When watching “Any Other Way,” the latest video by NY songwriter and multi-instrumentalist Mike Baretz, it’s difficult not to be tickled by the charm of its production (and underlying soundtrack). Digital grain add a vintage aesthetic to visuals of Baretz and friends dicking around New York, underscored by a bass-friendly, primarily minimal alternative R&B song. Shots of the artist lip synching in a bodega, jumping out from behind a tree in the park, or playing some indoor basketball lend well to the easygoing nature of the tune, a more localized lofi beat to study or relax to that highlights Baretz’s prowess as a singer and producer, while emphasizing his personal desire to "not take [himself] too seriously." Peep the video for its vibe and levity below.

New York indie outfit American Actor’s debut singles Chaos Creator / Cold Hands showcases an upstart alternative group with a penchant for gritty, growling rock and graphic (and sometimes salacious) lyricism. The release’s A Side (“Chaos Creator”) flexes frothy vocals and a sliding, siren-esque guitar, culminating in a no-holds-barred chorus with a heavy crunch, before transitioning to a distinctly chiller B-Side (“Cold Hands”), replete with lewd wordage and a self-effacing perspective. Between the band’s reliance on space-filling electric guitars and the forthcoming nature of their central vox, American Actor’s sound falls squarely between the instrumental stylings of alt giants like The National and the tongue-in-cheek lyrics of Alex Cameron, simultaneously bringing their own uniquely grimy songwriting to the forefront while never pulling punches. Listen to them below, and catch the band’s debut performance at The Broadway on January 27th. —Connor Beckett McInerney

Tall Juan’s psych-garage rock has been a consistent presence within the New York D.I.Y. scene of the last five years, but on new LP TALL JUAN PLAYS CUMBIA, the enigmatic artist exchanges guitar pedals for auxiliary percussion, opting for a more genre-specific album that retains all the charm and quirks of his existent releases. Single “Vienes y Te Vas” is a sunny cover of a cumbia staple, and while a departure from the fast and rough sound we’ve come to associate with Tall Juan, feels instantly familiar. Coupled with tongue-in-cheek video of the artist playing music on the beach and the occasional superimposed sappy imagery, and you’ve got an alt-latinx bop tucked away for warmer months. Watch it below, and catch Tall Juan at Knitting Factory tonight.

Much like its namesake, “Kaleidoscope Garden” explodes in color over the course of its dramatic, three-minute build, endowing the listener with a colorfully accessible soundscape. The latest offering by Jersey alt rock outfit WYLAND, the track finds its bearings in the blue of cinematic piano and the sauntering drawl of vocalist Ryan Sloan before a bright explosion of guitars and an exciting percussive drive. WYLAND’s penchant for melody and rock showmanship is in full force on “Kaleidoscope;” listen below and be sure to see the Garden State four piece at Baby’s All Right on November 16th. -Connor Beckett McInerney, Photo by Kelsey Ayres 

New York band of brothers Caravela lay down sunny dream-pop on their most recent record Ski, splitting the difference between emo-inspired lyricism and bright, guitar-driven jangle rock in their dynamic sound. From the infectious riffing on “Carrier,” wherein distant trips to Tokyo are hazily described against stadium-filling percussive fills, to the ghostly, love sick falsetto of album standout “Make Believe,” Frank and Stephen Graniero maintain momentum throughout the album’s ten tracks, delivering a final output perfect for fans of emo, post-punk, and the like. Stream it below, and catch them at Baby’s All Right on November 10th. —Connor Beckett McInerney

At the core of Brooklyn-based experimental pop outfit Green and Glass is a mellifluous, dulcet harp—a texture that informs the group’s output with an ethereal and sometimes mysterious quality. Played by bandleader and singer Lucia Stavros (and flanked by a myriad of collaborators from bands like Cuddle Magic and Secret Sibling), her soft, almost whispering vocals, alongside Green and Glass’s various synths, horns, and drums craft a baroque-like march on the band’s debut single “14 Hours.” The synthesis of the group’s various parts manifests an orchestral quality, one that places the group squarely between chamber and synth pop; Green and Glass are tactile in the sounds they choose to incorporate, but do so in an off-kilter manner that embeds the entire track with a hazy, dream-like quality. Stream it below, and catch them at The Footlight on November 6th. -Connor Beckett McInerney 

