Dina Maccabee’s forthcoming record The Sharpening Machine is a balancing act; Maccabee juggles inclinations towards melodic singing and experimental vocal expression, while simultaneously modulating between instrumental textures both acoustic and electronic. While it can be initially perplexing to discern her overall vision, it is out of these contrasts that she creates a tension wherein shifts in structure and sound deliver a satisfying build and release. Recent single “Could You Be Right” serves as a testament to the record’s dynamic nature, changing from stumbling synth lines and a wandering vocal melody to an indie-pop, almost baroque-like march during the song’s chorus (and then back again). It’s a peak behind the curtain to Maccabee’s uniquely singular vision which will drop in full on April 5th – stream it below, and be sure to catch her at The Owl Music Parlor on April 6th with Kaethe Hostetter and Out of Sight of Land. -Connor Beckett McInerney (@b_ck_tt)

Channeling a sound reminiscent of forward looking artists like Radiohead and Pink Floyd, NYC-based band Upright Man molds a signature psych-rock style propelled by a traditional guitar, bass, and drums set up. In their 2017 debut self-titled album, the trio consisting of Aidan Dolan (guitar/vocals), Nick Katz (bass/vocals), and Max Yassky (drums/vocals) flaunts  an assortment of openings for each song that range from punchy and overdriven basslines to swiftly picked guitar riffs. Songs like "Ecstacy" and "Agorognostic" soothe with ambient verses and then explode into hard-charging choruses that show off the band’s authentic sound. In songs like "Say What You Mean" you can hear the folk influences of Led Zeppelin’s groundbreaking second album, and yet, through all these changes the three New Yorkers remain themselves. The album’s title track (which double as the band’s names, since the record is self-titled) is a hard-hitting classic rock ode that truly crystallizes the group’s versatility. Upright Man will be taking the stage at Brooklyn Bazaar on March 15th. – Rene Cobar

Cassandra Jenkins released her debut album Play Till You Win in 2017, but her songs from that record continue to enchant new listeners in different ways. The songwriter released an acoustic version of her cosmic track "Hotel Lullaby" on March 8th, in which she strips the song of everything but her hushed voice, her guitar, and a symphonic string quartet. The track takes on greater intimacy this way, making you feel like you’re getting a listen into its inner workings. This version of "Hotel Lullaby" got some recent publicity when ABC’s Musicland — a show on their online channel ABC Localish — premiered it in a video, showing Jenkins performing the song at the Plaza Hotel where her father used to play piano. Take a listen to the acoustic version of "Hotel Lullaby" below. – Will Sisskind

New York City is a paradoxical place. With familiar landmarks vanishing on the daily, many of the things we conjure when we think about the city are in fact no longer there. This is the city that native Brion Starr inhabits, and his music reflects the disaffected feeling of watching the place you love become unrecognizable before your very eyes. What’s particularly fascinating about Starr’s music is that it draws a lot of influence from one particular New York legend: the underground glam rock scene of the 1970s. The sparkling cacophony of his experimental brand of vintage rock leans more toward Brian Eno than David Bowie, and while watching him perform in sequin jumpsuits its hard not to imagine what those who shaped New York’s past might think of the city today. Perhaps that’s the very question Starr wants us to answer. Wrapping up a tour with The Chills, Starr plans to release his LP Global Identity on March 21st – while you wait, check out “Oh Please”, the first single off the album, below. – Sunny Betz

In an industry dominated by big personalities, it takes a lot for a hip hop artists to stand out. Brooklyn based rapper Leikeli47 has taken on this challenge, ironically, by disguising herself behind a mask – one she dons in interviews and during shows, and is rarely seen without. However, you shouldn’t take the mask as a clue of her being shy, since on her latest album Acrylic she proves she is anything but. Her flow is playful and brash, and on tracks like “Tic Boom” and “Girl Blunt” she experiments with unconventional vocal intonation and rhythm in her takedowns of those who might doubt her individuality and self assurance. Leikeli47 is just one of many talented artists who will be playing this year’s SXSW festival – you can catch her set on March 13th at the Hip Hop/Rap Showcase, and stream Acrylic below. -Sunny Betz

After a year of tribulations, Nate Salman of Waterstrider, poured heavy energies into his newest EP, The Way Out, on 30th Century Records. The result is a warlockian, mesmerizing blend of songs that have the surreal quality of our beloved Enya but with a Julien Ehrlich falsetto and dark, poppy synths. The single “Breed” is melancholy but hopeful. Lines like “Farewell to secrets/I’ll never keep them” are sung with a pure earnestness and are serenaded by keys with an airy, forestlike quality. This experimental, futuristic collection brings Waterstrider into a new realm. –Michelle Kicherer, Associate Editor

FREE Eventm RSVP here! Info about Day One here!

