New York-based polymath KYOSi describes the process of crafting her new extended play in terms of resonant beauty. “The question I ask myself is ‘did I make something I believe to be beautiful?’ and if the answer is yes, then I’ve reached success,” she says. As such, the recently released Negative Space contains a smattering of diverse genre influences—equal parts jazz, EDM, and pop— all congealing to create something as aesthetically pleasing as it is avant-garde. The EP’s title track is a standout example of this mellifluously-focused philosophy, with KYOSi’s vocals drifting in over reverb-laden seventh chords, all driven forward by house-inspired percussive breaks. It’s an iconoclastic release that on paper shouldn’t work, but with each separate piece in its right place, guided by KYOSi’s acute ear, it delivers a lush, experimental listening experience. Stream it below. -Connor Beckett McInerney

What America needs on July 4th—or at the very least, what it deserves in our current political climate of intense partisan divide— is honest-to-God punk music that will shake us from the collective drunken stupor of holiday shenanigans. Dryclean is here to deliver this necessary intervention on their just-released Tired & Wired EP. Delivering mid-paced melodic grooves reminiscent of ’90s California garage rock, the New York trio’s performance gets to the core of many collective frustrations, be it our relationship with technology on “Technodrome,” or the general listlessness of existence on “I Don’t Know.” While not an overtly confrontational EP, it’s a sharp reminder of the dehumanizing effects inherent to the 9-5 grind, and as such, an energetic act of resistance against the powers that be. Rip it below, and catch them at Sunnyvale on July 10th, supporting I Am The Polish Army. –Connor Beckett McInerney

Animistic metaphors play center stage on “Olive Mountain,” the new single by Brooklyn psych-rock veterans Futurist. Interspersed among syncopated sunny guitar lines and trance inducing background vox, frontman Curtis Peel waxes on about “fountainhead’s through the noose,” “diamond science,” and “separating blood from a stone.” Futurist’s lyrics wouldn’t be out of place in a tarot deck, but they’re not entirely detached from reality; at the core of “Olive Mountain” is a clear yearning for closure, likely of a romantic nature. As such, the band’s ability to bridge the gap between the tangible and the transcendental endows their music with a unique magical realism, and promises more esoteric imagery on their forthcoming sophomore effort, Omens, out September 27th. Dig it below. -Connor Beckett McInerney, Photo by Shervin Lainez

Queens-based songwriter Kolb stepped not-so-quietly onto the scene last year with debut release Making Moves, an audaciously experimental effort that blends Bowie-esque vocal delivery with delightfully eclectic (and occasionally campy) instrumentation. With no shortage of out-of-tune toy instruments, unexpected cello lines, and bird calls, Kolb basks in the unexpected and outrageous, his voice endowed by a musical theater quality that, when situated among acoustic guitars and shifting time signatures, creates a vivacious, incredibly fun energy. While Kolb has yet to release a follow-up, the project’s glam-folk vision is unique in the New York scene; stream it below, and catch him at Mercury Lounge on July 6th, supporting Flying Fish Cove. -Connor Beckett McInerney

New York mutli-disciplinary artist Nathan Bajar channels R&B by-way-of slacker rock on new jam “Silver Surfer,” crafting something that relishes in both its sugary sweet melodies as well as the cracks and hisses of DIY production. Teaming up with fellow NYC musician Mel, who lays down a kicked-back molasses-like flow on the track’s bridge, Bajar lyrically describes an interstellar escape from the bustling Big City, finding inner peace through kitshfully detuned piano chords and day-dream fantasies of space travel, spoken into existence. And while only the ultra-wealthy among us may be able to afford recreational space travel (yet), the earnest desire for escapism at the core of Nathan Bajar’s provides a window for any listener to briefly (and metaphorically) touch the stars—or at the very least, provides a key addition to your summer beach playlist. Find yourself a shady spot before you stream it below, and catch Nathan Bajar at H0L0 on July 8th. -Connor Beckett McInerney

Brooklyn’s Operator Music Band pull no punches on new single “Slim Spin,” launching right into a three minute vamp of spring clock percussion, synth jazz chord progressions, and start-stop guitar solos of no wave origins. It’s hard to render the wide-breadth of influences OMB have channeled into this premiere track from their forthcoming album Duo Duo, but the New York quartet has an ear for understanding what distinct genre influences blend mellifluously. This is best demonstrated by the song’s second half, wherein over a repeated, hypnotic vocal line by singer and multi-instrumentalist Dara Hirsch, the group shifts keys seamlessly (and sometimes chromatically), building tension that coalesces in a melodic explosion of wurlitzer synths and sunburnt Fender riffs. It’s but a snippet of Operator Music Band’s penchant for the experimental, and it bodes well for the rest of the outfit’s sophomore record, out September 20th. Stream it below. -Connor Beckett McInerney

