It’s hard not to feel lonely when listening to Sign of the Good Times, the latest full-length by New York-based songwriter Tim Barr. Even as the backing instrumentation swells to fill the room with his somber blend of indie and folk, Barr’s iconic vocal performance is hushed and reclusive, a product of both his process (the record was self-produced on tape in the artist’s apartment) and of his philosophy in writing the record, which serves as an exercise in “accepting and appreciating the totality of human experience as it is.” It’s this approach that makes Good Times an evenhanded resonant record, with Barr willing to dwell on differing memories — snapshots of playing baseball and kissing in the rain (“I Become Everything”) are presented in tandem with recollections of lost love (“Wolves”). The end result is a deeply human release, a mixed bag of feelings and emotions, presented by an isolated narrator looking outwards, trying to make sense of it all the best that he can; listen to it below when you’re trying to do the same. —Connor Beckett McInerney

Mexico City by-way-of New York quartet Frege return with the spacey “Disentwine,” bringing along vocalist Simon Balthazar (Hieronymous) to provide a light, lounging performance over the outfit’s shuffling progressive pop. Inspired by bouts of “depression and imobilizing apathy,” the transnational band embed sparse, distant synths and meandering bass into their new offering, inducing feelings of dissociation broken only by the odd keyboard tickle and a last minute drive that employs the song’s various disparate components into a short instrumental vamp, all before slowly fading to black. Despite the social isolation present, there’s a palpable warmthin “Disentwine,” due in large part to the group’s preference for analog machines, which paired with its vocal elements creates an interesting dissonance, a feeling of being present but not actually there, per se. Give this sleeper bop a stream below as you mull whether to go out or stay in.

New York trio the Ehems carefully thread the needle between indie and garage on “Eh Eh Hem,” gleefully demonstrating their love of fuzz and Kodak film in the track’s visual component. Beginning on a gainful riff and concluding with a vague, repeating mantra that continues throughout the song’s two and a half minute runtime, the three person outfit drive and groove, leaving room for muted, overdriven instrumental segues. No bells and whistles to be found, their focus on creating energetic rock highlights the band’s desire to embody the city’s history of fervent, guitar-centric music, as evidenced by their recently released VHS live-show compilation. Give it a spin below, and head out to Berlin on February 6th for their first show of the new decade.

Noah Chenfeld further cements his status as New York’s brutally honest troubadour with new offering “Late.” Expanding beyond the upbeat cynicism of last year’s “I Love Being Tired,” his latest track is a dark lamentation on the eggs broken to make an omelette; brooding organ riffs accent Chenfeld’s crooned aphorisms, bitter statements on unsavory choices and necessary evils. Amidst these dejected declaratives is Chenfeld’s brand of vintage-inspired indie — driving guitars and gain-heavy vox embed “Late” with a classic sound, further driving home the timeless nature of the song’s themes, the adversity inherent to modern living. Drink it in with our premiere below.

There’s no rest for antifolk folk hero Talulah Paisley, who over the last three months has made a consistent habit of releasing engaging-yet-muted singles on Bandcamp, manifesting a mood board of introverted, off-the-cuff observations that showcase her prowess as an insightful songwriter. “Call” is the latest entry to this sonic scrapbook, a soft slow jam marked by a careening vocal performance against a steady acoustic accompaniment. Present are the somber similes we’ve come to expect from Paisely’s uniquely folksy craft (“squish me like your third grade putty”) amongst impressionistic observations of heartbreak — paired together, they create a grounded recollection of love and loss that makes a seemingly intangible sadness feel painfully real. Stream it below ahead of her February 10th performance at Mercury Lounge alongside Razor Braids and Dolphin Pal. —Connor Beckett McInerney, Photo by Julie Orlick

A pleasant springlike sound permeates Jeremy Gustin’s electronica offerings on Mere Husk, the latest LP he’s recorded under The Ah moniker. Perhaps its the tactile percussive elements on tracks like “The Factory Girl” and “Watermelon Tears” that feel like a more grounded Animal Collective b-side, or the pleasant twang accompanying keys on “Just Relief” that resonate as charming and homegrown, the type of soundtrack for a weekend bike ride around Greenpoint or a walk in Prospect Park. Regardless of which specific instrumental accents endow the record with its bouncing, verdant energy, the summation of Gustin’s varied synthetic process makes for a colorful release, one that showcases a keen ear for abstraction, creative melodies, and off-kilter sounds. Give it a listen below before the rest of the album drops this Friday (on NNA Tapes), or attend the album listening party at Step Bone Cut on February 1st.

