“Forever means nothing, it’s empty most of the time,” may seem like a fatalistic outlook in the matters of the heart, but when crooned by 16 year old songwriter Emmrose, it resonates as prescient statement by a young artist wise beyond her years. One of the passing observations from her new single “Take Me With You,” it’s an encapsulation of the evenhanded philosophy this alternative pop performer brings to the table, an acceptance of the various dramatic decisions we make to preserve love, especially as we fall under the “intoxicating draw of a new relationship,” while recognizing that preserving such partnerships are often an uphill battle. Such an outlook distinguishes Emmrose from her peers as an individual who wears her heart on her sleeve, but does so as a hopeful romantic — such lyricism when paired with the track’s mellow keys and slow, oftentimes dramatic build make for a captivating listen, one that splits the difference between such contemporaries as Lana Del Ray and Clairo. Stream our premiere of the track below, and see Emmrose at The Bitter End on March 15th. Photo by Shervin Lainez

A healthy dose of wide-eyed Kubrick stares, scattered hand-drawn animatics, and sunburnt, borderline cacophonous guitars characterize “Ordinary Woes,” the new video by NYC indie performer Luke Rathborne, evoking both the unpleasantry of a psilocybin mushroom trip and the quotidian struggles of being a working artist in the city. While the former of these two experiences was a direct inspiration for Rathbrone’s forthcoming LP Again, the latter is best communicated through the song itself — freeform word associations with combined with a wailing chorus against a breakbeat fuzz-laden instrumental backing places his workmanship somewhere between the scuzzy lofi surf punk of outfits like Wavves, with a distinctive drawling vocal performance that’s reminiscent of 90s slacker rock. Give it a watch and listen below, and keep an eye out for his new LP dropping this June.

It’s hard not to have fun when listening to Hounds, the debut EP by Brooklyn soft grunge four piece Tetchy. This isn’t to say that the subject matter present on the release’s five tracks are trite or nonserious — quite the opposite, in fact, given that its introduction details the pangs of human intimacy and the pervasive rise of right wing politics in the United States (“Emotional Labor”and “Fascist”). Rather, its enjoyable quality is derived from the band’s insight to contemporary issues, and their ability to make inane universal bullshit tolerable through exciting, guitar-driven grooves. Few bands can render feelings of inertia as triumphant (“The Fool”), or the celebratory defiance of laughing at the universe’s indifference towards pain (“The World”) in a way that’s as cathartic as it is listenable, imbued with an indie rock sound that’s accessibly rough-around-the-edges, an equal mix of grit and sweetness. Give it a listen below, and catchy Tetchy at Our Wicked Lady on March 5th for their EP release show.

It’s easy to lose oneself in the forlorn music of folk songwriter Dan Miraldi — his minimalist guitar arpeggios, soothing baritone register, and penchant for reverb-laden backing vocals create a listening experience that’s as self-reflective as his lyricism. Latest offering “Just Thought You Should Know” is Miraldi at his most accessibly plainspoken, offering honeyed melodies and a simple-yet-thoughtful approach to the singer-songwriter genre that eschews the extraneous: just a man, a guitar, and a story to tell. Such a barebones approach combined with his ability to render sorrow sweetly makes his music perfect for fans of Jason Isbell or James Taylor — give it a stream below if you’re in need of some meditative self-care, and keep an eye out for his forthcoming EP Mood Music For Introverts out March 6th.

It’s rare that a record is able to capture a perfect balance of forward momentum and somber reflection, yet this is precisely what New York avant-pop ensemble Green and Glass have accomplished on their debut full length. Such conflicting feelings are likely a product of the band’s methodical instrumentation, the joining of parts from the old world (harps, horns, and drums) and the new (keys and electric bass), which as set pieces for bandleader Lucia Stavros’ show-stealing, often mysterious lyricism, creates an intergenerational atmosphere — chamber pop that feels as modern as it does baroque. This tone is set early in the record on “Green and Glass” and “14 Hours,” whose march-like tempos, somber brass lines and cool synths serve as distinctive introductory fanfares; while the song’s formats may seem familiar at first, the script is immediately upended by the band’s diverse instrumental offerings. This energy continues throughout standout track “Sand,” where the unison of harp and electric guitar against a stuttering percussive line paves the way for an ethereal overture that perfectly blends woodwind and midi leads. In all, Green and Glass delights and surprises at every turn, a lush, experimental yet accessible record that will feel immediately at home with fans of San Fermin or Hundred Waters — stream our premiere below, and catch the band at Threes Brewing on March 4th for their record release show. Photo by Maura McGee

Describing the opening breakdown of “It Isn’t Clean” as earth-shattering is an understatement — in the context of the incubus imagery and foreboding, drop-tuning guitars that characterize this five minute night ride, it’s better described as a hell opening incantation. The debut single by occult-embracing, 70s metal-inspired quartet Castle Rat well demonstrates the bands proclivity towards the old masters, drawing equal parts from the black magic and lyrical subject matters of Sabbath with an eye for the performative panache of KISS. Frontwoman Riley “The Rat Queen” Pinkerton embeds a healthy level of glam into her mic-ripping performance, backed by instrumentation that remains consistently doom-y, yet progressive enough to never get bogged down in sludge. Recommended for fans of hair metal or Ari Aster’s Hereditary, stream our premiere of the track below, and see Castle Rat tonight at Baby’s All Right, supporting Stonefield. Photo by Jessica Gurewitz