Situated at the crosshairs of jazz, contemporary classical, and math rock is New York post everything trio concrete concrete, who, over the course of their debut LP Drifter, establish themselves as idiosyncratic songwriters and immaculate instrumentalists. From the bright guitar interplay on opening vamp “But I Still” to dark cinematic closer “Reverie,” concrete concrete demonstrate a penchant for fusion, employing orchestral strings, electronica interludes, and lush seven-chord arpeggios in tandem—only briefly allowing vocals to take centerstage of “Hues,” the record’s central track. Their predeliction for balance in the release’s many moving parts is remarkable, and shows both the group’s impressive instrumental chops and their tactful ears as authors of one of the year’s more interesting albums—give it a listen below. -Connor Beckett McInerney 

Avante-garde electronic trio Kill Alters will take up residency at Market Hotel for the duration of October, lending their disconcerting, experimental sound to the Brooklyn venue every Thursday throughout the year’s spookiest month. Building on the momentum of their three archival releases earlier this year (Kill Alters Archives Vol. 3, Bonnie Baxter Cobweb Sensations, and Kill Alters Vol. 4), the New York noise outfit will accompanied by a slew of supporting acts, some of which include Brian Chase (of the Yeah Yeahs), Ikue Mori, Hisham A, and more, all of which will culminate with a Halloween “Mutant Massacre” performance. Attendees will also have the opportunity to give donations to Al Otro Lado, a bi-national legal services nonprofit who provide advocacy representation to deportees and other individuals in need of immigration-related civil rights services. Catch a show, support a good cause, and stream Kill Alters Archive Vol. 4 below. -Connor Beckett McInerney 

Math rock duo Gorgeous lay down a tremendous groove on new single “Shed Boys,” one that grungily stumbles forwards while never getting lost in the reeds of shifting time signatures. Propelled by an ear-worm melodic bassline (one that embeds the entire track with a sense of aggressive-yet-triumphant forward momentum), guitarist and singer Dana Lipperman bright vocals provide a cheery high end to Gorgeous’s predominantly dark guitar lines; this interplay makes the band’s ultimate output a fun, thrash-friendly mix of experimental rock and noise pop. Listen below, and catch Gorgeous at Threes Brewing on October 15th, as well as their Alphaville record release show on November 13th. -Connor Beckett McInerney, Photo by Michelle LoBianco

Bore from a hodgepodge of influences—most notably ’60s psychedelia, new wave, and vintage pop—New York’s Lake Ruth lay down a timeless bop on new single “Extended Leave.” The core backbone of the track, its analog, resonant saw lead, creates an industrial sound, one that runs counter to vocalist Allison Brice’s (The Eighteenth Day of May, The Silver Abduction) esoteric, tripped-happy lyricism. The cognitive dissonance of these two moving parts contributes to what makes “Extended Leave” such an engrossing listen, something akin to reading the work of Ram Dass in an abandoned East German factory, made all the better by the instrumental contributions of Hewson Chen (The New Lines) and percussionist Matt Schultz (Holy Fuck, Enon, SAVAK). Stream it below, and catch Lake Ruth at Elsewhere on October 18th, supporting Luna. –Connor Beckett McInerney, Photo by Sasha Maese

“It’s your birthday in heaven,” Brooklyn-based alternative pop artist Liam Benzvi croons over tactile synth arpeggios and ambient waves on forthcoming extended play Amnesia, USA. It’s a nice encapsulation of what makes Benzvi’s artistry an engrossing listen; there’s a penchant for high melodramatic songwriting that wouldn’t be out of place on the Billboard 100 with an instrumental backbone that’s somewhere between 80s synth-pop and 2010s chillwave. In the same vein, track “The Morning” maintains a Gen-X slow jam quality (and would be the perfect soundtrack for a reboot of any John Hughes film). Listen to them both below, and catch Benzvi’s EP release show on October 24th, supporting Aerial East.

NYC alternative group Wilder Maker occupy the liminal space between singer-songwriter and experimental pop, with new EP Infinite Shift / Black Wood Shrine a nice, bow-ribboned encapsulation of their penchant for ear worm songwriting and eclectic experimentation. A-side “Infinite Shift” was built around a “teenage sense of yearning,” its source material surrounding the experience of being drunk in New York City; as such, its upbeat melodic guitar arpeggios and understated percussive backbone give the track a sense of youthful forward movement, offset by the rambling, sometimes gritty vox of singer Gabriel Birnbaum. Likewise, b-side “Black Wood Shrine” lets Birnbaum’s songwriting play centerstage, his vocals modulated by guitar pedals and effects alongside a solitary electric guitar in a contemporary spin on the solo songwriter coffeehouse performance. Both tracks demonstrate Wilder Maker’s understanding of the tropes and expectations of indie pop music, while showing their desire to flout tradition and carve out a space for themselves—making them recommended listening for fans of sounds both old and new. Stream them below. -Connor Beckett McInerney