This August 3rd at the Starline Social Club, Ariel Wang releases her second single, “House Upon a Hill,” off of her forthcoming album Bridges. The set will feature her string chamber orchestra, The Composer Arranger Performer Orchestra (CAPO). Wang’s music has simple folk melodies with an orchestral feel and although the vocals are at times not the strongest component of these songs, they are enveloped by a warm chorus of violins, booming cello and compelling drumlines. Wang’s music feels like the soundtrack to a powerful moment and listening, watching, you can’t help but feel overwhelmed in the right kind of way. Join the band at Starline, where they’ll be opening for Meerna’s album release. – Michelle Kicherer, Associate Editor

New York based multi-instrumentalist Conrad Hsiang creates chill, lo-fi influenced soundscapes under the project name Public Library Commute, drawing from both Japanese hip-hop and contemporary alternative RnB to craft something novel. Last year’s sienna 1999 encapsulates these diverse genre influences in perfect form, with tracks like “fake hawaii” employing sticatto vibraphone-like noodling over Hsiang’s detached auto-tuned vocals. Hsiang’s lyricism and vocal performance in particular breathe new life into a genre of music that’s frequently criticized for its repetitive nature, elevating lo-fi from its stream-heavy, easy-listening reputation to something that is engaging—but still relaxed. Listen to it below, preferably while basking in the warm summer sun. -Connor Beckett McInerney

Lo-fi synthpop artist Grace Ives released her second album — appropriately titled 2nd — this past April. It received critical acclaim from sites like Pitchfork, where writer Sasha Geffen compared Ives’ music to LCD Soundsystem for its tracks’ electronic backbeats and succinct length. The album could attract resonate with the fans of James Murphy’s band, but also folks into Ariel Pink, or Slingshot Dakota — or any artist or band with a knack for sharp songwriting and explorative musical arrangements. Ives will perform on July 18th at Elsewhere on a bill with UK-based soul artist Tirzah; go discover both artists for yourself if you haven’t yet. Take a listen to Ives’ "Icing on the Cake" below. – Will Sisskind

Combining elements of pop, jazz, soul and heavy rock into an appealing progressive mix, Brooklyn’s Kleptokrat is a band intent in expanding the parameters of alternative rock. Their newly released sophomore EP “Momentarily, to Grace” boasts five impeccably recorded, genre-twisting tracks. Soulful horns and sweet, jazzy female lead vocals establish the mood on opening song “The Great Leap Forward.” Over the track’s four minutes, precise, angular structures give way to floating ambient interludes that merge together with beguiling charm. “Jumping Ship” applies those light and airy vocals to a lyrically dense story of relationships coming undone, punctuated by heavy bass, sax and drums. “Kleptocito” further adds touches of latin rhythms to what becomes an over five minute instrumental tour-de-force. Final cuts “The View at Bethlehem” and “Body in the Room” bring back those engaging, honeyed vocals over alternately dreamy-to-frenzied compositions. The band kicks off their summer tour at Rose Gold on 7/9, followed by a stop in Philly on 7/11. Full tour dates can be found here. – Dave Cromwell

Maisy McVicar’s music is not of this time, and possibly not of this terrestrial plane. Recording under the project title Milky Maze, she creates haunting, beautiful folk, lyrically reminiscent of turn of the century Dust Bowl music, accentuated by echoing, distant instrumentation that places the final product somewhere between Dave Van Ronk and the Elephant 6 Recording Company. At times on her latest effort, hank, guitars and banjos become so gain-heavy they attain an other-worldly quality, becoming monoliths of sound that, alongside McVicar’s ethereal falsetto, deliver a final product that is both somber and spiritual. It’s necessary listening for fans of experimental folk, and promises a celestial performance at The Glove on July 12th, alongside Joanna Stemberg, Liam Kirby, and Michael. Listen below. -Connor Beckett McInerney

Union City’s The Lo-Fi’s embody the type of slacker rock mentality their name suggests, crafting fuzzy, sing-speak narrated vamps tailor made (and fostered by) the northeast DIY scene. Recent single “Rest Assured” embodies these qualities in the best way, finding strength in syncopated vocal lines, tinny percussive beats, and reverbing blue wave riffs, perfect for nonchalant dancing at a basement show, or in my case, dissociating on the L train. Jam it below, and catch their easygoing bops at Trans-Pecos on July 24th, supporting Earth Dad, Ocean Heights, and Pynkie. -Connor Beckett McInerney