Seán Barna is an enigmatic everyman. For all the various idiosyncratic struggles he processes on new single “Eastern Junk Dancing,” the experiences of “scraping together whatever money you can to galavant up and down the last coast in a tour van,” the mental gymnastics of re-interpreting the steely resolve of Margaret Thatcher as a way to merely exist as a queer person, they’re delightfully idiosyncratic, yet immediately resonate with anyone who’s had to hustle for the dream or persevere despite feelings of inadqueacy or non-normalcy. These quotidian trials as narrative, which Barna chronicles in melancholy-yet-hopeful voice, one that evokes equal parts Destroyer and David Bowie, against a glammy, acoustic vamp, makes for a joyful bop; it’s a celebration of the radical act of staying alive, which after all, is something worth commemorating, if even for a few fleeting hours on Houston Street. Listen to it below if you’re feeling doubtful of your own starpower to remind yourself that, despite it all, you’re still here. —Connor Beckett McInerney

White knuckle post-punk barrels down the highway on Support*, the standout 2019 effort by New York trio FREE $$$. Armed to the teeth with guitars and marked by an ear for infectious danceable grooves, the band’s first full length evokes the spirit of the Talking Heads infused with the larger-than-life bravado of early 70s experimental rock, this latter facet a product of frontman Ben Petrisor’s frothy vocal performance. Petrsior’s pipes are immediately evocative of several similarly guttural singers who precede FREE $$$ (Captain Beefheart and Joe Cocker are among the first to come to mind), the centerpiece of the outfit’s drama that puts their sound over the edge; it embeds Support* with a necessary energy that in large part makes the record feel just on cusp of spinning out of control, vocals that, alongside breakbeat percussive rides and driving guitars, exhilarate and enthrall even the passive listener. Stream it below (preferably while already seated), and catch the band at Our Wicked Lady on February 28th for the Winter Madness semi-finals.

At every junction of F!GHT N!GHT!, the 2018 offering by insect-enthusiast no-wave trio Bug Fight, the band embeds a deep sense of uncomfortable, mild dread; their wandering tempos, electric banjos, occasional gang vocals and abstruse lyricism make for a sordid listening, a mix of experimental bluegrass with dark noise rock that would make well the score for a stage adaption of any H.P. Lovecraft story. It’s these increasingly off-kilter elements that also make this EP the engaging effort that it is, one that’s a cerebral mix of narrative forays into the shared nature of men and cockroaches (“WORM”) and dynamic, drawling explosions (“The Lawnman”). Coupled with an engrossing mythos (the band’s members are identified as Old Bug, Papa Roach, and Star Bug) and esoteric liner notes and you’ve got an entrancing, beautifully strange final product. Imbibe it below, and catch Bug Fight at Planet X on Friday, February 28th. —Connor Beckett McInerney

If you relish listening to bands who are “always fast [but] hardly accurate,” in their own words, then the freewheeling punk outfit Flasyd may be your cup of tea. Their self-titled EP loses no speed over the course of three short-and-sweet tracks, all characterized by a healthy amount of bright fuzz, occasionally indiscernible lyrics, and daring percussive theatrics. Highlight minute and change “Johnny” is nothing short of a sonic defibrillation, marked by punchy drums and a scathing hardcore lyrical performance — stream it below ahead of Flasyd’s February 26th performance at Venus in Furs.

There are some days when it’s difficult to leave the house — a sentiment New York synth pop duo Boyish well understands. Their most recent bop “anxious butterball” details antisocial feelings in lurid detail, the desire to “[stand] in the corner at the back of the room,” the occasionally overwhelming nature of simple conversation, all communicated through muted vox over textured echoing electronic leads and a meandering beat. Leaving room to incorporate hazy guitar chords during the track’s more explosive chorus (while keeping things forever chill), the group captures the dissociative nature of attending a function when you’d rather be at home, of knowing a single person at the party who can help you feel grounded when just existing is difficult, rendered in an appropriately dream-like fashion. Listen below, and catch Boyish at C’mon Everybody on February 27th, presented by Indie Witches.

Newly (re)formed jangle-pop four piece Forever Honey (formerly known as Queue) evoke the late 80s / early 90s zeitgeist on “Christian,” offering soft bops, sweet licks, and playful atmosphere in their debut single. The song (and accompanying visuals) draw heavily from the “clever, no nonsense spirit of brit pop,” in turn channeling this energy into a syncopated, upbeat track, lushly orchestrated by interweaving, dreamy guitar lines. Its John Hughes-inspired video, likewise, adds to this aesthetic; the track’s poppy chorus chorus (“Christian, well you warm my hands, but will you hold my hair back?”) soundtracks images of the band playing a high school prom, all in all coloring the release with a vibrant, youthful tone, the sort of production that makes viewers and listeners feel 17 once more (but without the associated teen angst, thankfully). Watch it below ahead of Forever Honey’s next show at Alphaville on March 11th. —Connor Beckett McInerney