Jangle pop project Egg Cream crafts vintage bops evocative of sock hops and soda bars with a grunge-y twist. New record Can’t Stop The Cream is a smattering of concise, primarily minute-and-change songs characterized by catchy hooks, drum machines, bravado-laden vocals and synth flairs, creating music you’d expect from a parallel dimension Buddy Holly. This album will immediately be at home with fans of Christopher Owens / Girls, or those with a penchant for rockabilly seeking a more contemporary spin on the genre; give it a listen bellow, and see Egg Cream at Alphaville on January 7th alongside Paddlefish and ZZZwalk.

Self described “sad and fast” Brooklyn powerpop quintet Answering Machine live up to their own characterization on new single “Bad Luck,” embedding their most recent output with a healthy dose of shredding and brightly lachrymose lyrics. Unwashed guitar tones underscore the progressive churn, positing a melodically grungy instrumental line, made clean by the occasional explosive solo and front woman Samantha Campanile’s sunny vox; neither depressive nor wholly optimistic, “Bad Luck” is a good groove for a warm (yet overcast) afternoon, or visiting Coney Island during the offseason. Listen below, and see Answering Machine at the Gutter Bar on January 9th, supporting Math the Band.

Since their relocation to NYC, Portland-bred indietronica outfit Gold Casio has been persistently tearing it up at venues throughout Manhattan and Brooklyn, and while the band has been quietly at work at their next forthcoming effort, their performances are something to behold. Witnessing tracks from their most recent EP SINNERS at Berlin this past September, it’s hard not to be impressed by the band’s ability to render the breadth of their nudisco in real time, from the breakbeat four-on-the-floor of “Make You Mine” to the start-stop stutter of “Love vs Logic.” Perfect for fans of Chromeo (or their Pacific Northwest compatriots Yacht), the band’s true magic can only be captured in a live setting; as such, you should stream them below before catching them at Mercury Lounge on New Year’s Eve, supporting Pink Flamingo Rhythm Revue and French Horn Rebellion, but only if you want to start the decade in an undisputedly funky fashion —Connor Beckett McInerney

Grand Kid’s brand of groove-focused roots rock is equally at home in the city as it is in the Upstate countryside, an indie romp with all the trappings of good Americana, wrapped up in a Fender-friendly package. Their debut EP We’ll Be, recorded at New Paltz’s Welterweight Sound Studio, has all the energy of a live performance, bolstered by the occasional dramatic instrumental breakdowns; three quarters through driving introductory track “They’ll Be,” Grand Kid engages in a chromatic descent, just ahead of exploding into a lush chorus before seamlessly transitioning into a falsetto-laden last minute bridge. While just two tracks, We’ll Be demonstrates the Brooklyn trio’s willingness to engage in experimental song structures while maintaining all the fittings of classic (yet modern) instrumentation. Listen below, and catch Grand Kid at C’mon Everybody on January 3rd, opening for Gorgeous and Leafing. —Connor Beckett McInerney

The term “jam band” can be a divisive term, evoking images of meandering guitar work and instrumentation pandering to a heady listener base, and while NJ-based outfit Garcia Peoples incorporates psych rock as a founding pillar of their music, their new LP One Step Behind embraces a fuller sound. Opener and title track “One Step Behind” begins on a jazz fusion note, gradually segueing into an accessible, more indie influenced groove; while there’s no shortage of noodling guitar solos, the band’s eager incorporation of garage and prog rock could turn even the most reticent of listeners into full fledged fans. Stream it below to hear for yourself, and catch Garcia Peoples at Le Poisson Rouge on December 30th, opening for Ryley Walker.

Long Island-based songwriter Annie Trezza dwells on inertia throughout new single “Drinking Beneath a Pear Tree,” contemplating the merits of productivity (or lack thereof), quitting drinking, and the unwritten future. The track is an evenhanded tune that seeks not to focus too much on the positive or negative facets of remaining in place, but rather transmit all passing thoughts to the listener lackadaisically through a rolling vocal melody, acoustic arpeggios, and the occasional electric guitar accents. It’s recommended listening for those who find themselves spacing out during these short December days, and for those seeking centering folk that sounds as nostalgic as it is of-the-times; stream it below, and catch Trezza at Mercury Lounge on December 27th.

Ireland-by-way-of-Brooklyn composer Alex Dowling’s forthcoming release Reality Rounds promises an esoteric, experimental affair, an LP that seeks to incorporate faith and futurism into a disconcerting effort. Lead single “King of Thumbs” sounds off as a distress signal from a lonely A.I., replete with autotuned vox, tactile accents, and spacey analogue synths. Dowling conceived Rounds as a hypothetical “future ritual of Dataism, a new religion that worships the eternal flow of data,” employing themes not unfamiliar to fans of Frank Herbert and Phillip K. Dick in cinematic fashion; his music dips deep into the uncanny valley, finding a place where the human voice and computer-produced tones intersect, exacerbating this uncomfortability to deliver visceral, confrontational electronic music. It’s a bold take on the Singularity, a vision that will be expanded upon when the record drops January 31st; stream “King of Thumbs” below, and catch Alex Dowling at Shapeshifter on January 29th.—Photo by Emma O’Halloran

I’m On Your Side is the latest LP by Sonny Santos’s project The Shivers, and it’s a muted, atmospheric record; most of the album’s nine tracks saunter along, accompanied by minimalist synths, mild electric guitars, and an understated vocal performance. It gives the entirety of the album an introspective quality, spotlighting Santos’ melancholic lyrics and hushed vox, while providing the necessary instrumental backbone to keep things engaging. It’s perfect for listeners seeking something quiet, but never sleepy; stream it below, and catch The Shivers at the Sultan Room on January 9th. 

Brooklyn-based performance artist and musician Wsabi Fox may have dropped the video for “Flamingo” a few months ago, but it’s lurid, captivating visuals have a way of remaining with the viewer long far longer than its five minute run time. A dance between Ruben Sindo Acosta and Wsabi Fox bandleader Jennae Santos, dramatically captured amidst flashing lights and alternating day-night shots, lends a compelling aesthetic to the band’s stumbling, synth-friendly prog rock; it’s final image of Santos, lying motionless on the floor, as Acosta is seemingly recedes into the darkness, leaves onlookers with a haunting mise en scene. It’s a taste of the type of poignant performance Wsabi Fox will bring to C’mon Everybody on January 23rd — watch it below. —Connor Beckett McInerney

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.