Droves of New York musicians have sought to create art that makes sense of what’s happening in the city right now, but Brooklyn-based duo Drug Couple have been creating prescient-yet-comforting music since late 2016. Their previous EP Little Hits and the forthcoming Choose Your Own Apocalypse detail the necessity of human intimacy during strange times, with new double B-side No Outside / Alone 2gether continuing in a similar vein. Notably more driven by a percussive groove (“No Outside”) and more prone to darker tones (“Alone 2gether”) than previous efforts, the two songs represent a expansion of Drug Couple’s sound beyond the softer, more downtempo qualities of Little Hits. That said, both tracks hone in on recurring themes of companionship and cautious optimism (or sunny pessimism), embodying the zeitgeist of our increasingly uncertain epoch. Regardless of how you’re quarantining, give it a stream below, and keep an eye out for Drug Couple’s next extended play, out this August.

You’re likely already acquainted with the psych-laden, occasionally crunchy sound of Henry Grant by way of his previous project Zula, and new single “Stay Well (feat. Ryan Wyner)” shifts Grant’s hazy instrumental approach from driving indie rock towards hazy dream pop. Still present is an off-kilter, DIY approach to instrumentation that gives “Stay Well” a discordant-yet-melodic energy, albeit such sounds are now presented at a chilled pace. Moreover, this steady, dreamlike quality lends itself well to Grant’s lyrics, which detail the quarantine distance, the process of “celebrating lonely sounds” and “laying low till they figure it out.” While certain elements of Grant’s songwriting feel anxious and claustrophobic at times (“formless feelings, melancholy”) the track’s mellow, progressive structure endows a sense of resolve, an ability to maintain cool composure in the center of the storm. Stream it below, and watch Henry Grant’s page for more intrepid synth later this year.

Brooklyn-based performer Aubrey Haddard understands the scrutiny one faces as a performer — the inkling that “everyone’s watching,” of feel[ing] on the display.” Such sentiments influenced her latest single “Thin Line,” a new pop offering with strong indie rock roots. Driven by a walking alt soul baseline and a punchy percussive backbone, Haddard’s melodious range dominates the space, bringing the necessary bravado this maximalist effort, while lyrically detailing feelings of uncertainty, or in her own words, “starting to realize I’m walking on a thin line” just as everything seems to be going fine. It’s a clever(and catchy) exploration of the singer’s psyche, a track that splits the difference between extreme confidence and self-doubt that feels quintessentially human — watch the video below, and keep an eye out for Haddard’s forthcoming LP, out later this year.

New York experimental pop outfit Los Cumpleaños subvert expectations on new EP Agua, making for an exciting, thoroughly novel release that modulates between styles conventional and avant-garde (and back again). While each of the extended play’s four tracks finds its footing a heavy Cumbia rhythm, heady synth leads and expressive brassy fanfares quickly fill in the space, lending a psychedelic atmosphere which, combined with double time segues, create an ecstatic, joyful energy throughout the effort’s roughly 23 minute run-time. Moreover, Los Cumpelaños synthesis of elements old and new enables electronic experimentation, while retaining elements of traditional Colombian music, in a manner that feels both contemporary and classic — more importantly, it’s an EP that’s nearly impossible not to dance to. Recommended for fans of artists like Sun Ra, Flying Lotus, Animal Collective (or anywhere in between), stream our premiere of this rousing release below. Photo by Brennan Cavanaugh

It’s hard to tell who’s the subject of Grace Ludmila’s rage on new track “Hollow,” a punk-influenced indie takeover wherein the artist admonishes all who think they can put her in a box. Much of Ludmila’s lyricism over the the song’s four minute runtime uses a variety of dialectics to determine, more so, who the artist isn’t rather than what she is — lyrics such as “I’m not your therapy, don’t hand your trauma to me” and “I’m not on a movie screen, don’t project your shit on me” seem to direct their anger towards both listeners who may claim to have Ludmila “all figured out,” or critics who think they can ascertain her true motivations through circumstancial evidence. In the end, however, Lumdila’s series of first-person statements serve as a kind of manifesto on the self, a laundry list of metaphors and proclamations that do a much better job at telling you who she is than whatever bullshit observations I’ll type up here — on that note, stream it (loudly) below. —Connor Beckett McInerney

There’s a smattering of genre-influences on Something Softly Caught Me, the new album by north Jersey indie outfit Quality Living, that really don’t make sense on paper, yet congeal over the record’s half-hour runtime to make for an energetic, incredibly fun listen. Namely, the crux of Something lies in Quality Living’s synthesis of slack jawed 90s alternative with the blue tones of late 70s-early 80s jazz rock, making for an LP that modulates between being both fast and loose or deliberate and polished. All this said, it somehow, someway works — Quality Living deliver dissociative wordplay in tandem with grooving Wurlitzer keys (“Pretty down”), and scuzzy guitar-driven ballads suddenly give way for saxophone segues (“Kite Violit”) to create a cohesive piece of work for fans of Stephen Malkmus and Walter Becker alike. Stream it below.

