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.

It’s hard not to have fun when listening to Hounds, the debut EP by Brooklyn soft grunge four piece Tetchy. This isn’t to say that the subject matter present on the release’s five tracks are trite or nonserious — quite the opposite, in fact, given that its introduction details the pangs of human intimacy and the pervasive rise of right wing politics in the United States (“Emotional Labor”and “Fascist”). Rather, its enjoyable quality is derived from the band’s insight to contemporary issues, and their ability to make inane universal bullshit tolerable through exciting, guitar-driven grooves. Few bands can render feelings of inertia as triumphant (“The Fool”), or the celebratory defiance of laughing at the universe’s indifference towards pain (“The World”) in a way that’s as cathartic as it is listenable, imbued with an indie rock sound that’s accessibly rough-around-the-edges, an equal mix of grit and sweetness. Give it a listen below, and catchy Tetchy at Our Wicked Lady on March 5th for their EP release show.

It’s easy to lose oneself in the forlorn music of folk songwriter Dan Miraldi — his minimalist guitar arpeggios, soothing baritone register, and penchant for reverb-laden backing vocals create a listening experience that’s as self-reflective as his lyricism. Latest offering “Just Thought You Should Know” is Miraldi at his most accessibly plainspoken, offering honeyed melodies and a simple-yet-thoughtful approach to the singer-songwriter genre that eschews the extraneous: just a man, a guitar, and a story to tell. Such a barebones approach combined with his ability to render sorrow sweetly makes his music perfect for fans of Jason Isbell or James Taylor — give it a stream below if you’re in need of some meditative self-care, and keep an eye out for his forthcoming EP Mood Music For Introverts out March 6th.

The thunderous four-piece Aubrey Hays Band, led by none other than its titular member, just released her first single, "Isn’t It Enough." Produced at King Electric Studios by engineer/producer David McDonald, the song is an ethereal, vulnerable glimpse into a tender heart, one unsure of where she stands in her lover’s life, and even more unsure of her own sense of belonging. Despite its angst-ridden subject matter, "Isn’t It Enough" shimmers with an ineffable feeling of hope, as if, just maybe, things are going to be okay.

Hays’ voice is an instrument unto itself, full of rich, varied tones, technical dexterity, and bursting with emotion. As a singer and a songwriter, she’s prolific, and a force to be reckoned with on the Austin indie scene, and beyond even that, soon enough. Listen to the single below! – Ethan Ames

It’s rare that a record is able to capture a perfect balance of forward momentum and somber reflection, yet this is precisely what New York avant-pop ensemble Green and Glass have accomplished on their debut full length. Such conflicting feelings are likely a product of the band’s methodical instrumentation, the joining of parts from the old world (harps, horns, and drums) and the new (keys and electric bass), which as set pieces for bandleader Lucia Stavros’ show-stealing, often mysterious lyricism, creates an intergenerational atmosphere — chamber pop that feels as modern as it does baroque. This tone is set early in the record on “Green and Glass” and “14 Hours,” whose march-like tempos, somber brass lines and cool synths serve as distinctive introductory fanfares; while the song’s formats may seem familiar at first, the script is immediately upended by the band’s diverse instrumental offerings. This energy continues throughout standout track “Sand,” where the unison of harp and electric guitar against a stuttering percussive line paves the way for an ethereal overture that perfectly blends woodwind and midi leads. In all, Green and Glass delights and surprises at every turn, a lush, experimental yet accessible record that will feel immediately at home with fans of San Fermin or Hundred Waters — stream our premiere below, and catch the band at Threes Brewing on March 4th for their record release show. Photo by Maura McGee

Describing the opening breakdown of “It Isn’t Clean” as earth-shattering is an understatement — in the context of the incubus imagery and foreboding, drop-tuning guitars that characterize this five minute night ride, it’s better described as a hell opening incantation. The debut single by occult-embracing, 70s metal-inspired quartet Castle Rat well demonstrates the bands proclivity towards the old masters, drawing equal parts from the black magic and lyrical subject matters of Sabbath with an eye for the performative panache of KISS. Frontwoman Riley “The Rat Queen” Pinkerton embeds a healthy level of glam into her mic-ripping performance, backed by instrumentation that remains consistently doom-y, yet progressive enough to never get bogged down in sludge. Recommended for fans of hair metal or Ari Aster’s Hereditary, stream our premiere of the track below, and see Castle Rat tonight at Baby’s All Right, supporting Stonefield. Photo by Jessica Gurewitz

Seán Barna is an enigmatic everyman. For all the various idiosyncratic struggles he processes on new single “Eastern Junk Dancing,” the experiences of “scraping together whatever money you can to galavant up and down the last coast in a tour van,” the mental gymnastics of re-interpreting the steely resolve of Margaret Thatcher as a way to merely exist as a queer person, they’re delightfully idiosyncratic, yet immediately resonate with anyone who’s had to hustle for the dream or persevere despite feelings of inadqueacy or non-normalcy. These quotidian trials as narrative, which Barna chronicles in melancholy-yet-hopeful voice, one that evokes equal parts Destroyer and David Bowie, against a glammy, acoustic vamp, makes for a joyful bop; it’s a celebration of the radical act of staying alive, which after all, is something worth commemorating, if even for a few fleeting hours on Houston Street. Listen to it below if you’re feeling doubtful of your own starpower to remind yourself that, despite it all, you’re still here. —Connor Beckett McInerney

White knuckle post-punk barrels down the highway on Support*, the standout 2019 effort by New York trio FREE $$$. Armed to the teeth with guitars and marked by an ear for infectious danceable grooves, the band’s first full length evokes the spirit of the Talking Heads infused with the larger-than-life bravado of early 70s experimental rock, this latter facet a product of frontman Ben Petrisor’s frothy vocal performance. Petrsior’s pipes are immediately evocative of several similarly guttural singers who precede FREE $$$ (Captain Beefheart and Joe Cocker are among the first to come to mind), the centerpiece of the outfit’s drama that puts their sound over the edge; it embeds Support* with a necessary energy that in large part makes the record feel just on cusp of spinning out of control, vocals that, alongside breakbeat percussive rides and driving guitars, exhilarate and enthrall even the passive listener. Stream it below (preferably while already seated), and catch the band at Our Wicked Lady on February 28th for the Winter Madness semi-finals.