Brooklyn band Color Tongue’s latest single "Sprouts" is one of those rare songs where fun and experimentation coexist peacefully, integrating each other. On it, the self-described "dirty psych pop" quartet take an imaginative approach to songwriting, conjuring up dramatic dynamic shifts, unusual song structure and exuberant melodies. "Sprouts" is a strong initial introduction to their debut LP of the same name, scheduled for a summer release. The band should have some shows in August – stay tuned! —Henry Solotaroff-Webber

We added this song to The Deli’s playlist of Best Psych songs by emerging NYC artists – check it out!

As further proof that youngsters, at some point, tend to "become" their parents, Brooklyn trio EZTV seems to have transictioned to a revival tinged, but richer and more vibrant sound, directly inspired to the psychedelic pop of the ’60s. New single "High Flying Faith" sounds like a tribute to The Byrds, while maintaining a fresh and modern sound. The bright, chiming tone of the guitars is a striking new element, while the guest vocals from Jenny Lewis, whom the band will be supporting on tour this summer, integrate Ezra Tenenbaum’s already dreamy melodies in ways that scream "Flower Power!" EZTV will be playing the Bell House on July 15th in support of Miracle Legion and Out in the Streets Festival on July 16th before heading out with Lewis. Their album High In Place will be released on September 30th via Captured Tracks. – John Honan

We added this song to The Deli’s playlist of Best psych rock/pop songs by emerging NYC artists – check it out!
Read our Delicious Audio Q&A with EZTV’s Ezra Tenenbaum about guitar pedals.
 

The New York-based lo-fi grunge duo Brainfreeze is comprised of NYC born drummer Zoë Brecher and guitarist María Villar of Madrid. The two met when Villar was studying in the US, and have since released a two-song demo and two singles. Their latest single “Role Model” (streaming below) was produced by Diego Garcia of The Parrots, and while it only clocks in at 83 seconds, the song is a burst of frenetic energy and raw emotion that is buzzing with garage rock punk and grung influencese. Brecher and Villar share vocal duties on the track as they shout the lines “I will be your role model”. The band just played a show with fellow Madrid rockers Hinds at the House of Vans in Brooklyn, and will be performing at Aviv on July 8th in support of Baby Birds Don’t Drink Milk. – John Honan

Dazeases rolls into the VA music circuit in an aural aura of colors, at times neon and then muted pastels. Listening to her most recent release, Welcome Back EP (streaming below), feels like walking through a glass house of dreams. Ethereal tinkling and undulating synths permeate the tracks as wispy sighs tread lightly over them and electronic sputters pierce through. The EP becomes a spacey exploration that delves us deeper into our reveries. Listen to Dazeases entrancing tracks below and catch her performing at Strange Matter on July 14. – Adriana S. Ballester

Voted by The Deli as one of the Best NYC Indie/Post-Punk bands of 2015 earlier this year, Big Bliss consists of brothers of Cory (drums, Party of Helicopters) and Tim Race (guitar/vocals, Russenorsk/Narrow & the Brights) along with bassist Wallace May (Young Tides). Their newest single “Old Guard” (streaming below) was just released on the Unblinking Ear Records’ Office Supplies series, and will be also included in their upcoming EP, out in August. Following in the footsteps of their previous material, “Old Guard” elicits the gloomy and disturbed nature of British post-punk acts like The Cure and Joy Division. Race’s somewhat anxious, restless delivery provides the ideal companion for the tense and pressing instrumentation. Big Bliss’ debut EP Keep Near will be released on August 12th via Exit Stencil Records. They will be playing Sunnyvale on July 15th before heading out on a tour in support of the EP in August with fellow Brooklyn natives Language – also a band worth checking out for those who miss the days of post punk, they just released a new cassette EP titled ‘Junket.’ You can see language live at Shea Stadium on August 7th- John Honan

Streets of Laredo, a band we’ve been following since their very beginnings as a trio, rarely disappoint. Originating from New Zealand, the now-Brooklyn based collective has sucessfully created a folk pop sound that’s catchy, fun, but never saccharinous.  Their new single "99.9.%," follows suit, but also seems to manifest a desire to move closer towards the pop end of their sound’s spectrum. A quicker tempo, Courtney Barnett-esque sing-talking, victorious horns and "Hey-ho!"s from the back-up vocals make for a song that, while definitely not out of line with what Streets of Laredo have done in the past, suggest a push towards a wider audience. This isn’t a bad thing by any means, as it’s still a solid track and not even necessarily an indication of what the rest of their next LP, due in autumn, will sound like. However, if it says anything, it’s that Streets of Laredo might not be playing many more shows at relatively smaller, local venues, so catch them while you can at Baby’s All Right on 7/11. – Henry Solotaroff-Webber

