New York punk veterans Weeping Icon returned late last year to deliver their self-titled LP, an exciting venture into the worlds of noise and electronic, a disorienting effort that upends expectations at every corner. Alternating between guitar-driven rides and sound collage vignettes, Weeping Icon basks in the experimental, effortlessly switching between spoken-word dirges on tracks like “Natural Selection” to screaming hostile takeovers on songs like “Power Trip” and “Ripe for Consumption.” In incorporating facets both harsh and experimental, the band taps into uncharted sonic territory that is engrossing and terrifying; listen below, and catch Weeping Icon at DRTY SMMR on January 10th, alongside Faccia Brutta and SIGNAL.

Garden State punk trio Wyndup Kid exude the type of energy you’d find at a New Brunswick basement party, and their latest effort S(t)OAKED is a rager that’s moments away from getting shut down by the cops. A four track melodically surfy EP, the band brings all bangers, laying down fast rock n roll with hilarious, indulgent lyricism; when they’re not wilding out after consuming a drugged “Spiked Cake” or driving 80 down the parkway on “Turnpike Kids,” they’re speedily recounting relationships on “Josie” or wilding so much insofar as they’re being escorted from the premises on “Kick Me Out.” Fun, vivacious, and never boring, Wyndup Kid embody the youthful energy you’d expect from three wild New Jersey dudes (and I write that as a formerly wild dude from Jersey myself). Stream them below, and catch them shred at Muchmore’s on January 9th. —Connor Beckett McInerney

On December 27, the San Francisco experimental rock group Dear Banshee released their latest, Viva Guernica. Title track has an accompanying video with dark synth feels and creepy vibes—in a good way. Catch them playing in Oakland at The Golden Bull January 23. -Lucille Faulkner

Queens-based “folk/goth” outfit Winnebago Vacation combines the quiet solitude of bedroom pop with the acoustic textures of the great outdoors on debut LP Camp Somewhere. A project of Queens-based songwriter and multi-instrumentalist Eli Frank, each of the record’s eleven tracks deftly weave guitars, muted lofi drums, and echoing Casiotones to create soft, somber melodies and lonely lyrical testaments, a well-balanced mix of emo, electronica, and indie rock. Overall, it’s an excellent collection of songs for driving down an open road with no destination in mind; listen below, and catch Winnebago Vacation at Muchmore’s on January 5th, supporting Barely Civil. —Connor Beckett McInerney

Jangle pop project Egg Cream crafts vintage bops evocative of sock hops and soda bars with a grunge-y twist. New record Can’t Stop The Cream is a smattering of concise, primarily minute-and-change songs characterized by catchy hooks, drum machines, bravado-laden vocals and synth flairs, creating music you’d expect from a parallel dimension Buddy Holly. This album will immediately be at home with fans of Christopher Owens / Girls, or those with a penchant for rockabilly seeking a more contemporary spin on the genre; give it a listen bellow, and see Egg Cream at Alphaville on January 7th alongside Paddlefish and ZZZwalk.

Self described “sad and fast” Brooklyn powerpop quintet Answering Machine live up to their own characterization on new single “Bad Luck,” embedding their most recent output with a healthy dose of shredding and brightly lachrymose lyrics. Unwashed guitar tones underscore the progressive churn, positing a melodically grungy instrumental line, made clean by the occasional explosive solo and front woman Samantha Campanile’s sunny vox; neither depressive nor wholly optimistic, “Bad Luck” is a good groove for a warm (yet overcast) afternoon, or visiting Coney Island during the offseason. Listen below, and see Answering Machine at the Gutter Bar on January 9th, supporting Math the Band.

