The truth is, you want to see Promiseland for the live show. For the tear-yourself-apart, no-limits performance of Australian-born vocalist Johann Rashid. The industrial-techno instrumentals sound like they could come from a secret warehouse rave on the edge of the city, but Promiseland’s vocals are straight from the realm of punk. Collectively, it makes for an intense, nightmarish experience, which coupled with the performance aspect, becomes simply jarring – in a good way. You can see Promiseland next at Mercury Lounge on May 24, opening for Rey Pila alongside The Muckers. – Cameron Carr

On her fall 2017 EP growing pains, Clara Joy makes true productions of seemingly lo-fi bedroom recordings. “never tell” undemandingly strums through with nonchalant tape recorder charm (or maybe that’s GarageBand, who knows? What’s it matter anyway?) but a twist of a knob warps the recording slowly in and out of allignment creating a gentle sweeping tone. Likewise, the following “blow a kiss” turns bedroom minimalism into miniature pop with intertwining vocal lines and the addition of a glockenspiel type keyboard melody. Clara Joy’s music is full of these moments—little touches that make the small things important. That sense of intimacy that can make music so powerful. On May 6, see Clara Joy perform in person at The Platform as part of a teaser screening party for indie film ‘Multiverse.’ Give a listen to growing pains below. – Cameron Carr

Beginning with the stream of bubbling, delayed guitar that opens “Don’t Look, Don’t Stare” it’s immediately clear that Oh Malô has a taste for ambience. Complete with generously textural guitar work—ranging from endlessly looped arpeggios to atmospheric swells—and an airy vocal delivery, the band’s follow-up to its 2016 debut LP aims for expansive, spacious compositions. At the same time, Oh Malô plays with a bright and, at times, almost lilting feel that keeps the group’s post-rock tendencies in a clear frame of reference. Fans of other experimental-leaning alt-rock acts will feel right at home with “Young Orchard” as vocal harmonies and syncopated drums abound. “Young Orchard” is out May 4, but you can stream it in advance of its release below. Don’t miss the band’s release party at Elsewhere on May 8th. – Cameron Carr

Forth Wanderers has long been a band with well-earned cred in DIY circles. The Montclair, New Jersey group’s to the point songwriting and classic indie rock arrangements aren’t a hard sell, but the band’s debut LP with Sub Pop Records finetunes the sound with great success. The self-titled release poises the group for bigger things. It’s self-aware, never indulgent, and full of earnest energy. On May 5, a week after the album’s release, Forth Wanderers will headline Market Hotel with a stellar lineup featuring Ó (fka Eskimeaux) and Trace Mountains. – Cameron Carr

The similarities between ‘70s psychedelia and the synthesizer and effects-heavy sounds of modern alternative music aren’t hard to find, but it’s a connection we rarely note. Maybird finds itself in the middle of that intersection. While by no means following in the direct veins of those rock forebearers, the manipulated guitars and electronics found throughout the band’s music keep an eye on psychedelics as inspiration far more than most alt-pop peers. You can hear it in the ripped fuzz guitar riffs on “Turning Into Water” or the background organ of “To The Stars.” Live, Maybird captures its sound by frequently bringing along pedal steel guitar, saxophone, and even incorporating an unusual overhanded guitar playing technique. You can catch the band live on May 3 at Rough Trade Records when the group opens for Mt. Joy. ­– Cameron Carr

At first glance, “Tempelhof,” the first single from the upcoming solo release by Zula’s Nate Terepka, could fit snuggly into the world of Beatles-inspired indie pop. An easy voice delivers a lazy melody over charming piano, while a cymbals-free drum beat skips along. But, as with Terepka’s work in Zula, there’s more to the track than it seems. The already syncopated beat nonchalantly meanders into irregular time signatures as the chords dance into bright but unexpected progressions. The mastery of Terepka’s songwriting is that “Tempelhof” doesn’t present itself as unusual or overly complex. It’s a cozy, welcoming track fit to a breezy summer day without playing into the common tropes of pop music. Listen to “Tempelhof” below and keep an eye out for Terepka’s Sunlight Farm EP, due May 25th from Fox Food Records. – Cameron Carr