For our upcoming Austin Pedal & Synth Expo Showcase, we are excited to get to feature the music of a couple of NYC locals. The electronic music Beshken makes is meditative and complex, weaving between digital and acoustic instruments with dreamlike results. His latest track, “Cursed”, picks its way between honey smooth synths and dissonant vocal effects, reflecting on the mental revolutions between sleep and insomnia. On the other end, while their lyrics too reflect on sleepless thoughts, the music of CLAVVS is rather lucid. The production on their most recent single “Devils I Know” places the vocals at the forefront of a hypnotic and unexpectedly baroque electronic backdrop. The Expo will be held on March 16th at the Chugging Monkey – listen to CLAVVS, Beshken and the other artists who will appear below. – Sunny Betz 

Wild Pink‘s new EP 5 Songs is a delightful listen, and its remixes and new tracks serves as a fitting primer to new listeners. The group’s last full-length record Yolk in the Fur came out last July, which means that a taste of a something new was in the cards. Therefore, Wild Pink have compiled two new tracks: The wistful "How’s The Tap Here?" about changing relationships, and the anthemic "Coaches Who Cry" about growing up in Virginia. To keep things interesting, the band have also included remixes of three tracks from Yolk in the Fur for the EP: Shy Layers’ trip-funky "There Is A Ledger", Dondadi’s glitched-out "Love Is Better", and Eerie Gates’ atmospheric "All Some Frenchman’s Joke". Wild Pink recently performed at Bowery Ballroom, and they’re currently on a US tour. While you wait for them to return to NYC, you can listen to "Coaches Who Cry" below. – Will Sisskind

We are happy to announce our return to Austin with not one but TWO live show during the famous music festival in the Texan city. The shows are linked to our Austin Synth and Pedal Expo, hosted on the third floor of very central venue Chuggin’ Monkey.

This is a free show – RSVP HERE!

Here’s the lineup and a playlist for the first night, on March 15, hosted at the Chuggin’ Monkey‘s ground floor right on East 6th Street!

M. Lockwood Porter’s single off his forthcoming EP, Communion In The Ashes (out March 29, 2019) is a what a good folk-Americana song is supposed to be: it’s solid folksy rock infused with cultural heritage and the frustrations of our roots. Think Mountain Goats and Neutral Milk Hotel met the passion of There Will be Blood’s Eli–but less creepy, less religiously obsessed. After teaching in San Francisco for over a decade, Porter’s songwriting began to really reflect what he saw. He writes of the frustration of gentrification, of the sometimes heartless culture of change. In his own words, “The tech boom of the last 10 years has totally transformed the whole Bay Area and essentially made it a playground for the rich…Working-class folks and artists aren’t welcome there anymore and this has manifested in rising housing costs, closure of music venues, and the proliferation of homeless tent cities.” His album is an angry-beautiful homage to the people of San Francisco, Oakland, Berkeley. Give this song a listen, stay tuned for the full EP, and catch him at Amnesia on April 19. –Michelle Kicherer, Associate Editor

Swimming Bell, the solo project of Brooklyn-based songwriter Katie Schottland, found its start in 2015, after Schottland broke her foot and used the downtime to learn guitar. Perhaps a consequence of her homespun background in recording and composition, Swimming Bell’s music is endowed with a rare authenticity, creating raw, unfettered folk songs from memories of people and places past. Her newest effort “1988” is the latest example of this craft, accompanied by a video that seeks to recreate the innocent wonder of childhood against lush acoustics and overdubbed vocals. And as the first single from her forthcoming LP, Wild Sight, it demonstrates a focused, fresh approach to folk ahead of the album’s release later this spring.

Schottland will return to New York on April 6th to perform a record release show at Trans-Pecos, supported by Monteagle, Pale Mara, and Andrew Victor. Until then, you can watch the video fro “1988” below. -Connor Beckett McInerney (@b_ck_tt)

Musicians usually have a broad range of influences to draw on, but few can pinpoint them with such specificity as Simon Hanes. As the composer of the 15 piece ensemble band Tredici Bacci, Hanes has a very precise set of inspirations: 1970s Italian film scores. Listening to the music of Tredici Bacci feels like the peeking into a truly eccentric world – Hanes often performs as various characters of his own invention, playing songs that are in turns melodramatic and raucously buoyant. The project’s imagined scores could fit perfectly in a movie by Fellini, for example, and carry all the best elements of camp and drama from the genres the group admires. Their next album, La Fine Del Futuro ’70, is set to be released March 11th – stream their featured single "In The 1970s" below. – Sunny Betz