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. 

Another month means another iteration of National Sawdust’s The Revolution. Closing out the year (as well as the decade), this Thursday’s Vol. 45 continues the series’ longstanding effort to spotlight local musicians across the genre spectrum and will feature performances by the artists Childish Japes, Maitri, and Michael Wingate.

While The Revolution’s strengths have always laid in the diversity of sound brought out to Brooklyn each month, there’s a consistent groove that permeates the sounds of this week’s three performers. For example, Brooklyn nu-funk duo Maitri’s electro-heavy, polyrhythmic jams, are matched in vibe by the soulful indie rock of Childish Japes, both inhabiting similar spaces albeit producing their tunes via synthetic keys or an electric guitar (respectively).

Likewise, Michael Wingate will contribute to the evening’s atmosphere with his own brand of rhythm and blues. Cop your tickets here and get your dancing shoes ready for Thursday.

Brooklyn five piece Pale Lights have been a quiet force in the New York music scene over the last decade; following the reissue of their sophomore LP The Stars Seemed Bright earlier in 2019, the band also contributed the joyful twee romp “Golden Times” to Fadeawayradiate Record’s sunshine/psychpop comp F.A.R. OUT last month. A sunny, 60s-influenced tune, “Golden Times” immediately evokes nostalgia in both its lyrics and sound, carrying an energy somewhere between a television variety show and contemporary jangle pop outfits. Underscored by melodic guitar melodies, relaxed baritone vocals, and a swirling organ backbone, the track shows that Pale Lights’ golden times are not foregone, but perhaps still to come. Stream it below, and catch Pale Lights at Union Pool on December 14th, playing in Slumberland Records 30th Anniversary party. —Connor Beckett McInerney

Brooklyn psych rock outfit Early Spring’s music is an impressionistic, watercolored soundscape, replete with hazy vocals and bright, verdant guitar work. Their latest split single hang around + hurt me bad disorients from the start, inviting the listener to let the band’s screaming riffs wash over them; despite the apparent intensity of the group’s gain heavy instruments, their coupling with the Early Spring’s meandering, echoing vox induces a strange calm, a sort-of meditative calm in the eye of a tropical storm. Tune in below, and catch Early Spring at the Kingsland on December 12th, supporting Squeegee Men.

Offset by Fincheresque lighting and massive Phil Collins’ alt-rock instrumental hits, new Nicotine Dolls video “Burning a Good Thing” ruminates on the wandering thoughts that can ruin an otherwise healthy relationship: namely, the desire to be with someone else. In the eyes of of singer-songwriter Sam Cieri, such thoughts as contemplations (and perhaps unintended actions) have a tendency to undo otherwise stable relationships and, in so many words, “burn a good thing.” Against this metaphorical fire, the track’s visuals feature actual flames, not to mention a manifestation of the psyche in the form of physical blackmail; exacerbating the tension of the music video are Nicotine Doll’s massive percussive hits and muted, tactile string work, building to stadium-filling riffs evocative of 80s guitar pop. It’s a dramatic ride from start to finish — watch it below.

New York alternative-R&B crooner Harrison Lipton returns with his latest slow jam, “2 Good 4 Me,” a song billed as the “world’s softest diss track.” Inspired by a less-than-positive public critique of Lipton’s 2018 single “Pool," Lipton, rather than going on the offensive, finds himself cooly turning inwards, examining facets of his persona, his personal journey with queerness, and his life as an artist in NYC. While the song’s primary narrative is rife with self-doubt and anger, its surface level vibe is as nonchalant as ever; easygoing 80s keyboards, Lipton’s distant vocal performance, and an Act 5 surprise sax solo layed down by Zach Berro exude radiant coolness. This combination of components both introspective and confident make “2 Good 4 Me” a resonating effort, a relatable tune for anyone who’s struggled to keep their composure in a world of constant criticism. Listen below, and catch Harrison Lipton at Mercury Lounge on December 12th. —Connor Beckett McInerney