Spindly and tender, Peaer approaches often over-cooked genres with tact. Led by Peter Katz, the group plays with understated complexity. On Peaer’s most recent release, 2016’s self-titled full-length, the math rock rhythmic variation and generous swings in intensity become discrete and accessible thanks to the subtlety of the performances. It’s that care for dynamics and precision that makes Peaer such a persuasive live act. Katz sings with a modest delivery more in line with ‘90s slacker rock than his emo-tinged guitar work would lead one to expect. You can catch the band next headlining Trans-Pecos on April 29th alongside Sinai Vessel and Jelani Sei. – Cameron Carr

Hop on the wave, the big buoyant wave of indie rock that is Robot Princess. As much as the band dwells into scrappy punk, it never hesitates to flood its songs with keytar hooks, sugary backing vocals, and bounce along choruses. On a handful of singles from the band’s new album APOCALYPSE + BULLSHIT, out April 28th on Jam Eater Records, the penchant for unabashedly eager garage rock continues uninhibited. You can feel the energy in person that night when Robot Princess headlines a release show at Secret Project Robot. In the meantime, listen to single "Wizards + Mystics" below. – Cameron Carr

There’s a twangy, almost drawling tone to Dan Bateman’s voice when he sings in Frog. Bateman and bandmate Tom White have a folky hue to their music, as if it came from the American heartland rather than the densely populated streets of New York where the two reside. On paper though, that influence can be a little tricky to point out. Frog plays almost fuzzy indie rock with dashes of keyboard chords and glockenspiel melodies filling in the warm tingle of guitar. Still, the duo’s tender dynamics capture the personal feel of folk music and suit the band to intimate performances. You can see Frog live on April 28th at Caffeine Underground, a fittingly cozy setting for the group, alongside Demure and solo performances from Told Slant and Bedbug. – Cameron Carr

Imagine dipping Black Sabbath into a steaming pot of psychedelia and you’re pretty close to the sound of Sun Voyager. On 2015’s Lazy Daze – EP the band made use of heavy metal style riffs to wade through thick servings of reverb and distortion to occasionally shoegazey effect. Their debut full-length, Seismic Vibes, looks ready to amp up the psychedelics and deliver an even denser wash of sound and near droning rhythms. With a timely 4-20 release, the trio seems to have no problem with the psych-rock association. You can celebrate with the band when Sun Voyager plays a release show that night at Baby’s All Right, supported by Stuyedeyed. – Cameron Carr

There is a delicate subtlety to Foxanne’s songwriting that sets the indie-folk trio’s music apart from peers. While the light guitar work and emphasis on vocal melodies comes from a folk tradition, the minimal and airy arrangements that simmer behind Chelsea Gohd’s voice fall more in line with acts like Daughter or Julien Baker. The band is preparing to release its debut studio EP halfling on April 13th and the leading singles pair gentle finger-picking with rolling floor toms that leave room for Gohd’s voice to shine in front. You can catch Foxanne live when the band plays Rose Gold the night of the release along with Andy Cook, who has his own EP out that day. – Cameron Carr

The first instinct when hearing Bambara is to label it as a noise-rock outfit, but pretty soon there comes a hesitation. The New York transplants, originally from Georgia, bring a sort of Western rhythm into the affair. The howling guitars start sounding like an ominous wind ripping across the new frontier, the groaning vocals become an impassioned southern drawl. That may be overstating certain influences, but it is true that the core of Bambara’s sound is a mutation of guitar music, manifesting in near-forgotten influences (desert rock?) and otherworldly contortions of guitar noise. That remains just as true on the band’s third album, Shadow on Everything, released last week. It’s a dark, effects-heavy piece of post-punk that draws apt comparisons to the deep, tense and troubled music of Nick Cave & The Bad Seeds. On April 13th, a week after that release, Bambara will celebrate the album live performing with added accompaniment from strings and saxophone at ALPHAVILLE. Listen to Shadow on Everything below. – Cameron Carr