Al Harper doesn’t take herself too seriously in the video for “Sunny Somewhere” — a saccharine ballad that juxtaposes the feeling of knowing “it’s sunny somewhere” with the realization that somewhere isn’t necessarily here. While the track on its own has the potential to lean negative (“I feel like I am running out of time / and I just realized this party isn’t mind / what if I never end up with everything I want,”) the video — filled with cameos of Harper’s friends, jello shots, and karaoke — adds a certain lighthearted flair that highlights the full potential of Al Harper’s music. "I thought that since it’s essentially about finding your bliss, we should just put a bunch of things in it that make me feel good,” said Harper, who will be playing her next show on August 8 at the Knockout. – Lilly Milman, photo by Kelsey McClellan

Stream an exclusive premiere of the video, directed by John Snapp, below. (And watch out for the "Semi-Charmed Life" reference.)

If you make hip-hop in 2018, it seems like there are two paths for you to take: you can follow the SoundCloud rapper trends and find a young audience willing to ignore rapping ability in favor of catchy hooks, or you can hone your technical skill and storytelling craft at the cost of sounding overly nostalgic. S’natra is one of the interesting up-and-coming rappers who doesn’t seem to be committing to either of these camps. Over the 10 songs off his latest release Subject to Change, the Harlem rapper confidently switches up styles while maintaining a glamorized and distinctly New York style of hip-hop. Tracks like “Off Key” offers up tales of trapping and police brutality over syrupy and snappy production, while “Can’t See Me” is a gritty and grand take on the more soulful stylings. The title of this project is more than a motto; it’s a creed that sets out to find the balance between old and new schools of thought. The melodies and drum selections are obviously more modern, but the way they blend and transition to verses featuring engaging recitations of the past is a talent of a bygone era. S’natra is one of the few emcees who is simultaneously fighting against and indulging in contemporary techniques, and it’s a winning combination. You can stream the entire release below and catch him live at Baby’s All Right on August 25. -Tucker Pennington

Urgency can be communicated in a variety of ways; not every song will rush forward energetic instrumentation and an extroverted mood to convey its pressing importance. Maxband’s lead single “Means To An End” is the first song released from their upcoming album Perfect Strangers. Clocking in at just under six minutes, it can feel like a song that takes its time at first, but slowly finds its groove on the build up to the first chorus, unveiling a series inventive sonic ideas in a style reminiscent of the NYC post-punk era. After years spent working with other bands like Parquet Courts, A Beacon School, Bluffing and Bob Dylan Death Watch, this group of musicians seem to have compiled a collection of their favorite unused songs and blended them into a wholly unique new project. The length and tempo may not suggest it, but “Means To An End” is song that uses its verses and bridge to create a dynamic song that eases into change with comfort and precision, stressing how much they have to say without resorting to giving it all away at once. Maxband’s debut album will release August 24 and you can listen to the single below. -Tucker Pennington

Everyone knows that a demo tape is going to be a hit or miss. In the case of Boston duo Berta Bigtoe (made up of Ben Astrachan and Austin Koenigstein,) their debut the gap [demos] @ rat city exists within the sweet spot of lo-fi where the gentle hums of lo-fi and the excitable shouts of talent meet. Sincere in its delivery, exhilarating in its musicality and indicative of much greater heights, this tape has earned its place in the limelight. – Lilly Milman

Stream our favorite track “doggie den” below. 

There are some albums that feel like spiritual excursions the moment they start, transfixing us instantly at the right time and place. Amen Dune’s fifth record, Freedom, is one such record. The introduction informs us that the time is now, and it belongs to Damon McMahon and his finely tuned songwriting. Each track is impeccably produced, precise and imperious, as synths and bass lines appear on the horizon before shimmering out of view. The interplay between each instrument is like multiple generations of mirages materializing at once, and McMahon’s vocals sit in the center commanding attention with assured confidence in the stream-of-consciousness lyrics. Freedom was released wholly realized, yet it’s the undefinable aspects that assert why it’s an intoxicating and infinitely rewarding album. -Tucker Pennington

Adeline Hotel’s new single ‘Habits’ feat. Cassandra Jenkins, continues the country-tinged direction set out on the band’s last album ‘It’s Alright, Just the Same’ from 2016. The song’s unhurried folk sensibility gently floats on a breeze, but packs in a lyrical heft you might not expect to come by in a sweetly strummed folk tune. But singer/songwriter Daniel Knishkowy excels at drawing weighty contrasts between lightheartedness and poignancy. In ‘Habits,’ his easy-going vocals provide a tender exterior over a frank discussion of timely existential needs: a wistful rumination on what’s really needed to reach happiness, and why it can be so hard to come by. Cassandra Jenkins, who released a notable debut album of her own last year, provides backing vocals.

Check out the just-released single below, and see Adeline Hotel open for The Essex Green at Knitting Factory Brooklyn next Saturday, August 4th. – Mike Levine (@goldnuggets)

Attention music lovers!

