debut album of ambient, intelligent pop, From Sumi To Japan. The Third Wheel Band, a relative newcomer to the scene, is already making a name for themselves with their infectious brand of old-time, foot-stompin’ country swing. Performances begin at 8 p.m. For the complete schedule of all five nights (from July 7th to the 11th), go here . For 42 free MP3s from festivals artists, split into four volumes for easy downloading, see here.

Australia’s The Grates (who have been living in NYC for a while now) are only a three-person team, but the amount of spunk and spark in their upbeat indie-pop makes them sound like they’ve got a full party in tow. Singer Patience Hodgson, guitarist John Patterson and drummer Alana Skyring play tunes that are infused with scatterbrained quirks and infectious melodies, resulting in what one might consider music that’s pure erratic bubblegum goodness. The band’s most recent album, 2008’s Teeth Lost, Hearts Won, is bursting with these tasty treats, such as the sing-a-long, clap-worthy "Burn Bridges" and the synthy anthem "Aw Yeah." Watch for Hodgson, as she’s known to leap off stages and playfully dance her way into crowds, her microphone cord bouncing around not too far behind. Her confidence as an entertainer and her "anything goes" attitude call to mind captivating frontwomen Karen O and ’90s Gwen Stefani. The Grates take over Mercury Lounge on Friday July 9th. – Michelle Gelsani

The Vandelles are rock n’roll noir at its finest. Their songs are the perfect soundtrack to rain-slicked city streets at night, and the lust, betrayal and violence that filters through them. The band thrives on layers of fuzz and a wall of reverb-laden guitar noise, and they also harbor a penchant for 60s garage pop melody and surf rock riffs. Those expecting the Vandelles to sound like their Brooklyn contemporaries Vivian Girls or Crystal Stilts would be wrong—they channel a dirtier, scuzzier aesthetic more on par with the Cramps, Suicide, X, or even Link Wray. On the new release, Del Black Aloha, songs like “Lovely Weather” and “Dash N’ Dive” find the band’s ragged riffs, crooned vocals and crushing, dread-inducing pedal manipulations forming a perfectly sinister sound that both terrifies and transfixes the listener. Definitely not recommended for those who suffer from anxiety, late-night panic attacks, or criminal thoughts. – Bill Dvorak