Since their relocation to NYC, Portland-bred indietronica outfit Gold Casio has been persistently tearing it up at venues throughout Manhattan and Brooklyn, and while the band has been quietly at work at their next forthcoming effort, their performances are something to behold. Witnessing tracks from their most recent EP SINNERS at Berlin this past September, it’s hard not to be impressed by the band’s ability to render the breadth of their nudisco in real time, from the breakbeat four-on-the-floor of “Make You Mine” to the start-stop stutter of “Love vs Logic.” Perfect for fans of Chromeo (or their Pacific Northwest compatriots Yacht), the band’s true magic can only be captured in a live setting; as such, you should stream them below before catching them at Mercury Lounge on New Year’s Eve, supporting Pink Flamingo Rhythm Revue and French Horn Rebellion, but only if you want to start the decade in an undisputedly funky fashion —Connor Beckett McInerney

As he does all things, Fantastic Negrito is celebrating the end of decade in style. The singer combines passionate blues meets soul meets R&B and is a performer you won’t want to miss. Fantastic Negrito is playing a two-night residency at The Chapel, concluding with a New Year’s Eve show. What a way to end a decade and what a forceful way to start the new year. Here’s a taste of some of his latest work, featuring blind dancer Odil Gerfaut. Presented by Folk Yeah, get your tickets now. –Lucille Faulkner

Grand Kid’s brand of groove-focused roots rock is equally at home in the city as it is in the Upstate countryside, an indie romp with all the trappings of good Americana, wrapped up in a Fender-friendly package. Their debut EP We’ll Be, recorded at New Paltz’s Welterweight Sound Studio, has all the energy of a live performance, bolstered by the occasional dramatic instrumental breakdowns; three quarters through driving introductory track “They’ll Be,” Grand Kid engages in a chromatic descent, just ahead of exploding into a lush chorus before seamlessly transitioning into a falsetto-laden last minute bridge. While just two tracks, We’ll Be demonstrates the Brooklyn trio’s willingness to engage in experimental song structures while maintaining all the fittings of classic (yet modern) instrumentation. Listen below, and catch Grand Kid at C’mon Everybody on January 3rd, opening for Gorgeous and Leafing. —Connor Beckett McInerney

The term “jam band” can be a divisive term, evoking images of meandering guitar work and instrumentation pandering to a heady listener base, and while NJ-based outfit Garcia Peoples incorporates psych rock as a founding pillar of their music, their new LP One Step Behind embraces a fuller sound. Opener and title track “One Step Behind” begins on a jazz fusion note, gradually segueing into an accessible, more indie influenced groove; while there’s no shortage of noodling guitar solos, the band’s eager incorporation of garage and prog rock could turn even the most reticent of listeners into full fledged fans. Stream it below to hear for yourself, and catch Garcia Peoples at Le Poisson Rouge on December 30th, opening for Ryley Walker.

Avant rock performer Katie Burden just released the title track of her forthcoming album Edge of Sleep, and it is a captivating representation of the song. Burden, who has spent the last few between San Francisco, Los Angles and New York, created the album with a new level of consciousness. Of the name, Burden says, “There’s that ancient Toltec wisdom that describes our conscious life as a waking dream that we sort of project into the world…’Edge of Sleep’ refers to an occurrence that shakes one from their waking dream and brings about a new perspective or way of seeing.” Title track lies somewhere between Björk and Florence and the Machine. The video depicts the frustrating place between awake and conscious and emotion, dragging a woman through a house where she can’t seem to decompress. Enjoy Burden’s new video and keep an eye out for her full album Edge of Sleep out January 30, 2020. –Michelle Kicherer, Associate Editor

Long Island-based songwriter Annie Trezza dwells on inertia throughout new single “Drinking Beneath a Pear Tree,” contemplating the merits of productivity (or lack thereof), quitting drinking, and the unwritten future. The track is an evenhanded tune that seeks not to focus too much on the positive or negative facets of remaining in place, but rather transmit all passing thoughts to the listener lackadaisically through a rolling vocal melody, acoustic arpeggios, and the occasional electric guitar accents. It’s recommended listening for those who find themselves spacing out during these short December days, and for those seeking centering folk that sounds as nostalgic as it is of-the-times; stream it below, and catch Trezza at Mercury Lounge on December 27th.