The wicked, envious crooner is an old character in the book of rhythm and blues, and Sean Carroll is the latest performer to don the costume. New aptly titled single “Jealousy” embodies a lasting R&B tradition, made more contemporary by Carroll’s inclination towards confrontational guitar work, yet with distinct classic influences — still present are a roaming organ groove and a sauntering percussive beat. Fans of more recent R&B outfits like the Black Keys and Jack White will find “Jealousy” accommodatingly vintage and chock full of soul — give it a listen below (preferably with cigarette and whiskey in hand).

Memories have a way of shifting and transfiguring the past, creating picture shows in the mind that, while fictionalized, are still “based on a true story.” Such mental Kodaks inform the track “Sideways” by NYC-based the Gloomies, a collection of acid-bathed footnotes, rife with recollections of black lights and clear perfumes. It’s a fitting tune given the Gloomies’ recent relocation to Brooklyn from Southern California that the first single from the project’s forthcoming LP Romance would be a psych-pop yarn from their last summer; crunchy vox and meandering guitars abound on this track, placing it squarely between the sounds of artists like Ariel Pink and the thematic overtones of Thomas Pynchon’s Inherent Vice. Listen to this tastefully far-out track below. —Connor Beckett McInerney

Album rollout cycles have become increasingly creative in recent years — while 2020 is very much still in its waxing period, we tip our hats to Hillary Capps’ forthcoming album, The Way Back Home, for its slow unveiling in coordination with our sister Moon. Releasing in four parts in tandem with the four lunar cycles (new, waxing, full, and waning) and over the course of the year’s first five months, the tracks themselves slowly illuminate Capps’ penchant for lush indie pop and introspective lyricism. Home’s inaugural New Moon cycle presents listeners with two tracks (“Slow Motion” and “You Could Be The Moon,”), songs centered around beginnings, both setting the stage with their respective rising, dramatic builds, offset by spacey guitar work and shuffling grooves. Those interested in following the record’s rollout can presave it on Spotify, and those seeking a celestial listening experience can catch Hillary Capps at Rockwood Music Hall, Stage 2, on January 25th.

Godspeed, the latest offering by NYC indie quartet Shadow Year, is an ode to the fast-changing nature of city living, a collection of vignettes expressed through synth and guitar-centric indie, backed by instrumentation that encapsulates an energy chaotic and wistful. Whether the band is recounting seeing your crush while waiting for the J Train on opener “For The Weekend,” or longing for the unattainable on the release’s title track, the EP is bound together by the quotidian, universal struggles of living in New York, underscored by a swelling, occasionally discordant playing. A healthy dose of contemporary punk, slacker, and post-rock, Godspeed’s sound is expressive and raw, yet never unhinged, a collection of tunes for anyone who’s keeping it together under pressure (which is, to say, most of us). Listen below, and see Shadow Year at Trans Pecos tonight, January 23rd. —Connor Beckett McInerney

National Sawdust’s The Revolution is a vanguard series of exciting artistry, a monthly performance that highlights New York musicians pushing their respective genre boundaries in new and innovative ways. This month’s show is no exception, featuring sets from NYC’s very own OJ in the Yams, donSMITH, and Alita Moses, three artists who have found their own ways to energize classic sounds in novel fashions.

For instance, while instrumentally-driven hip-hop outfit OJ in the Yams find their footing in lush R&B soundscapes, their implementation of equal parts rap, vocal performance, and improvisational jazz components creates an auditory tapestry of smooth soundscapes.

Likewise, rapper and performer donSMITH’s utilization of classic hip-hop sampling techniques, paired with a gritty vox and contemporary perspective breathes new life into the genre’s earliest formula; his track “Penfeld” carries the torch of NYC’s well-vetted rap history while paying homage to its true roots.

Rounding off the evening’s more visceral performers is Alita Moses, whose own brand of jazz vocal performance feels just at home against a contemporary instrumental backing as it does against a three piece ensemble, always effervescent, occasionally playful, and punctuated by an ever-present range. Get your tickets here, and get down in Brooklyn this Thursday for three tremendous performances. 

If you’re feeling stressed out–or feeling anything at all–I suggest plugging into one of Yolanda’s newest jams, “Sick Pike.” The song is dreamy drift into trippy town and the accompany video matches that vibe to a t-shirt. The animated short features a flower-eyed dino-creature mounting a horse and galloping into a forest. Illustrator and guitarist for the group (as well as Bells Atlas, Perhapsy) has really expanded as an illustrator into some fun and elaborate territory and we’re all for it. The single was recorded mostly at home and mixed mostly at Tiny Telephone. We missed their release show but stay tuned more more more and tune into this lovely dreamy find. –Michelle Kicherer, Associate Editor