Demo is a cursory, two-track offering by Brooklyn-based five piece Oil Bay, one that despite its short nine-minute run time firmly establishes the band’s ear for enchanting garage and tactile synths. A-Side “STRANGERdemo” builds mystery with its noir-inspired melodies and instrumentation, rife with lurid allusions to late night tales and heavy-compress guitars, opening with equal measures of disorienting keys and screaming strings, this downtempo energy fading with the introduction of “SpacesuitDEMO” and its accompanying breakbeat pace. With no shortage of reverb and a flexibility to incorporate experimental electronic accents into their lofi sound Oil Bay is tailor-made for listeners looking for gritty, noisy Indie rock — listen below, and catch them at C’Mon Everybody on April 7th.

Did everyone have a good Saturday? Because High Waisted certainly did. Their recently dropped “Boys Can’t Dance,” the first single off the upcoming Sick of Saying Sorry is a triumphant ode to the weekend, a power ballad on jumping headfirst into the frenzy, inhibitions-be-damned — and it’s accompanying video further emphasizes this hedonism en force. Frontwoman and guitarist Jessica Louise Dye’s powerful vox, proclaims how cutting a rug and letting loose is the perfect panacea to “[being] stuck inside [your] own head,” atop visuals of a wild bachelorette party and body positive male stripping. Massive riffs and danceable melodies abound, indicative of the garage and surf-infused energy we can expect from their new record, out May 22nd. Until then, watch their new video below, and catch High Waisted at Mercury Lounge on February 22nd. —Connor Beckett McInerney, Photo by Michael Todaro

The average temperature in Italy can swell to 80-plus (Fahrenheit) during the summer, producing a sweltering heat that puts New York’s warm season to shame. One can imagine these dry months played into the creation of “Fratello Gemma” by New York-based, Italian born musician Nico LaOnda — the track’s accompanying visuals feature a sweaty tennis match, but the music itself is a lurid, downtempo new wave bop, one that immediately evokes feelings of a hot August afternoon, spent (ideally) in the shade sipping Campari. LaOnda’s vocal performance and Italian lyricism lend to the track’s sweet electronic components in creating a forlorn energy, a recollection of summers past. Watch the video below ahead of LaOnda’s performance on February 12th at Our Wicked Lady.

Kickass is perhaps the most apt name for Brooklyn-duo Venus Twins debut offering, a white knuckle punk drum and bass EP that thrills and chills over the course of five short tracks. Introductory “Addition” sets the tone for this release, wherein repetitive, sludgy bass licks and tightly wound drumming throw listeners into the pit, with later tracks “Meet is Murder” and “DOOM // CRUCIFY” introducing more melodic elements to the band’s sound, the former indulging in occasional math-y rhythmic breakdowns and a joint vocal performance by bandmembers and brothers Jake and Matt Derting. Closer “Vile” is the EP’s most unhinged and industrial effort, filled with dooming breakdowns and screaming vox, showing that while minimalistic hardcore may be Venus Twins bread and butter, they’re not afraid to get really, really weird with it. Stream Kickass below, and catch the band at Trans-Pecos on February 10th. —Connor Beckett McInerney

Brooklyn-based duo and recent Color Station signees Laveda craft shoegaze-influenced indie, with their most recent single “If Only (You Said No)” a lush encapsulation of their pedal-friendly, upbeat sound. Acoustic guitars quickly segues to a hazier, more ambient instruments in the track’s first act, quickly transitioning into 808s-driven synth pop as band members Jake Brooks and Ali Genevich sing in unison, their hushed vocals a somber foreground to the track’s swirling instrumental backing. A far more hushed single in comparison to the band’s previous efforts (“Better Now,” “Dream. Sleep”), “If Only (You Said No” demonstrates Laveda’s ability to creating energetic tunes with an experimental rock influence, perfect for fans of groups such as Slowdive or Japanese Breakfast; give them a listen below, and catch the duo on February 28th at Rubulad. Photo by Andrew Segreti

