Carvest, the latest LP by Brooklyn-based polymath Scott D. Townsend (recording under the project name HARD JOB) splits the difference between Townsend’s lively, melodic songwriting and a vast array of experimental, instrumental parts. The album opens with “I Look at Miserable,” a 90s rock inspired track that showcases Townsend’s bombastic, raw vox against a repeating, major bass loop, squealing riffs, and a floor tom heavy percussive line; this sound quickly transitions to “White Noise,” a song underpinned by reverb heavy drums and a persistent noisy hum alongside Townsend’s bright, alternative radio-friendly vocals. Later HARD JOB goes full art pop with “Dating In Your 30’s,” a fun upbeat tune supported by a constant kitschy metronome-like beat and various echoing electric guitars. Overall, Carvest is a deeply interesting and wholly disorienting effort, cohesive in its creator’s desire to reinvent a plethora of different genre influences in his own image, making for a fascinating listen. Stream it below, and catch HARD JOB at Alphaville on December 19th, alongside Painted Faces, Human Flourishing, and Video Daughters. —Connor Beckett McInerney

There’s an immediate warmth present in “Used To,” the latest single by New York-based artist Talulah Paisley, a feeling derived from the track’s lofi production and Paisley’s earnest, down-to-earth lyricism. While detailing the feeling of being the subject of another’s affection, and the subsequent feelings of dejection when that affection shifts to another, Paisley strums and plucks, shifting the tempo of her folk in an energetic, albeit sad fashion. It’s immediately evocative of NYC’s antifolk scene, and recommended listening for those seeking acoustic songwriters with a raw, tell-it-like-it-is voice; stream it below, and catch Talulah Paisley at Baby’s All Right on December 19th, alongside Zenizen and Water From Your Eyes.

Irreverent genre-wanderers Seldomo are seemingly never comfortable putting out the same flavor of music album after album. Their latest double single Insomnia / Scrap King is a hard pivot from their 2017 folk-tinged LP Probably Cool, informed by the same delightfully weird songwriting yet noticeably more discordant; both tracks’ psych-surf-stoner-rock sound feature heavy riffs, an abrasive drive, and the additional saxophone accents. It’s recommended listening for fans of The Oh Sees and screaming in general; jam it below, and catch Seldomo at Hart Bar on December 20th.

Multi-instrumentalist dreamweaver Jason McMahon developed his forthcoming LP Odd West with the intention of crafting music he could play for his parents and wedding ceremonies. This mindset produced an end result that is a grounded yet experimental acoustic effort, one centered around McMahon’s noodling guitar performance and bolstered by avant-garde vocal and electronic flourishes. Single “Book of Knots” encapsulates his mentality well; string arpeggios both major and minor play center stage, surrounded by various dreamlike accents from synth, electric guitar, and flute, all contributing to final effort that has all the trappings of familiar instrumental classical music with a wholly modern spin. Quietly enjoy it below, and catch Jason McMahon at Roulette Intermedium on January 22nd for the album’s release show. 

Yes, yes, we’re all very well aware that "industry plants," clout chasing, successful exploitation of Spotify’s recommended artists algorithm and just being good and online will likely be greater determinants of a band’s success in 2020 (as they were in 2019 and 2018 and so on), but there’s something classic about a good, old fashioned battle of the bands, the closest thing resembling a bloodsport in the New York music scene. This dynamic is why you should attend, support, or (if you’re a musician) submit to Our Wicked Lady’s forthcoming b.o.t.b., Winter Madness 2020. Over the course of each Friday and Saturday in February, 16 bands will duke it out, competing for a top prize of $5,000, a ten hour recording session at Hive Mind, and a performance spot at Our Wicked Lady’s unofficial SXSW showcase. High stakes and local music make this a must-attend event — check the details here if you’re planning on going, badger your friends in bands to submit their music before the December 25th deadline, and keep an eye out for the lineup’s announcement on January 2nd.