Global dembow seems to be a recurring theme in NYC producer ShiShi’s work. A cursory scan of ShiShi’s Soundcloud page shows the “Global Dembow” tag occurring often alongside other internationally-minded fusion genres (“Bollywood House,” “Eastern Trap”). ShiShi’s work itself — joining, melding, mashing musical styles — is fascinating and exciting.

Both undeniably of the moment and yet steeped in traditional beats and rhythms, his latest track “Damelo” shows how societal globalization has brought the sonic commonalities in international rhythms & genres (reggaeton, bhangra, soca, for example) to a convergence in modern music production. The result is a club-ready banger with deep traditional music roots. Other ShiShi tracks explore similar concepts in perhaps even more daring (and rewarding?) ways. “Aarti” is buoyed by house production with bhangra-esque vocals. The result is a stunning, A.R. Rahman worthy work. -juan leon

“Chop Shop” from NYC’s diNMachine is a bouncy, trap-y blur of genres that coalesces into an inventive and accessible burst of noise-pop. Tones shifts, rhythms start and stop, new sounds come out of left field — and somehow it all coheres. The sounds are disparate but always feel intentional.

It’s a testament to diNMachine composer Michael J. Schumacher’s skill at creating a challenging sonic palette that remains effortlessly melodic. At times funky, at times weird, “Chop Shop” is the type of track that welcomes repeat listens for the sheer pleasure of exploring and discovering the skill innately weaved throughout the composition.

diNMachine’s Facebook page describes the band as a "pop music" project. That’s true. But it’s pop music prismed through the lens of influences that range from the Beatles to Autechre. –juan leon

Vaporwave artist George Clanton is performing at Brooklyn Bazaar on November 18 to celebrate the release of his latest LP, "200% Electronica," under his ESPRIT moniker. The album will be released on November 17 and comes packaged as a double LP with a re-release of Clanton’s "100% Electronica."

Released in 2016, "100% Electronica" was a stark and forceful album that defined the vaporwave genre at its highest form of expression. Cuts like "Bleed," "Make You Cry," and "Warmspot" were synth-laden, emotionally haunting epics. Clanton will be joined at Brooklyn Bazaar by Negative Gemini. -juan leon

Catch Ryan Egan at Rough Trade on December 13 with Maybird. The NYC-based indie pop artist dropped his latest single, “Tongue of Yours,” back at the end of September. Egan’s musical strengths – silky, emotive vocals at the forefront of no-frills production that gets out of the way of his voice — shine throughout the slice of catchy, melodic pop. “Finest Hour” is another cut worth checking out from Egan’s burgeoning oeuvre. The production here is a bit more inventive than on other Egan tracks. Building layers of synths and percussion make this a danceable, joyous burst of indie pop. -juan leon

Lola Kirke is the daughter of Simon Kirke, an English drummer for the rock bands Bad Company and Free. Primarily known for her acting, (she had a role in David Fincher’s Gone Girl), Kirke has also turned her talents to music, and currently calls herself bicostal, split between LA and NYC. Her solid, self-titled EP dropped last year. It features her breathy and expressive vocals with a hint of country twang. Album closer "Not Used" is a highlight that feels like a classic and hearkens back to luminous figures in country: Loretta Lynn, Dolly Parton, Emmylou Harris. She’s definitely worth checking out at Baby’s All Right on November 19. –juan leon

Blood Cultures’ buoyantly catchy single “Indian Summer” dropped all the way back in 2013. “Indian Summer” was an electro-indie gem that gave a glimpse into Blood Cultures’ distinctive talent for poignancy and melody. It’s a style the producer/multi-instrumentalist has come to master on his debut LP, Happy Birthday.

In the four years since “Indian Summer” dropped to considerably positive reception, hype over Blood Cultures’ debut has ebbed and flowed. It’s rare for an artist not to capitalize on the type of momentum generated by a successful indie single like “Indian Summer.” And it’s even rarer for an artist to fulfill the promise of a well-received single in the way Blood Cultures does on Happy Birthday.

