Last month, Boston’s Gavin Caine released a record that feels like a cool, sweet ocean breeze on a summer day: Nine Stories is a refreshing look at the life of an artist joyous to share and remember. “Jenny’s Library” is fun, piano-driven, Americana goodness while “Summer Rain” has a tinge of folk to it highlighted by beautiful string work, and fluttering piano notes. “The Lady at the Checkout” is energetic and so easy to follow in both its thumping rhythm and colorful storytelling. Each song, and for that matter story, that Caine pens radiates serious sincerity and light-hearted memories. For an unexpectedly good Tuesday, stream the indie-rock single "Diner Girl" below. – Rene Cobar

Wasting no time and keeping the machine running hot, New Threads debuts the music video for its single “Racket” whose rhythm trots tough. The new alt-rock track lets the guitars rip to visuals of tennis greats like Rafael Nadal and Novak Djokovic and, like a good tennis match that it is, you can’t take your eyes off it. The group recently released its single “Schlitz,” letting no pandemic stop the work, and now with the furious jam that is “Racket,” New Threads solidifies its drive and emphasizes its sound. Both singles are part of the group’s upcoming seventh studio album, which will be released via the band’s label Pink Hat Records. Recording together, running a label, and rocking out—New Threads is as involved as any New England act. We are delighted to premiere “Racket” for you below; ride towards the weekend at full volume. – Rene Cobar

Connecticut outfit Farmertan returns with the second act of its sonic play Muse of Fire, which enters a new chapter revved up and hot for noise. While the first act surely had its gritty rock moments, this second act kicks off with tracks like “Man of the Hour,” which sprints across its nearly four minutes of lingering-distorted chords, spirited drum fills, and oh-so subtle bassline with the velocity alternative rock demands. “The Storm” slows down some but is still powered by fuzzy guitar riffs and reverberated vocals that match the characteristics of the music; the guitar solo in the track is killer. “After” is the most melodic of the songs, gritty and fueled up still but with a cool strut to it that closes the act splendidly. Overall this continuation makes evident that this sonic play is well underway and that the last act is worth sticking around for; stream the second act below for a solid Tuesday playlist. – Rene Cobar

Manchester, New Hampshire, group Delaney has a new record that explodes with all the emocore goodness you desire for a celebratory weekend. A Small Remaining Quantity of Something contains tracks like “The Ghost of Better Times,” which pops with mighty harmonizing choruses, drum fills for days and even atmospheric breaks for a breather before the mosh madness. The group goes beyond the garage aesthetic with layered tracks like “Thief,” which add piano embellishments to back the melodic vocals, soaked in melancholy, and, yes, the song erupts too. “Broken” is no-holds-barred rock and roll, showcasing the versatility that has always made emocore a beloved and seemingly unforgettable music genre. For a weekend to remember stream A Small Remaining Quantity of Something below. – Rene Cobar

At the frontlines of the human-machine merging that music is currently experiencing is Boston duo Brevin Kim (Cal and Bren Paulhus), and the group shares the experience with its dual single release “i need water / he doesn’t love her.” Each single ventures to a place that represents each faction wholly: “i need water” drones and pounds away, with a distorted vocal flow machine-like; “he doesn’t love her” encapsulates wounded humanity, and the embers of love fanned by an electric guitar riff so warm. Brevin Kim explores with the tools of today, a world where emotion and resonance are deep within, and there is a great deal to mine, which it does well. Stream the dual singles here for a pair of gems very much of this age. – Rene Cobar

Mark MacDonald, also known as Hollow River, has released a single slippery-fun that flows beautifully and crashes with alternative rock power. “Known To Lie” has a turn-of-the-millennium sonic innocence to it, in the alt-rock, power pop style of groups like Smash Mouth: the music makes you feel good, maybe like partying. MacDonald flows in each verse with plentiful charisma and allows for revved up electric guitars to do the rest of the talking when the choruses arrive. For a summer hit, the music and its theme should be an anthemic escape from the weight of the prior seasons, “Known To Lie” fits that criteria. Another weekend arrives in an unusual 2020, stream “Known To Lie” to get through it with a gleeful smile. – Rene Cobar, photo by Sergio P. 

