Ireland-by-way-of-Brooklyn composer Alex Dowling’s forthcoming release Reality Rounds promises an esoteric, experimental affair, an LP that seeks to incorporate faith and futurism into a disconcerting effort. Lead single “King of Thumbs” sounds off as a distress signal from a lonely A.I., replete with autotuned vox, tactile accents, and spacey analogue synths. Dowling conceived Rounds as a hypothetical “future ritual of Dataism, a new religion that worships the eternal flow of data,” employing themes not unfamiliar to fans of Frank Herbert and Phillip K. Dick in cinematic fashion; his music dips deep into the uncanny valley, finding a place where the human voice and computer-produced tones intersect, exacerbating this uncomfortability to deliver visceral, confrontational electronic music. It’s a bold take on the Singularity, a vision that will be expanded upon when the record drops January 31st; stream “King of Thumbs” below, and catch Alex Dowling at Shapeshifter on January 29th.—Photo by Emma O’Halloran

I’m On Your Side is the latest LP by Sonny Santos’s project The Shivers, and it’s a muted, atmospheric record; most of the album’s nine tracks saunter along, accompanied by minimalist synths, mild electric guitars, and an understated vocal performance. It gives the entirety of the album an introspective quality, spotlighting Santos’ melancholic lyrics and hushed vox, while providing the necessary instrumental backbone to keep things engaging. It’s perfect for listeners seeking something quiet, but never sleepy; stream it below, and catch The Shivers at the Sultan Room on January 9th. 

Brooklyn-based performance artist and musician Wsabi Fox may have dropped the video for “Flamingo” a few months ago, but it’s lurid, captivating visuals have a way of remaining with the viewer long far longer than its five minute run time. A dance between Ruben Sindo Acosta and Wsabi Fox bandleader Jennae Santos, dramatically captured amidst flashing lights and alternating day-night shots, lends a compelling aesthetic to the band’s stumbling, synth-friendly prog rock; it’s final image of Santos, lying motionless on the floor, as Acosta is seemingly recedes into the darkness, leaves onlookers with a haunting mise en scene. It’s a taste of the type of poignant performance Wsabi Fox will bring to C’mon Everybody on January 23rd — watch it below. —Connor Beckett McInerney

Tall Juan’s psych-garage rock has been a consistent presence within the New York D.I.Y. scene of the last five years, but on new LP TALL JUAN PLAYS CUMBIA, the enigmatic artist exchanges guitar pedals for auxiliary percussion, opting for a more genre-specific album that retains all the charm and quirks of his existent releases. Single “Vienes y Te Vas” is a sunny cover of a cumbia staple, and while a departure from the fast and rough sound we’ve come to associate with Tall Juan, feels instantly familiar. Coupled with tongue-in-cheek video of the artist playing music on the beach and the occasional superimposed sappy imagery, and you’ve got an alt-latinx bop tucked away for warmer months. Watch it below, and catch Tall Juan at Knitting Factory tonight.

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