The new issue of The Deli NYC is out on the cloud (we are at #55!) and we are psyched to have Half Waif on its cover – her latest album Lavander is an absolute gem! Print copies will hit the streets of NYC this coming weekend.

Inside, you will also find a very informational article about the state of the record industry, featuring an extensive Q&A with 4 NYC record label insiders.

Finally, this is also the yearly issue linked to our NYC MixCon 2018, the FREE event entirely focused on mixing advice provided by world class producers – a must for any young engineer or home recording musician interested in refining their mixing skills!

The Folks at The Deli

The most recent release by Samuel Sandoval, the singer-songwriter from Meriden, Connecticut, Tupper (streaming below) is meant to be read almost as much as it is meant to be listened to. Take for example the opening line of “Philly, City of Brotherly Love” (“I knew they were rich by the way they left their plates on the table”) which uses simplicity to snap a cultural criticism into place. Sandoval’s sharp wit, colored by his experimental folk-leaning arrangements, interrogates, but it also soothes. The whispers are just as important as the shouts, a balance that is curated earnestly by Sandoval’s hand. – Lilly Milman, photo by Zack Gomez

Kaleidoscopic R&B songstress Bell’s Roar finally released her debut album We Carry Us back in January, and the 10-track composition is perfect for hazy July nights. “This is my debut full-length album and it’s the beginning of how I see myself functioning in the music industry,” Bell — real name Sean Desiree — said in a statement. “I want to use my music as a direct action to support other QTPOC (Queer Trans People of Color) artists… I want to use my concerts as a platform to rally to the community and create a new model for how we can sustain ourselves.” The project is vast in its experimentation, combining empowered lyrics with vibrant soundscapes. “Celebrate all you do, go beyond what comforts you,” Bell sings on the lush “Celebrate.” The album shifts between foggy electronic samples and soulful choruses. “We will not be silenced,” Bell coo’s in the background of “Defiance,” instruments swelling around her and inevitably swallowing her in the track’s final, glitchy moments. While Sean Desiree is certainly a leader and an activist, the singer seems to understand the gravity of the fight she’s consumed by, constantly pushing back against a loud, disorienting backdrop. “There’s reasons why I slowly built this wall, becoming clear,” Desiree sings. “It’s not for nowhere, it’s hard to hear, but this is worth the fight.” You can hear the full album below. – Mackenzie Cummings-Grady

After making the move to Brooklyn, former Deli New England-featured artist of the month Plastic Waves premieres brand new single “Drift” here today. Relying purely on electronic instruments, the track features verses supported by modulating synths and slap-back percussion. While an initial impression might elicit comparisons to the 80’s and 90’s sound of bands like Depeche Mode, OMD or even Gary Numan, a more soulful and emotional quality emerges within the bridge and chorus. “I don’t want to fight it, but don’t get excited if you feel it too” leads into a lush cascade of melding voices and synths. The chorus takes it one step further with buzzing, elevating melody lines between the vocal refrain “can’t seem to find another – cause I won’t take any others – you pull me right back into it – and I don’t know how you do it.” Don’t miss Plastic Waves’ live performance at Elsewhere Zone One in Brooklyn this Friday, 8/3. – Dave Cromwell

L’FREAQ has recently premiered on Billboard.com a new music video for her single “Weird Awakenings,” the second released off her forthcoming EP of the same title. Her dreamy, sultry voice layered over a pulsing beat is reminiscent of LP1-era FKA twigs, mixed with the power of early 2000s R&B ballads. The lyrics are borderline disturbing as she pleads “Gimme that sweet tooth grin / hold me before I know it’s over;” Singer Lea Cappelli says that the awakening she refers to in the title happened in real life, when she finally felt “liberated from a doomed relationship.” “Weird Awakenings” is authoritative and dynamic, and is indicative of good things to come. – Lily Crandall

The four members of of Fuckery have been writing music in various incarnations since their halcyon, teenage youth, but only recently decided to make noise with all their instruments together in the same room. The result: Fuckery is a band (and a name) so ridiculous, listeners will either reject the group as too absurd to take seriously, or love them for the same reason.

Lead singer Adriana DeMeo pairs lyrics of nostalgia and questionable decisions made while bored, against deep pocketed grooves, and jerky, razorblade guitars. Join the band as they debut a few new songs, and insist you participate in the fuckery yourself.

A CENTVRY gig guarantees anything from psychedelic freakouts, to monotone Lou Reed pathos, to arena rock anthems. It all depends on the night, and the audience attending. Their show is entirely improvised, which means that your presence will undoubtedly guarantee something exciting is going to happen.

Opening the bill is Double Mint Dragon (pictured), one of singer/guitarist Alex Woods’ many, many projects. The band’s set will have you unsure of where things are headed, but loving the convulsive, tug-of-war fought between dueling drums and Alex’s stompbox army of noisy fireworks exploding along the way.

Join the merriment when all bands play together at Tender Trap (66 Greenpoint Ave, BK) on Saturday, August 4th. – Mike Levine (@goldnuggets)