New York trio Yancy appropriately named their 2018 LP Hi, Neighbor! — their noisy, melodic punk and seemingly upbeat demeanors indicate they’re more than likely to have their fair share of run-ins with the folks next door, though you’d expect them to be friendly in mitigating any noise disturbances. Such bright energy is the consequence of a conscious decision to base their sound around triumphant guitar riffs and a bombastic vocal performance that sounds like the the lovechild of Tim Kinsella and Ian MacKaye. As such, their music is well suited for a specific subset of aggressive yet well-tempered individuals, tunes for people who bare wide grins in a mosh pit. Give it a listen below, and catch Yancy at Alphaville on March 19th.

Listening to “Daylight,” the latest single by New York folk artist Hayfitz, feels in many ways like exploring an old, abandoned house. Atmosphere-inducing artwork aside, what begins as a hushed, almost secretive track gradually expands to become a rich offering that showcases songwriter Brandon Hafetz’s aptitude for layered, chilled instrumentalism; every nook and cranny is filled with echo-laden guitar arpeggios or ambient synth. As the track progressively brightens, however, Hafetz’s falsetto remains a tethering force, with lyricism that details the difficult chats that are oftentimes necessary. “[The song] serves as a constant reminder to have the scary, sober conversations, even if it means letting your guard down,” Hafetz said of the track via email, a sentiment fitting for his abidingly somber vocal performance. Give it a listen below, and keep an eye out for his forthcoming LP Capsules, out 5.29. Photo by Sam Cope

The hallmark of Pictoria Vark’s 2018 EP self titled was the abiding minimalism that permeated most of its tracks, which created a space in which listeners could ruminate on her lyrics against a muted backdrop of sauntering bass lines and restrained, bright power chords. One year and a good deal touring later, her latest single “Good For” finds the young artist filling in the gaps, laying down intricate, interwoven guitar work in a way that feels, instrumentally, far more active and alive, yet never to the detriment of her songwriting chops; still present is the soft power inherent to her engaging voice and words. Part of what makes “Good For” the expressive offering it is comes from the song’s percussive vamps, which build energy over its three and half minute run time — paired with sliding electric guitar accents and underlying acoustic strumming, it evokes a mild, folk rock energy that’s expressive and lush. Stream our premiere of the track below, and catch Pictoria Vark at Pete’s Candy Store on April 19th.

Two dudes, a four track, and a singular microphone are the driving force behind vexation, the debut offering by lofi, “tropical country” duo Otra Vez — and that’s really all they needed to make a groovy, kickass record. Endowed by the charm of its palpable crunchiness and compressed vox and available for four dollars and twenty cents on Bandcamp (nice), the album skirts being defined as silly or serious; members DJ O’Loane and Sean O’Hara seamlessly switch between ditties detailing past relationships (“death by 1000 cuts”) and stoney meditations on the virtues of selling out (“fat sandwich”), their detuned guitars and easygoing percussive lines in toe. Recommended for fans of Makeout Videotape, Soko, and John Dwyer deep cuts, give it a listen below, ideally on a rooftop with a couple of buddies, and catch Otra Vez at Our Wicked Lady on April 2nd.. —Connor Beckett McInerney

It’s an unfortunate truth that, with the passing of time, we tend to lose touch with those that matter most to us, a fact that’s become abundantly clear to Bushwick-based indie pop artist Couvo as of late. His new single “Still Hanging On” is an ode to old acquaintances and relationships that come with the changes inherent to life, a shoutout to erstwhile friends in his hometown of Manchester, Connecticut, channeled through bright, downtempo indie pop reminiscent of the Morning Benders and pre-Powerman Kinks. A sunny-yet-forlorn disposition powers Couvo’s lyricism — nostalgic, yes, but always grounded in realism, the “knowing, in the moment, that these relationships will fail and these people will leave, or you’ll be the one to go,” in his own words. Sweetly sorrowful and bolstered by a third act explosion of winding saxophones and group harmonies, Couvo proves that, despite these seemingly-inevitable transformations, there’s resilience and strength to be found in act of “hanging on.” Stream our premiere of this track below, and see Couvo at the Way Station on March 23rd, alongside Ruby Wave, Phil Robinson, and Zman. Photo by Kevin Condon

Upstate indie pop outfit geoff gordon cover lots of ground on their latest album, Sex and the City. What begins on a drawling, folksy note quickly transitions to more electronically-infused, consummately relaxed effort, characterized by tactile, analogue-adjacent saw synths and at times lofi segues — in short, there’s a lot of distinct energies that characterize this nine track LP, all of which demonstrate an aptitude for experimentation in sound and song structure. Constant throughout the record is an ear for lush tones and satisfying melodic resolutions, making it recommended listening for fans of Porches and of Montreal — give it a listen below.