Although the it’s been stigmatized by many, a new crop of bands are embracing the classic emo sound and proving that the negatives associated with the genre do not define it. For Everest is a five-piece from New York that is breaking down the stereotypes by offering a more relatable version of emo. Their latest single “Autonomy” examines frontwoman Sarah Cowell’s inner struggle of desperately wanting to get out of an abusive relationship, while feeling guilty for leaving. Cowell’s catchy and therapeutic lyrics prove that more mature and complex feelings and thoughts can be channeled through "emotional" melodic punk-rock. For Everest recently played a show with fellow emo revival group The World Is A Beautiful Place… and will be playing Sunnyvale on July 8th. – John Honan

While a core element of Sexy Coyote’s unique brand of pop-punk is the cacophony they create by crashing arrangements into oneanother, it never feels like its a process that’s being done haphazardly or ironically. Rather, on their recently released Danger in the Deep EP the band takes on the role of mad scientists, forging a sound that feels almost experimental at times but never without the precision or poise necesary to create a fundamentally tight sound. It’s one that works on multiple levels as well: impassioned vocals, booming drums and quick tempos get the heart racing, while at the same time intriguing and often-shifting guitar patterns keep the mind intrigued.  Check out their new EP below. — Henry Solotaroff-Webber

Houdan the Mystic is a psychedelic math rock project that hails from the streets of Richmond, VA. Though they haven’t released anything new since 2014, their split album with Fight Clouds, Where’s My Shakespeare, is an entrancing number. The record opens with “The Mandler” (streaming below), a warm flitting ditty with tender vocals that echo in the distance, giving the track a haunting depth, as the guitar and drums sputter fervently along creating both a calming and urgent sensation that washes over you. Then they shift gears into thunderous instrumental tracks with a thick bass that cuts through at breakneck pace, creating contrast and accentuating the jagged and arrhythmic melodies in the album. The tracks flow in an almost train of thought form that constructs a texturally varied soundscape–making for an interesting listen. And even better yet, Houdan the Mystic plays Strange Matter on July 8 so make sure to head out and give them a listen. – Adriana S. Ballester

Ironically, more often than not the best way to create something fresh is by digging deep into the past. For quirky and charming orchestral pop artist/composer Nozart, this means smoothly blending classically inspired compositions with his own indie-pop vocals. To some this premise may seem gimmicky at first (after all, how many terrible classical music/rock hybrids have we experienced already?), but his music is convincing in its ambition and execution. His compositions, which include piano, brass, wind, and percussion, are intricate but also minimalist, and definitely steer clear of any pompousness. This is key because it allows Nozart’s vocals enough space in each track to turn them into "songs" rather than orchestral pieces that happen to include vocals.  Nozart certainly has the potential to bridge the chasm between avant and mainstream with his uniquely catchy track "Just Let it Go." Don’t miss his debut live performance at Mercury Lounge on July 8. — Henry Solotaroff-Webber

We added this song to The Deli’s playlist of Best songs by emerging NYC artists – check it out!

Anika Pyle’s DIY pop-punk project Chumped ended their short careers in February, but Pyle and drummer Dan Frelly have started a new project called Katie Ellen, named after Pyle’s grandmother. The band is noticeably more lo-fi than Chumped, but the melodies and charm of Chumped are still present. In January they released a demo entitled “wild <3”, which features the single “lucy stone” (streaming below) that was released in late 2015. The track is centered around the anxieties associated with the pressures and expectations set by society, family, and loved ones. Pyle’s intimate vocals and poignant lyrics shine through the band’s lo-fi and fuzzy recordings. Katie Ellen will be playing the DIY space Suburbia in Brooklyn tonight (July 1st) and will play Aviv on July 17th. – John Honan

Boston band Covey has been making some interesting noise as of late, releasing quality singles within the dream folk realm and opening for huge acts such as Hozier. Now potentially furthering this upward trajectory, they’re premiering here "Bows," a track that may be most emblematic of their bourgeoning sound. Frontman Tom Freeman’s expressive alto, partly reminiscent of The Tallest Man on Earth, takes both the roles of lead singer and backup vocalist through production magic. His passioned melodies are supported by a simple but well orchestrated guitar part and a reverberating high pitch drone, creating a spacious sound that evokes melancholy and emotional desolation. — Henry Solotaroff-Webber