Bi-coastal electro duo Collapsing Scenery attack U.S imperialism aggressively (and grittily) on new single “New World Borders,” channelling longstanding critiques of American foreign policy into a genre-blending political takedown. Enlisting the help of Israeli-Palestinian hip-hop group DAM (whose verses in Arabic and English fit perfectly with the track’s specific criticism of Washington’s ineffectiveness in the Middle East), “New World Borders” is bolstered by a breathless, palpably exacerbated vocal performance over industrial instrumentation. Given that Collapsing Scenery was formed “under a pall of paranoia and disgust,” this particularly acerbic track is but one of the full-throttle condemnations off their recently dropped debut Stress Positions, out now via Metropolitan Indian. Stream it below. –Connor Beckett McInerney

N.A.O Quelly knows how to use his youth to his advantage, with new single “Mo Betta” a standout example of how the Bedstuy rapper fashions raucous energy and unconventional production into an experimental label debut. A signee of Joey Bada$$’s newly-minted Badmind imprint, “Mo Betta” features distorted, drill 808s coupled with ghostly discordant synth, all calling cards of track producer (and previous Bada$$ collaborator) Powers Pleasant. It provides the perfect venue for Quelly’s nasal spitfire flow, where the emcee’s speed and lyrical persona play against the negative space of Pleasant’s production. While lyrically “Mo Betta” isn’t the most compelling production (much of it focuses on Quelly’s recent success and his ability to get his bread up), it’s a promising introduction to a (at the time of writing) relatively unknown artist, and nearly guarantees a barn burning performance at his live debut on August 14th at Knitting Factory. Give a listen below. -Connor Beckett McInerney

Much like the ebb and flow of the ocean informing its seemingly René Margritte-inspired album artwork, single “After You” gently washes over the listener, soaking them in the vintage atmospheric sound of New York synth pop outfit Plastic Picnic. The first single from their forthcoming sophomore EP Vistalite, “After You” makes no effort to deny its ’80s inspiration, but channels the timeless theme of fearing change into its delicate vocal line. Simultaneously, it never barrages you with a nostalgic sound, applying a modern perspective by scaling back instrumentation carefully over the course of four minutes, presenting a sonic output that is well-tempered and rich, but never overwhelming. It promises a dreamy performance at Market Hotel on July 18th for the band’s record release show, supported by Toldeo, Hypoluxo, and Pecas. Stream it below. -Connor Beckett McInerney

There’s no shortage of ’80s nostalgia present in indie subgenera these days, but few approach the level of full-camp seen in “The Chase,” the newest video by New York alternative pop purveyors Don’t Believe in Ghosts. Betwixt the haze of fog machines, gaussian LED lights, and sequin miniskirts, “The Chase” is a phantasmagoria of cultural ephemera, one that, against the plucky, guitar friendly groove of the band’s music, reads as a celebration of the Reagan years’ frequently criticized/glorified aesthetic. That, paired with frontman Steven Nathan’s bombastic vocal performance (and roller-skate choreography) defines the track as a ridiculous, but fun, showcase of the Don’t Believe in Ghost’s iconoclastic pop vision. Stream it below, perhaps as a visual amuse-bouche to a John Hughes marathon, and catch them live at the Bowery Electric on August 17th. -Connor Beckett McInerney

“Summer’s never long,” Justin Buschardt croons on the first track of Brooklyn indie outfit Sharkswimmer’s debut, Shut-In. It’s a fitting introductory note to the band’s first release, which over the course of five tracks straddles the worlds of easygoing guitar rock and fuzzed-out, palpably frustrated punk inclinations. A seasonally well-timed release, Shut-In aligns well with the current New York weather, energized by lyrics that focus in part on the imperceivable fast movement of time and lofi, occasionally discordant instrumentation. Recommended listening “PhD in Anxiety” and title track “Shut-In” are perfect for when the brisk city pace and June humidity inclines even the most extroverted among us to shut ourselves in and take a necessary, warm weather mental health day. Stream it below, and catch them at Brooklyn Bazaar on July 7th, playing alongside Taciturn, Cup and Trash TV.–Connor Beckett McInerney, Photo by Daniel Topete

It’s officially almost-summer, and Brooklyn-based duo Bathe have provided a lush soundtrack in their I’ll Miss You EP, a short and sweet alternative R&B effort that’s perfect poolside-listening. The entirety of the extended play is marked by a lurid nostalgia permeating each of the release’s seven tracks, conveyed through ’80s inspired downtempo swinging on songs like “Kimmi,” and jazzy Strat noodling on title track “I’ll Miss You.” By channeling vintage inspiration into thoroughly modern rhythm and blues, Bathe also creates a record with a double meaning: there’s a longing for people and places past in the lyrics, but the music couldn’t feel more of-the-moment. Stream it as you sunbathe at Rockaway Beach during the coming warmer months, pining wistfully over last year’s summer fling, and catch Bathe at Brooklyn Bazaar on May 30th alongside Myles Cameron and Moise. –Connor Beckett McInerney, Photo by Danielle Caño-Garraway