The album feels truly sonically coherent. Throughout, Blood Cultures riffs on the soundscape he painted in “Indian Summer” in varied ways. And they’re all wonderful and welcome experimentations: Drawing from a palette of synths, dreamy vocals, found sound-esque samples, and filtered guitar riffs, Blood Cultures creates a record chock full of standout tracks. “Phospholipid,” which feels like a musical cousin to “Indian Summer,” is one such standout. The lyrics echo the longing and pathos felt in the melody: “You ask yourself what am I to do? (You ask yourself, you ask yourself) Your mother says don’t let him get through (Your mother says, your mother says) You ask yourself, what am I to say? Don’t give me away Don’t keep me astray The way you play your games.” It’s simple, yet potent stuff. The best of Lykke Li and or a subtler M83 come to mind.

Elsewhere, “Coastal” is an expressionist dream that builds and strengthens with synths and sweeps reminiscent of Kool and the Gang’s legendary soul hit, “Summer Madness.” Album opener, “Scenes from a Midnight Movie” is a fitting declaration of Blood Cultures’ artistic vision: “Oh please, tell us about all the things you have seen About all your visions and all of your dreams It seems to me That you’re set free It seems to be The only possibility…” It’s a vision full of pathos, wonder, and joy. – juan leon

Xhosa. Babyteeth. Sunspeaker. Slurpee. Din Ra. If the names of the artist playing at avant-garde venue Trans Pecos on November 2 don’t intrigue you enough, the music definitely will. Xhosa blends hip-hop, electronic, future, and smoky, piercing vocals. Slurpee’s tracks are wonderfully spastic bursts of bubblegum electronica. Babyteeth (formerly RIVKA) produces chill vibes with dark tendencies for a haunting effect. Downright beautiful, hypnotic electronica characterizes Din Ra’s music. With this eclectic roster, there’s something strange for everyone.

Five electronic producers/DJs hit Brooklyn Bazaar for WAXX’s monthly event BASSment on October 21.

The showcase includes producer and visual artist JessAudrey, as well as WAXX residents Noah B, KLM, Rubie Lee, and Chase Jam.

The lineup’s stylings range across a varied spectrum of hip-hop & bass, dreamy electronica, disco grooves, and more. Should make for a fun night out.

Check out their work below:

The pulsing, free-flowing rhythms on “Kindness, Calmness” parallel the song’s buoyant vocals in mood if not in genre. In fact, the melding of electronic beats with lounge-y vocals leads to an overall effect that’s mildly jarring.

But lovely.

“Kindness, Calmness” is the second single from Novelty Daughter’s forthcoming LP Inertia (out November 3). There’s an almost strangeness to the work of the Brooklyn based artist that resists categorization (NPR labeled her a “jazz-electronic-pop” musician). 

“Kindness, Calmness,” as well as Inertia’s first single, “U Want What I Want” feel a bit out of step with the times, a bit outside, a bit otherworldly. And that’s a great thing. –juan leon

Brooklyn based producer Esseks (Sam Eckstein) brings a distinctive flavor of electronica to his latest EP release, “Broken Bones” (Sticks & Stones).

The EP is divided in two: Five tracks under “Sticks.” Five tracks under “Stones.” This concept plays nicely. The “Stones” tracks are tonally “heavier” than the rest of the EP. 

At times, “Broken Bones” almost feels like a throwback to the stomping fuzz of prime-era dubstep. But ultimately, Esseks’ glitch-hop and hip-hop influences assert dominance. J Dilla-referencing tracks like “Dill” show off Esseks’ swagger and ear for inventive melody. While the emotive, “wonderfully strange “Pigeon Toes” showcases the range of Eckstein’s inventive production. “Broken Bones” is good ‘ish. -juan leon

Cru the Dynamic (aka Steve Bryant) drops “New Things” on Detroit-based label Heavy Young Souls. There’s start & stop breakbeats. There’s hip-hop and drum & bass. Both genres intersect at the true core of Bryant’s influences: jazz performance. The fusion is soulful and assured. Cru weaves his influences skillfully. The end result is really beautiful. -juan leon

Beshken’s inventive chill wave-esque melodies on “Force of Evil” show off a virtuoso kind of buoyancy that can be felt in every stutter step backbeat. “Faceless,” his 2016 track with 20-year-old singer Gus Dapperton, might be even better. There’s a lightness and poignancy to Beshken’s arrangements that gels thrillingly with Dapperton’s dreamy vocals. –juan leon