While in quarantine, Flying Vipers, a group hailing from Waltham, MA, took the time to unearth a couple of old tapes that are now a double trouble remastered set of singles for all to enjoy. The instrumental reggae compositions are just what is prescribed, for the hot summer: with their relaxed-confident rhythms and cool embellishments of sparkling keys, they can cool down the body and mind. The additional production work on the singles is evident, with delays creating a more robust listening experience and an ambiance pleasant and intriguing. The trip may be a short one, but it is a good one, stream both singles below right now. – Rene Cobar

Boston’s The Macrotones are a quality group, and that shows in the band’s latest EP Bloody Hands, which delves into the mythos of R&B, soul, and funk to retrieve a sound that has all the grit and glamour of ‘70s underground afrobeat clubs. The title track is led by a robust bassline that slithers in sync with the serrated vocals and snappy beat that add flame to it. “Nighttime Persona” uses brass instrumentation and vibrant, lingering electric guitar work to embellish a song smooth and soulful. The Macrotones find in these tracks the blues edge that artists like Fantastic Negrito and Gary Clark Jr. so effortlessly have.  “All Intentions Hidden” packs the full spirit of a group that does not fear to lose itself in the music it creates; For the right sort of trip stream the bluesy “Snakehunter” below. – Rene Cobar

Every once in a while, the week does not start with a bang, but rather it eases in with grace and much a soothing energy: that can be said of Be Where I Am, a new record from Newburyport’s Unnamed Colors. Each piano-led track is honeyed with glossy electric guitar embellishments, swinging rhythms, and the impressive vocals of Sierra Partlan, which take the classy music to the next level of finesse. “Come and Go” is an excellent example of the group’s ability to sway the sonic winds of arpeggiating guitars and rapid drum fills into a whirlwind worth admiring. “Come Play with Me” shows off the jazzy elements of Unnamed Colors, so exquisite and supported by a skilled bassline that buries itself in the heart of the listener. For each day we wake to there is something of a promise made that today will be better than yesterday, with Be Where I Am in your ears you are well on your way to a promise kept; stream the upbeat track “Kindling” from the new record below. – Rene Cobar

“Schlitz” is just the type of feel-good story we need for the weekend ahead: the song is over six minutes of summer-scented alternative rock recorded by Boston’s New Threads in three different parts of Massachusetts. Jacob Keplinger (guitar, vocals, keys), Justin Siegel (drums, vocals), James Siegel (bass, vocals) did not allow the pandemic to disrupt the connection they share nor the creativity that propels the group, and we all get to reap the rewards of that. “Schlitz” has a jam feel to it as it switches rhythms and flashes distinctive guitar riffs that feel refreshing and have a slight acidity to them—the song is a cool summer beverage. Sprinkling mint-cool elements of jazz and psych, New Threads offers a funky track you will want to take in slowly; recorded a la 2020 and perspiring a better tomorrow, “Schlitz” is streaming below. – Rene Cobar

Digging up some tunes today, we stumbled across “The Bar Fly,” the short and sweet instrumental by New Hampshire’s Adam Reczek; the song accompanies a movie of the same name, written and directed by artists from northern New Hampshire and Vermont. The instrumental is a cool meltdown with electric guitars that languidly ring out, a bass that crawls beautifully, and snaps that add a relaxed rhythm. There is not much more you can ask of the song, nor would you want to, but it does add curiosity for the movie it is attached to; stream “The Bar Fly” below for a respite from the world. – Rene Cobar, photo by Empire Imaging

Something dreamy, something sad—that is the glow that radiates from “18,” the new indie-folk single from Providence’s Dogs on Shady Lane. The acoustic guitar strums that softly thread about during the track begin to brighten as dreamy electric guitar accents pile up, and the reverbed vocals of project leader Tori Hall gently reflect on life and its sweet and sour melodies. Refrains such as “thick as brick but stick stone, hurt/me less than silence and warn/but burning hands mend me like wool, so feel me up/I’m too old to be crying so much” hint at strength and vulnerability, at the physical and its memory. The new track by Dogs on Shady Lane has in it all the charm of the indie-folk genre: escapist sounds you can drift away to and lyrics that ground you to a reality you help to shape; if you need a moment away from your busy Monday, we have it for you streaming below. – Rene Cobar, photo by Kannetha Brown