The music of Ben Seretan has always been characterized by a wistfully classic energy, and with the release of “Power Zone,” his new single precluding his first LP in four years, it feels like the return of an old friend. This tender energy comes in large part from Seretan’s vox, which waver and glide, hovering just above the track’s nostalgia-inducing slide guitars and roots-rock rhythmic progression. “You will always be hungry for something you can’t hold,” he croons, his voice evocative of Neil Young’s equally ghostlike tenor, fading into the background as sax lines and noodling riffs fill up the space. It’s these various easygoing components that make Seretan’s initial offering off Youth Pastoral indicative of his old soul approach to songwriting, a craft that will spring to life at his record release show on February 28th at Union Pool — until then, stream "Power Zone" below. —Connor Beckett McInerney

San Francisco-based Silverware is led by Ainsley Wagoner, a native Kentuckian whose roots infiltrate her songs. Her sound is inspired by Appalachian sparseness and is layered with electric guitars, synths, and ethereal vocals. Her new video for “Finish Line” came out last month and we’re glad to share the dancing joy. –Lucille Faulkner

Silverware – Finish Line | Music Video from Ainsley Wagoner on Vimeo.

Last week Oakland-based Sour Widows released one of their first singles, “Tommy” off their upcoming self-titled EP. The EP was recorded at Fantasy Studios just before they closed (and in part over at Decibelle Studios in SF). The song is dreamy and full of hooks and melodies we crave. The band is playing a few upcoming shows, including some SXSW spots. Be sure to check them out! –Lucille Faulkner

Upcoming shows 1.19 – San Francisco – Club Night, Patio 2.16 – San Francisco – KXSF Live Session 3.16-3.22 – Austin – SXSW 4.2 – San Francisco – Ratboys

Wolff Parkinson White fully embraces discord on Favours, his first album in eight years, producing glitchy, stumbling electronic tunes that leave space for the human voice. Single “When I’m in Pieces” lets his broken machines spring into action — multi-tonal leads, off-kilter rhythmic progressions, and dulcet accents churn along, with singer Clare Manchon’s vox tethering the track’s seemingly disparate parts to earth. White’s choice to pair his mathy, multi-signature tracks with a vocal performance helps provide structure to chaos, enabling experimentation that always feels in control, a necessary calm in a storm of chiptune bytes and synthetic parts. Stream it below ahead of the album’s release this Thursday, February 7th.

The various moving parts that come together on This Is Just A Place, the latest offering by Brooklyn collective Field Guides, create a verdant mix of folk and dream-pop, creating music that feels both grounded and distant. Single “Guessing at Animals” provides a wide open space for bandleader Benedict Kupstas to experiment, his narrative baritone centerstage, waxing nostalgically, buttressed by layers of interweaving, echoing guitars and the occasional sax line. It is this very synthesis of hazy instrumental backgrounds and Kupstas’ prescient songwriting that provides Field Guides with its greatest strengths, a release that’s drawn from human experience but presented as if viewed by some omniscient narrator, looking down from space — softly recollective tunes for recounting the past through rose-colored glasses. Listen to it below, and catch Field Guides on February 9th at the Mercury Lounge with Onlyness and Rose Blanshei. —Connor Beckett McInerney

It’s impossible to ignore the influence John Darnielle has on songwriter (and erstwhile Deli NYC contributor) Will Sisskind. Similar vocal cadences aside, his music under the Paris Buns moniker charts its own course on Charm (Metromania I), the first in a year-long series of emotively-inspired EPs. Backed by barebones electric drums and minimalistic synth contributions, Sisskind sings about the role charm itself plays in disparate social settings, whetherits inconsequential flirtatious banter (“Sphallolia”) or the inclination to smile in social settings (“The Eccedentestiast”). Verbose, prose-filled odes paired with driving acoustic guitar make for a unique effort that showcases the Paris Buns as a daredevil songwriting act that’s perfect for fans of the Mountain Goats or AJJ — give it a listen below.

Brooklyn post-punk quartet S.C.A.B. firmly establish their laid-back jangle-friendly sound on debut Beauty & Balance. Interweaving, bright guitar arpeggios, rife with treble, create a harmonious backdrop for vocalist and songwriter Sean Camargo’s freeform vocal performance, one that modulates between aggressive sing speak (“Negroni Week”) and sliding slack-jawed melodies (“Beauty”). The synthesis of these two elements keeps the record fresh throughout its eight tracks, an engaging blend of lo-fi, instrumentally-driven pop and new-wave inspired vox. Give it a listen below, and catch the band at Jones Beach Cafe & Bar on March 6th, supporting Plight.