Oakland’s Gorgeous released Gorgeous this fall and we just want to give an extra shout out to the band. They’ve got a funny B-52’s vibe but with a poppier, modern clever feel we dig on hard. Where are the shows, girls? We are ready, Freddy. –Lucille Faulkner

Carvest, the latest LP by Brooklyn-based polymath Scott D. Townsend (recording under the project name HARD JOB) splits the difference between Townsend’s lively, melodic songwriting and a vast array of experimental, instrumental parts. The album opens with “I Look at Miserable,” a 90s rock inspired track that showcases Townsend’s bombastic, raw vox against a repeating, major bass loop, squealing riffs, and a floor tom heavy percussive line; this sound quickly transitions to “White Noise,” a song underpinned by reverb heavy drums and a persistent noisy hum alongside Townsend’s bright, alternative radio-friendly vocals. Later HARD JOB goes full art pop with “Dating In Your 30’s,” a fun upbeat tune supported by a constant kitschy metronome-like beat and various echoing electric guitars. Overall, Carvest is a deeply interesting and wholly disorienting effort, cohesive in its creator’s desire to reinvent a plethora of different genre influences in his own image, making for a fascinating listen. Stream it below, and catch HARD JOB at Alphaville on December 19th, alongside Painted Faces, Human Flourishing, and Video Daughters. —Connor Beckett McInerney

There’s an immediate warmth present in “Used To,” the latest single by New York-based artist Talulah Paisley, a feeling derived from the track’s lofi production and Paisley’s earnest, down-to-earth lyricism. While detailing the feeling of being the subject of another’s affection, and the subsequent feelings of dejection when that affection shifts to another, Paisley strums and plucks, shifting the tempo of her folk in an energetic, albeit sad fashion. It’s immediately evocative of NYC’s antifolk scene, and recommended listening for those seeking acoustic songwriters with a raw, tell-it-like-it-is voice; stream it below, and catch Talulah Paisley at Baby’s All Right on December 19th, alongside Zenizen and Water From Your Eyes.

Irreverent genre-wanderers Seldomo are seemingly never comfortable putting out the same flavor of music album after album. Their latest double single Insomnia / Scrap King is a hard pivot from their 2017 folk-tinged LP Probably Cool, informed by the same delightfully weird songwriting yet noticeably more discordant; both tracks’ psych-surf-stoner-rock sound feature heavy riffs, an abrasive drive, and the additional saxophone accents. It’s recommended listening for fans of The Oh Sees and screaming in general; jam it below, and catch Seldomo at Hart Bar on December 20th.

Multi-instrumentalist dreamweaver Jason McMahon developed his forthcoming LP Odd West with the intention of crafting music he could play for his parents and wedding ceremonies. This mindset produced an end result that is a grounded yet experimental acoustic effort, one centered around McMahon’s noodling guitar performance and bolstered by avant-garde vocal and electronic flourishes. Single “Book of Knots” encapsulates his mentality well; string arpeggios both major and minor play center stage, surrounded by various dreamlike accents from synth, electric guitar, and flute, all contributing to final effort that has all the trappings of familiar instrumental classical music with a wholly modern spin. Quietly enjoy it below, and catch Jason McMahon at Roulette Intermedium on January 22nd for the album’s release show. 

Yes, yes, we’re all very well aware that "industry plants," clout chasing, successful exploitation of Spotify’s recommended artists algorithm and just being good and online will likely be greater determinants of a band’s success in 2020 (as they were in 2019 and 2018 and so on), but there’s something classic about a good, old fashioned battle of the bands, the closest thing resembling a bloodsport in the New York music scene. This dynamic is why you should attend, support, or (if you’re a musician) submit to Our Wicked Lady’s forthcoming b.o.t.b., Winter Madness 2020. Over the course of each Friday and Saturday in February, 16 bands will duke it out, competing for a top prize of $5,000, a ten hour recording session at Hive Mind, and a performance spot at Our Wicked Lady’s unofficial SXSW showcase. High stakes and local music make this a must-attend event — check the details here if you’re planning on going, badger your friends in bands to submit their music before the December 25th deadline, and keep an eye out for the lineup’s announcement on January 2nd. 

Another month means another iteration of National Sawdust’s The Revolution. Closing out the year (as well as the decade), this Thursday’s Vol. 45 continues the series’ longstanding effort to spotlight local musicians across the genre spectrum and will feature performances by the artists Childish Japes, Maitri, and Michael Wingate.

