Today Oakland’s The Saxophones released the second single off their forthcoming, sophomore album Eternity Bay (out March 6 on Full Time Hobby). The song is a fusion of jazz, quiet pop and folk. Vocalist Alexi Erenkov says of the album, "While this record was influenced by a broad range of music the through line seems to be conveying a strong mood or sense of place. I love music that transports listeners to another space, whether it’s Jonathan Richman making you feel like you’re walking the streets of Boston in ‘I Love Hot Nights’ or Arthur Lyman transporting you to a Hawaiian hotel lobby in the 50s." Erenkov and wife Alison Alderdice create songs that live up to that transportive feel. Catch their latest single here and be on the look out for upcoming tour dates and Eternity Bay. –Lucille Faulkner

Emerging five years after the joint release of double albums ! and ?, Sean Cronin’s Very Good bursts back onto the New York scene with the timely release of new record Adulthood. The ragtag band of banjoleles, clarinet, plectrum resophonic guitar and tuba belie Cronin’s New Orleans jazz background, superimposed over contemporary indie-inspired songwriting, freak folk gang vocals, and forays into the theatric; in short, there’s no shortage of disparate threads Very Good has weaved into this impressively diverse nine track offering. As so much of this LP was inspired by the “several musical lifetimes” lived prior to its release, Adulthood very much lives up to its namesake, a sonic memoir that represents differing influences that magically congeals into a cohesive, functioning album, a smattering of eclectic folk and chamber pop that delights and surprises the listener at every turn. Stream it below, and catch the band at the Ace Hotel on January 19th. —Connor Beckett McInerney

A persistent sense of dread dominates “Gracie,” the latest music video by Brooklyn-based indie outfit LAPéCHE. Perhaps it’s the synergy of outdated televisions and a 1950s costume aesthetic that seems inherently Lynchian — alternatively, the track’s dramatic vocal performance by Krista Holly Diem and esoteric lyrics create for a somber listen external to any aesthetic accompaniment. Regardless, “Gracie” is a compelling visual, seemingly existent in a universe of its own, that showcase the New York four piece’s ear for harmonically minor melodies and engaging, interweaving guitar work, a track that will immediately resonate with enthusiasts of darker post-punk. Watch it below, and see LAPéCHE at Gold Sounds on January 30th.

NYC and Iowa-based musician Pictoria Vark is fresh off her first 2020 show at Muchmores — as she hits the road for her ongoing winter tour, her self-titled remains a collection of sad and predominantly quiet tunes inspired by feelings of inertia, a soundtrack for quiet contemplation and personal crossroads. Written around the experiences of “being home, being young, quitting music, and falling out of love,” the EP is a venerable endeavor, punctuated by the artist’s dedication to radical honesty and a minimalistic instrumental approach, a succinct release for those seeking a fresh voice. Stream it below. Photo by Kevin Jiang

Imagining the haunted machinations of a drum machine is a good way to begin to understand Ghost Piss’s sound. Songwriter and purveyor of 808s River Allen excels at creating spacey electro-pop with off-kilter subject matter, from her ode to Stranger Things’s Nancy Kerrigan (“Nancy, Oh Nancy”) to her celebration of shiny teeth enthusiasts (“I’m Chip Skylark”). Underscored by echoing beats, atmospheric vocals, and a minimalist mindset, Allen’s tracks bring an experimental, dance-friendly soundtrack for nights out on the town or a private disco in your own bedroom; give it a listen below, and see Ghost Piss at Berlin on January 16th, alongside Den-Mate, The Spookfish, and Loren Beri. 