It’s easy to imagine yourself in a verdant, lonely locale when listening to the music of East Village-based songwriter Trafton, and new single “Gone” is his coldest, most distant destination yet. Damper-pedaled pianos and an at times whispering falsetto endow this recent offering with visions of wintery woods, a more key-friendly take on the isolation familiar to fans of Bon Iver or Thoreau’s Walden. Within this distance established between Trafton and the listener, however, is a separate, more intrinsic loneliness, the product of a separation between the artist and their now-gone ex-love, as well as a desire to return; Trafton’s parting words implore the individual to “come tell me I’m wrong, and please don’t be gone.” It’s a haunting track that will resonate with fans of folk and good songwriting during this cold December— listen below. —Connor Beckett McInerney

Part of living in New York is an unfortunately normalized culture of exhaustion, both physical and emotional. Few cities can boast a guide of the Best/Worst places to Cry in Public; such cultural phenomena are likely a product of rising rents, a drive by management for greater productivity over the course of the 40 (or 50, or 60) hour work week, and failing infrastructure (just a guess). And despite the bullshit, we’re all still here, a sentiment at the core of Noah Chenfeld’s new single “I Love Being Tired.” Lamenting the necessity to save money, the crowded nature of the subway, and the absolutely brutal winters, Chenfeld finds resolve on the song’s chorus, aptly crooning “I love being tired” over vintage, Zombies-esque keys sand syncopated Fender chords. Chenfeld’s lyrics are both a passive acceptance of the hurried lifestyle inherent to city living and a tongue-in-cheek critique of the rat race we’re all active participants in; listen to it this weekend when someone at a party asks you “how are you doing” and you politely abstain from telling them how you really feel, and catch Noah Chenfeld at Pianos on December 6th. —Connor Beckett McInerney

Uncertainty permeates “Certain Thoughts,” the latest single by NYC indie pop trio Deep Sea Peach Tree, interspersed among jangling, treble-friendly guitars and an unperturbed vocal performance by frontman Kristof Denis. Amidst lyrics detailing how “some things never change,” Deap Sea Peach Tree play on, their bright, upbeat sound counteracting the song’s meandering narrative. In the same sense that Denis’s lyricism seems to accept the cards as they fall, that despite how he may “look for answers, [they] never appear,” the band seems happy to play on, embedding “Certain Thoughts” with a certain sunny optimism and a compartmentalized worldview; listen below, and catch Deep Sea Peach Tree at Our Wicked Lady on December 7th, alongside QWAM, the Down & Outs, and Lackadazies, presented by Bloodless Management. —Connor Beckett McInerney

Post-punk outfit FLEXÏ’s debut effort EP I is a scorching affair, marked by aggressive deadpan vocal performances, acid-washed guitars, and a seemingly unstoppable momentum. Starting on a stuttering, syncopated invocation of the trio’s proclivity for asynchronous instrumental lines and a screaming vox (“Post Synapse”) and concluding with tactile, nearly spoken word trudge on closer “No Sense in Reason,” FLEXÏ explore a range of noise throughout the extended play’s six tracks, never letting their sound get stale. Listen below, and catch them on December 4th at Our Wicked Lady, supporting BRNDA, Fat Heaven, and Dougie Poole. Photo by Joe Saturday (via Instagram)

Brooklyn post-punk trio Patio’s debut LP Essentials is an engaging, introspective, and darkly humorous listen. From the sinister bass and spoken-word vocals of opener “Split,” to the self-effacing lyrics of “Boy Scout,” and concluding with an evenhanded examination of the present (and future) on “Legacy Continued,” Patio demonstrate a penchant for idiosyncratic songwriting and energetic, guitar-driven instrumentality. The band’s ability to reconcile the often-discordant nature of their playing with the intensely honest (but hopefully optimistic) lyricism makes Essentials a good album for those craving a down-to-earth, no bullshit rock record. Listen below, and see Patio live on December 13th at Le Poisson Rouge alongside Pile and Gabby’s World.