While The Revolution’s strengths have always laid in the diversity of sound brought out to Brooklyn each month, there’s a consistent groove that permeates the sounds of this week’s three performers. For example, Brooklyn nu-funk duo Maitri’s electro-heavy, polyrhythmic jams, are matched in vibe by the soulful indie rock of Childish Japes, both inhabiting similar spaces albeit producing their tunes via synthetic keys or an electric guitar (respectively).

Likewise, Michael Wingate will contribute to the evening’s atmosphere with his own brand of rhythm and blues. Cop your tickets here and get your dancing shoes ready for Thursday.

Brooklyn five piece Pale Lights have been a quiet force in the New York music scene over the last decade; following the reissue of their sophomore LP The Stars Seemed Bright earlier in 2019, the band also contributed the joyful twee romp “Golden Times” to Fadeawayradiate Record’s sunshine/psychpop comp F.A.R. OUT last month. A sunny, 60s-influenced tune, “Golden Times” immediately evokes nostalgia in both its lyrics and sound, carrying an energy somewhere between a television variety show and contemporary jangle pop outfits. Underscored by melodic guitar melodies, relaxed baritone vocals, and a swirling organ backbone, the track shows that Pale Lights’ golden times are not foregone, but perhaps still to come. Stream it below, and catch Pale Lights at Union Pool on December 14th, playing in Slumberland Records 30th Anniversary party. —Connor Beckett McInerney

Brooklyn psych rock outfit Early Spring’s music is an impressionistic, watercolored soundscape, replete with hazy vocals and bright, verdant guitar work. Their latest split single hang around + hurt me bad disorients from the start, inviting the listener to let the band’s screaming riffs wash over them; despite the apparent intensity of the group’s gain heavy instruments, their coupling with the Early Spring’s meandering, echoing vox induces a strange calm, a sort-of meditative calm in the eye of a tropical storm. Tune in below, and catch Early Spring at the Kingsland on December 12th, supporting Squeegee Men.

Offset by Fincheresque lighting and massive Phil Collins’ alt-rock instrumental hits, new Nicotine Dolls video “Burning a Good Thing” ruminates on the wandering thoughts that can ruin an otherwise healthy relationship: namely, the desire to be with someone else. In the eyes of of singer-songwriter Sam Cieri, such thoughts as contemplations (and perhaps unintended actions) have a tendency to undo otherwise stable relationships and, in so many words, “burn a good thing.” Against this metaphorical fire, the track’s visuals feature actual flames, not to mention a manifestation of the psyche in the form of physical blackmail; exacerbating the tension of the music video are Nicotine Doll’s massive percussive hits and muted, tactile string work, building to stadium-filling riffs evocative of 80s guitar pop. It’s a dramatic ride from start to finish — watch it below.

Today the folks at Burger Boogaloo announced the 2020 line up with a nice holiday ticket special. The Oakland punk festival takes place again at Mosswood Park in Oakland and will feature our beloved host, Mr. John Waters. This year’s lineup is full of some oldies and goodies. After not having played a Bay Area show in 25 years Bikini Kill brings their feminist punk to the evening stage, alongside folks like San Francisco punk legends Flipper. Sweet and solid Oakland cuties The Younger Lovers are coming along and they’re worth the trip right there. The delightful Plastic Bertrand is gracing our good ol’ fashioned Ameican stage and let’s hope he plays a little “Hula Hoop,” baby. Stay tuned for more on the festival and in the meantime, please practice your hula hooping. –Michelle Kicherer, Associate Editor

New York alternative-R&B crooner Harrison Lipton returns with his latest slow jam, “2 Good 4 Me,” a song billed as the “world’s softest diss track.” Inspired by a less-than-positive public critique of Lipton’s 2018 single “Pool," Lipton, rather than going on the offensive, finds himself cooly turning inwards, examining facets of his persona, his personal journey with queerness, and his life as an artist in NYC. While the song’s primary narrative is rife with self-doubt and anger, its surface level vibe is as nonchalant as ever; easygoing 80s keyboards, Lipton’s distant vocal performance, and an Act 5 surprise sax solo layed down by Zach Berro exude radiant coolness. This combination of components both introspective and confident make “2 Good 4 Me” a resonating effort, a relatable tune for anyone who’s struggled to keep their composure in a world of constant criticism. Listen below, and catch Harrison Lipton at Mercury Lounge on December 12th. —Connor Beckett McInerney