New York trio the Ehems carefully thread the needle between indie and garage on “Eh Eh Hem,” gleefully demonstrating their love of fuzz and Kodak film in the track’s visual component. Beginning on a gainful riff and concluding with a vague, repeating mantra that continues throughout the song’s two and a half minute runtime, the three person outfit drive and groove, leaving room for muted, overdriven instrumental segues. No bells and whistles to be found, their focus on creating energetic rock highlights the band’s desire to embody the city’s history of fervent, guitar-centric music, as evidenced by their recently released VHS live-show compilation. Give it a spin below, and head out to Berlin on February 6th for their first show of the new decade.

Noah Chenfeld further cements his status as New York’s brutally honest troubadour with new offering “Late.” Expanding beyond the upbeat cynicism of last year’s “I Love Being Tired,” his latest track is a dark lamentation on the eggs broken to make an omelette; brooding organ riffs accent Chenfeld’s crooned aphorisms, bitter statements on unsavory choices and necessary evils. Amidst these dejected declaratives is Chenfeld’s brand of vintage-inspired indie — driving guitars and gain-heavy vox embed “Late” with a classic sound, further driving home the timeless nature of the song’s themes, the adversity inherent to modern living. Drink it in with our premiere below.

There’s no rest for antifolk folk hero Talulah Paisley, who over the last three months has made a consistent habit of releasing engaging-yet-muted singles on Bandcamp, manifesting a mood board of introverted, off-the-cuff observations that showcase her prowess as an insightful songwriter. “Call” is the latest entry to this sonic scrapbook, a soft slow jam marked by a careening vocal performance against a steady acoustic accompaniment. Present are the somber similes we’ve come to expect from Paisely’s uniquely folksy craft (“squish me like your third grade putty”) amongst impressionistic observations of heartbreak — paired together, they create a grounded recollection of love and loss that makes a seemingly intangible sadness feel painfully real. Stream it below ahead of her February 10th performance at Mercury Lounge alongside Razor Braids and Dolphin Pal. —Connor Beckett McInerney, Photo by Julie Orlick

A pleasant springlike sound permeates Jeremy Gustin’s electronica offerings on Mere Husk, the latest LP he’s recorded under The Ah moniker. Perhaps its the tactile percussive elements on tracks like “The Factory Girl” and “Watermelon Tears” that feel like a more grounded Animal Collective b-side, or the pleasant twang accompanying keys on “Just Relief” that resonate as charming and homegrown, the type of soundtrack for a weekend bike ride around Greenpoint or a walk in Prospect Park. Regardless of which specific instrumental accents endow the record with its bouncing, verdant energy, the summation of Gustin’s varied synthetic process makes for a colorful release, one that showcases a keen ear for abstraction, creative melodies, and off-kilter sounds. Give it a listen below before the rest of the album drops this Friday (on NNA Tapes), or attend the album listening party at Step Bone Cut on February 1st.