Brooklyn post-punk trio A Very Special Episode know how to keep things in control. While discordant, shoegazing guitars and a healthy serving a feedback perforate their 2018 EP Cut for Time, the production and format hits a finely-tuned middle ground between cacophony and run-of-the-mill indie rock, opting to incorporate Fender-friendly sounds in a manner that’s aggressive, yet well-curated. At the center of the storm is singer and guitarist Kasey Heisler’s impressive vocal performance, one that imbues the band’s latest offering with an energy that’s characterized by an energy that’s as devil-may-care as it is triumphant — standout song “Crazy” is a succinct encapsulation of what makes AVSE tick, a track well-suited for a highway singalongs and pit-opening alike. Give it a listen below, and catch the band at Our Wicked Lady on March 14th for the Rizzo’s sixth annual PROM FOREVER.

The coexistence of “beauty and dissonance” are key themes to understanding the Silk War’s sound, and new video “Velvet” is the band at their most aesthetically scuzzy. A midnight ride through the psyche of front person Alexandra Blair, one that incorporates proportionate handfuls of vulnerability and strength, the visuals incorporate a limited palette of high-contrast monochrome performance shots and blood red scenes of nocturne activity. Such a striking difference emphasizes the opposing themes inherent to band’s artistry (as well as the dichotomous nature of the song itself), which set against the music video’s backing track, heightens their post-wave goth rock sound; their overdriven guitar solos opposite cool keys and downtempo percussive tempo feel all the more polar, yet a sense of haunting unity prevails when soundtracking director Shelby Sells’ mise-en-scene. Partake in its dark indulgence below, and catch the Silk War at TV Eye on March 17th, performing alongside Pure Adult.

The opening drums of “There Goes My Baby” immediately bring to mind the vintage R&B of the 1960s — its initial rim accent sounds like the introduction to a Motown hit of yesteryear — but the track’s lyrical content couldn’t more contemporary. Such classic influences infused with extremely contemporary subject matter is the calling card of indie folk Brooklyn duo Charlie and the Rays, whose sunny, harmony-filled songwriting and acoustic-centered output belies the seriousness of this single. Inspired by America’s “lack of gun laws and failed mental health and healthcare systems,” and the fact that public schools are often in the crosshairs of violence bread by these two failures, the band’s choice to rebel against senseless violence in the form of a song characterized by bright, poppy vox, metaphor-laden lyrics, and noodling electric guitar lines interwoven among syncopated strumming recalls Paul Simon’s early work, demonstrating mellifluous, politically-charged craftsmanship that’s never heavy-handed. Listen to our premiere below, and catch the band at Muchmore’s on April 24th.

Those seeking a soft, late-late night jam will find danceable solace in “Tornado,” the latest offering by Brooklyn-based synth pop project Rio Tigre. The brainchild of multi-instrumentalist Raphaël Pazoumian, Rio Tigre prides themselves of seeking to emulate the experience of “driving across the Williamsburg Bridge at 4am, the twinkle of Manhattan fading away in the rearview mirror.” Such aesthetic influences metabolize in “Tornado,” its tactile 808 accents and minimalistic, often single note keys providing an upbeat yet ultimately hushed effort, the type of soundscape you’d expect from a DJ at a Bushwick loft hang that’s run its course (or, better yet, is quickly turning into an afterparty). Atop such dreamy synthetic flourishes, Pazoumian’s lazy vox drifts through the scene, equally muted and lounge-like, further endowing this offering with the energy of a night you’d prefer not end, despite full knowledge of the sun’s coming approach. Recommended for fans of The xx seeking something that leans more on the side of hyphy, check out our premiere of the track below. Photo by Sarah Moussa

“Forever means nothing, it’s empty most of the time,” may seem like a fatalistic outlook in the matters of the heart, but when crooned by 16 year old songwriter Emmrose, it resonates as prescient statement by a young artist wise beyond her years. One of the passing observations from her new single “Take Me With You,” it’s an encapsulation of the evenhanded philosophy this alternative pop performer brings to the table, an acceptance of the various dramatic decisions we make to preserve love, especially as we fall under the “intoxicating draw of a new relationship,” while recognizing that preserving such partnerships are often an uphill battle. Such an outlook distinguishes Emmrose from her peers as an individual who wears her heart on her sleeve, but does so as a hopeful romantic — such lyricism when paired with the track’s mellow keys and slow, oftentimes dramatic build make for a captivating listen, one that splits the difference between such contemporaries as Lana Del Ray and Clairo. Stream our premiere of the track below, and see Emmrose at The Bitter End on March 15th. Photo by Shervin Lainez

A healthy dose of wide-eyed Kubrick stares, scattered hand-drawn animatics, and sunburnt, borderline cacophonous guitars characterize “Ordinary Woes,” the new video by NYC indie performer Luke Rathborne, evoking both the unpleasantry of a psilocybin mushroom trip and the quotidian struggles of being a working artist in the city. While the former of these two experiences was a direct inspiration for Rathbrone’s forthcoming LP Again, the latter is best communicated through the song itself — freeform word associations with combined with a wailing chorus against a breakbeat fuzz-laden instrumental backing places his workmanship somewhere between the scuzzy lofi surf punk of outfits like Wavves, with a distinctive drawling vocal performance that’s reminiscent of 90s slacker rock. Give it a watch and listen below, and keep an eye out for his new LP dropping this June.