Hey! Remember live music? Me neither! But hypothetically wouldn’t it be cool to see all of your favorite local acts perform when this whole thing blows over? Then it’s important — nay, imperative(!) — to support your scene, now more than ever.

To that end, we recommend you buy a beer (or six) from Our Wicked Lady, allowing you to support a premier independent venue while discovering some new music in the process. Every delivery order from O.W.L. comes with a postcard enabling access to one of five curated (and banging) playlists, enabling you imbibe responsibly (at home) while getting absolutely throttled to some local bands (many of whom have been previously featured on The Deli NYC).

Moreover you’ll be supporting one of the best performance and recording spaces New York has to offer while rocking a nice buzz. O.W.L. has booked a number of bands that we love, and held an absolutely killer Battle of the Bands this past winter. Support the scene, discover new music, and obtain libations — it’s that simple.

 It’s hard to be optimistic about the future these days for any shortage of reasons (that needn’t be listed in this piece for fear of inducing a panic attack for both writer and reader), yet Rhys Tivey embeds a steady resolve in new single “Hopes.” With a strong emphasis on chilled synth and bright horns, Tivey’s falsetto details love’s ability to overcome in terms sentimental, ever aware of the obstacles inherent to being together forever while expressing a desire to weather the storm (“while no one really believes in forever, can we stay together forever?”). Moreover, the track’s grand designs and emotive theming are drawn back by a minimalist approach to production, wherein accent vocals and trumpet lines seemingly float in and out frame, inducing a dream like quality reminiscent of acts like Rhye and San Fermin. Give it a listen below, and keep an out for Tivey’s debut record, out later this spring.

It only takes a few moments of listening to Brooklyn experimental rock trio Bug Fight for their creeping guitar work and shifting time signatures to induce a deep, thoroughly engaging discomfort, and new video for track “Eggling” serves as an apt visual representation of what makes the band’s dark tunes tick. Contrasting scenes of traditional middle Americana and rough-hewn (yet aesthetically stirring) individuals in insect costumes cinematically evokes the style of late 70s-early 80s horror — think Texas Chainsaw Massacre meets Invasion of the Body Snatchers by way of A24. Such elements reinforce the plainspoken eeriness inherent to the track’s abiding refrain (“It’s egg laying time”) while reinforcing its discordant, nearly cacophonous instrumentation, building drama up until the visual’s unhappy, deeply satisfying conclusion. Moreover it further cements Bug Fight’s status as some of the weirdest, coolest musicians working in NYC today — watch the video (directed by Matthew Marino) below.

It’s likely, during these very strange times, your mind is racing a mile a minute, trying to account for all the variables inherent just to just living throughout a generation-defining event. These thoughts inform the core of “Trying to Stay Alive,” the new single by indie pop artist Robert Leslie, which offers a pragmatic sketch of the mental gymnastics we all practice as we attempt to go about life as normal. Thankfully, Leslie’s evenhanded lyricism is offset by sunny acoustic strumming, upbeat walking bass, and muted horns, all of which provide a 70s-like energy that feels straight from the McCartney songbook. In all, it gives “Trying” with a triumphant energy, and makes for a small celebration of getting through another day — and isn’t that worth celebrating? Give it a listen below. Photo by Emmanual Rosario

Shuffling melancholy abides on “Stay Late,” the new single by New York-by-way-of-Providence songwriter Jay Rosie, the type of track that feels rooted in sadness, yet focused on a bright, indeterminable future. Such energy comes in large part from its muted percussion and momentum-inducing acoustic strumming, endowing it with a soft rock sound reminiscent of Fleetwood Mac circa Rumours, or in more recent years, Faye Webster’s Atlanta Millionaires Club. Above this interplay glides Rosie’s vox, restrained at first yet increasingly emotive over the track’s chorus, wherein she details, in terms uncertain, pitfalls of codependency and the desire to not have to face the day’s trials on one’s own — a fitting subject matter in a time in which many are reaching out for a connection. Stream it below, and check out for Jay Rosie’s debut EP Soft but Not Weak, out now. —Connor Beckett McInerney

Mother’s Day can be a surprisingly reflective holiday — wherein we not only celebrate moms, but perhaps consider the necessary sacrifices inherent to parenthood. Songwriter Iris Lune commemorates her own late mother in new track “Note to Self,” released yesterday, in manners electronic and folky. A tactile, innovative indie pop single with elements evocative of Passion Pit, its instrumentals dramatically build to an explosive, emotive tribute, lyrically detailing grief and loss amongst punching drums and glittering synth. Such an effort serves well hidden nature of this past Sunday, and makes for a sentimental (and at times, soul stirring) listen; stream it below (and call your mom), and keep an eye out for Lune’s forthcoming LP lovelosslove dropping June 5th. Photo by Nir Aireli