Little Arcs’ latest release, First One, is a trio of songs with beautiful harmonies and surprising key shifts that work bright and true, every moment of it. It’s clear these folks have an understanding of creative composition and some jazz backgrounds. Little Arcs is for diggers of Whitney, appreciators of Radiohead and lovers of juxtopositions. It’s like if Grizzly Bear was even more chill and included a female vocalist in the mix to lighten the harmonic balance. The band just put out their first cassette, which you can snag at their last show before summer break–July 13th and 14th at their own abode. You can find out the location of these semi-secret shows on their Facebook. It’s all high praise, we know. But these folks are a gem and we recommend catching them while they’re around. – Michelle Kicherer, Associate Editor

New York electronic duo Local Dialect excel in creating understated techno, crafting tactile soundscapes that would feel just as appropriate underground as they would in open air. Their recent drop “Poseidon [REALM]” is a perfect example of this two-pronged production mentality, with its deep, brooding bass underscoring energetic, almost tropical percussive accents. The pairing of these two subsets of electronic music—the mixing of both dark and light elements—makes Local Dialect’s music recommended listening for summer nights and July pool parties alike (or perhaps both, if you’re dancing long enough). Stream it below, and catch them at Elsewhere on July 13th, alongside Willaris.K. -Connor Beckett Mcinerney

Brooklyn-based songwriter Iyves has maintained a relatively low profile since her breakout EP Chromatic dropped last year, a release lauded by many outlets for its urbane alternative R&B sound. With newly arrived single “Gold,” Iyves reemerges on the scene after a year-long hiatus, laying down a sleek, dramatic foray into the New York night. As a track, “Gold” finds strength in its cinematic delivery—its vocals grows from muted to explosive over the song’s three minutes, playing opposite to grandiose electronic bass hits, in a performance that wouldn’t feel out of place in a Bond film’s opening credits. It’s an exciting, theatric ride, one that promises more sultry jams from Iyves throughout the second half of 2019. Stream it below.

Dreamworld, the new LP from Brooklyn-based artist Simon Garrett, spills out onto the canvas like a knocked over can of paint, incorporating smatterings of electronica, breakbeat, and alternative rock throughout the course of its nine distinct tracks. It’s a record that’s hard to pin down, and Garrett seems to like it that way, directly confronting the listener by means of off-kilter percussive segues (“Expalina”), power-pop anthems (“Whole New Shaky”), and bare-bones lofi folk performances (“Last Sunday”). While by no means a thematically cohesive work, Garrett’s penchant for weird, disconcerting sonic textures and drive for experimentation ultimately delivers an album that’s satisfyingly strange, offering an idiosyncratic take on numerous genres from a radically new perspective. Listen below, and catch Simon Garrett on July 16th at Sunnyvale, supporting Racket Man, Tidal Gloom, and Phil and the Osophers. -Connor Beckett McInerney

New York-based polymath KYOSi describes the process of crafting her new extended play in terms of resonant beauty. “The question I ask myself is ‘did I make something I believe to be beautiful?’ and if the answer is yes, then I’ve reached success,” she says. As such, the recently released Negative Space contains a smattering of diverse genre influences—equal parts jazz, EDM, and pop— all congealing to create something as aesthetically pleasing as it is avant-garde. The EP’s title track is a standout example of this mellifluously-focused philosophy, with KYOSi’s vocals drifting in over reverb-laden seventh chords, all driven forward by house-inspired percussive breaks. It’s an iconoclastic release that on paper shouldn’t work, but with each separate piece in its right place, guided by KYOSi’s acute ear, it delivers a lush, experimental listening experience. Stream it below. -Connor Beckett McInerney

What America needs on July 4th—or at the very least, what it deserves in our current political climate of intense partisan divide— is honest-to-God punk music that will shake us from the collective drunken stupor of holiday shenanigans. Dryclean is here to deliver this necessary intervention on their just-released Tired & Wired EP. Delivering mid-paced melodic grooves reminiscent of ’90s California garage rock, the New York trio’s performance gets to the core of many collective frustrations, be it our relationship with technology on “Technodrome,” or the general listlessness of existence on “I Don’t Know.” While not an overtly confrontational EP, it’s a sharp reminder of the dehumanizing effects inherent to the 9-5 grind, and as such, an energetic act of resistance against the powers that be. Rip it below, and catch them at Sunnyvale on July 10th, supporting I Am The Polish Army. –Connor Beckett McInerney