Garage rock four piece Dropper’s debut EP is a sun-drenched, nonchalant release, marching forward at an easygoing pace, bright guitar work and a muted-yet-emotional vocal performances in hand. Even during the release’s most heated moments, such as the shredding breakdowns on “$2 Beer,” Dropper manages to keep their sound centered and energetic, endowing their self-titled effort with an atmosphere that is engaging, never cacophonous. It’s a difficult task to produce guitar-driven rock that spirals outwards as a means of creating a compelling listen, but Dropper are confident keeping things calmly focused; listen to it below, and see the band perform at Rough Trade on January 15th, opening for THICK. —Connor Beckett McInerney

New York indie outfit American Actor’s debut singles Chaos Creator / Cold Hands showcases an upstart alternative group with a penchant for gritty, growling rock and graphic (and sometimes salacious) lyricism. The release’s A Side (“Chaos Creator”) flexes frothy vocals and a sliding, siren-esque guitar, culminating in a no-holds-barred chorus with a heavy crunch, before transitioning to a distinctly chiller B-Side (“Cold Hands”), replete with lewd wordage and a self-effacing perspective. Between the band’s reliance on space-filling electric guitars and the forthcoming nature of their central vox, American Actor’s sound falls squarely between the instrumental stylings of alt giants like The National and the tongue-in-cheek lyrics of Alex Cameron, simultaneously bringing their own uniquely grimy songwriting to the forefront while never pulling punches. Listen to them below, and catch the band’s debut performance at The Broadway on January 27th. —Connor Beckett McInerney

New York punk rock group Unknown Sender spring into action with their debut, self-titled record, incorporating elements surfy, psychy, and thrashy into an ambitious first full length. From the beach-friendly fills in “On Trial,” to the death march drums of “No Use,” to the doom of standout “Engine Failure,” the band keeps their energy upbeat, consistently driving, and melodic throughout the album’s ten tracks. Perfect for fans of Minor Threat and the Menzingers, it’s worth its weight in the sweat and blood expected at their upcoming January 14th Union Pool show — listen below. 

At the core of Brooklyn-based multi-instrumentalist Laura Wolf’s sound is the congruence of tones eclectic and electronic. Her new single “Good Veins” exists at a point wherein the acoustic becomes synthetic, where strings are modified and altered insofar as they become a new instrument altogether, a sound Wolf aptly describes as “cello glitch pop.” Despite the vast change Laura Wolf’s string performance undergoes, it resonates with the listener as orchestral regardless; samplers, keys and vox congeal in a symphonic manner, each individual part brought in to build the track’s dramatic climax, fashioning music that wouldn’t be out of place in a chapel or a concert hall. Listen to the song below, and catch Laura Wolf at the Sultan Room on January 10th, alongside Katie Glasgow, Powerlines, and Foxanne. —Connor Beckett McInerney, Image by Anna Azarov

This Friday Throwin’ Bo’s has a showcase of Bay Area bands that are sure to keep you energized and moving. Oakland’s Babewatch is surfy garage rock with just the right amount of punk. Stress Dreams isn’t as stressful as it sounds but they do describe themselves as “rat” music. Well said, we guess. Local dream catch Shutups are playing the bill, along with the quietest of the bunch, Andy Bender. Need some folk rock with more melodies and twists than you bargained for? Listen to Andy Bender! And come on down to Eli’s Mile High Club. -Michelle Kicherer, Associate Editor

Those seeking a more minimalistic punk offering will find respite in the music of Quaker Wedding, whose 2019 Demo finds its strength in aggressive, electric guitar-driven songs and frothy vox. Recorded and released in February of last year, the immediacy in its release is instantaneously felt; tracks are concise, appropriately discordant, and without any unnecessary bells and whistles, perfect listening for fans of groups like Japandroids or Fucked Up. Give it a spin below, and see Quaker Wedding at the Windjammer on January 12th.

Lily Desmond’s EP Growing Flowers offers a wide selection of sounds as a debut effort, all of which highlight the artist’s songwriting chops and penchant for ear worm alternative sounds. Beginning on a lush, minimally acoustic note with extended play opener “O Hunter” before going grittily electric on “Oleander Eyes,” culminating with the orchestral and dramatic closer “Glory,” Desmond has no qualms with keeping things interesting, exploring different genres with an ease and comfort few can pull off on a first attempt. As such, the entirety of Growing Flowers provides something for everyone, a pleasant smorgasbord that shows an artist willing to explore a variety of differing instrumentations. Stream it below, and see Lily Desmond at Alphaville on January 11th, supporting Ruby and Lady Pills.