Brooklyn collective Sloppy Jane is slowly but inexorably building a growing fanbase through a double-punch of theatrical post-punk delivered through a live performance that caters to widespread voyeuristic inclinations. At their shows you can expect an atmosphere reminiscent of pagan rituals, where noisy guitars, screaming voices, twisted lyrics and naked bodies concoct a performance that’s provocative at every level. 2018 album Willow sounds like a theatrical post-punk/DIY opera and – allegedly – tells the story of a “girl who existed inside of a strip club in Inglewood, who ran away to the desert to hustle pool with a lion, and who burned herself alive for [our] freedom.” It’s a powerful record filled with odd tracks that develop in unexpected sonic and vocal directions, without ever sounding disjointed or randomly assembled. Its manic energy well represents a band whose most noteworthy strength resides in a live show that is absolutely impossible to ignore. The band recently announced a short tour in the South and their participation in the 2019 SXSW Festival

“Hell is beautiful and everyone wants to go there.”

This haunting sentence lingers, like many, on Brooklyn-based multi-instrumentalist Jake Harms’ “Aquarium,” the title track from his recently released six track EP out on Good Eye Records. Harms, who performs mononymously on Aquarium but comprises one-forth of Brooklyn lofi outfit What Moon Things, channels a baritone vocal performance immediately evocative of late ’70s post-punk, with its mellifluous, dark quality occasionally breaking into a scream against a cataclysm of dreamgaze guitars and analogue synth. The whole of Aquarium is driven in large part by the size and power of Harms’ lyricism and vocal delivery, a heartbreakingly raw performance that explores depression, self-doubt, and regret. It’s visceral, overpowering, and at times deeply uncomfortable, but HARMS composes some of the most honest, unapologetic songwriting to come out of New York this year, meriting praise from its bold presentation of the uncomfortability of human existence. Stream HARMS’ Aquarium below. –Connor Beckett McInerney (@b_ck_tt)

We’ve been saying for years that female indie musicians have, on average, been producing a lot more interesting material than their dude counterparts, and L’Freaq, the project of bi-coastal electronic singer songwriter Lea Cappelli, is another piece in the truly beautiful puzzle representing NYC women’s musical output in the new millennium. After releasing the delicate yet edgy electro-soul ballad "Weird Awakenings," the artists has recently unveiled a darker (and even edgier) single/video combo with  "Moonlight" – streaming below. Channeling the experimental, noir ballads of Portishead, the track features a deceivingly sparse arrangement, blending a killer plodding and syncopated rhythm section with ever-evolving, ambient electronic soundscape. Lea’s vocals not only confirm her noteworthy pipes and silky tone, but also reveal her ability to convey character to a performance and "play" the song’s part, a trait only few musical performer possess. Don’t miss her next live performance at Rockwood on February 2nd.

NYC-based artist Car Astor has given synth-pop a number of makeovers since beginning her solo career in 2016. Over the course of her two EP and two single releases, this singer/songwriter has displayed her talent as an emerging artist by mixing clean blends of synth-heavy electro pop. Her wide vocal range steers her sound, allowing her to deliver in formats ranging from poignant ballads to danceable hits. But it is Car Astor’s experimentation that pushes her music beyond the lines of her genre. Her most recent single, “Girlfriend,” (featured below) coolly executes a catchy pop melody, but is given depth with an electro-rock backbone and a defiant lyrical attitude. Though she may abide by archetypical pop song structures, this frontwoman’s darker style and killer vocal control is enough to give her sound a more sultry, polished edge. Her more touching songs, however, like “She Cries” and “Closed Eyes Open” off her first EP Ties, expose the softness around this artist’s edges with their rich arrangements and thoughtful substance.  Check Car Astor out for yourself on Soundcloud or Spotify and catch her playing live at Mercury Lounge on December 23. – Rebecca Carroll

This lady is a force! We feel empowered just listening to Rose Droll. A genre-less wonder, Miss Rose gives us a little bit of a lot of things and we want more more more. Samples are interwoven in tasteful snippets, from Lou Reed baselines to “This Little Light of Mine” lyrics. There are parts we can only describe as coy-strong lady rap, interjected at the perfect moments (a poetic “…so baby, when you gonna give a fuck?” in the same breath as a line from “Ring Around the Rosie”…what the hell? Yes!). There are colorful bursts of instrumental delight–all her own doings–and to accompany it all, is that voice: fluid, lovely and nailing every pitch it tries to reach. Like we said, she’s a class all her own, but in an attempt to compare: if you enjoy Angel Olsen, Sharon Van Etten, Tune Yards and badass versions of your favorite nursery rhymes, you’ll probably dig this as much as we do. Come see her at The Independent this Thursday the 13th where she’s playing alongside Pllush, Pardoner and SOAR. – Michelle Kicherer, Associate Editor 

 

Brooklyn dream pop duo Datachoir made its debut in late November with a three song EP (streaming below) and… a guitar pedal. For the stompbox-educated, the pedal in question is a reverse delay + modulation device built in collaboration with Old Blood Noise Endeavors – you can read and hear more about it in our pedal blog Delicious Audio. For those who only care about music, instead, Datachoir is comprised of guitarist Cathy Begien and keyboardist Summer Mastous, and their sound will resonate with fans of early dream pop and shoegazer artists like Cocteau Twins and My Bloody Valentine.

Brooklyn indie rockers TOLEDO make things look and sound easy. Anchored by Daniel Alvarez and Jordan Dunn-Pilz, TOLEDO has put out a mix of laid-back singles that showcase a folksy, blissed-out sensibility. With soft, watery harmonies and bright hooks that are easy to sink into, their sound recalls early days of Real Estate or even Fleet Foxes.  As of now, TOLEDO is getting ready to put out their debut EP in February of 2019. You can catch them IRL at Trans-Pecos on December 16th, where they’ll be playing alongside Saint Marilyn and Elliot & The Ghost. Listen to their single “Hot Stuff” below. Sara Nuta

There’s an immediately disorienting quality to “Paradise Flat,” the novel single by New York art pop husband and wife duo Dollshot. The track’s in an off kilter 7/8 time signature that fills each measure with a sense of shuffling unease, while a brooding synthetic bass plays against occasional piano accents. In the eye of the storm is Rosie’s hauntingly vocal performance, a melodic counterpoint to the discordant saxophone of Noah K. It’s a lot to take in at once, given that each musical component comes at the listener simultaneously, but the end result is an impressive synthesis of pop, jazz, and classical instrumentation, one that belies Dollshot’s experiences cutting their teeth at music conservatory before shifting into the world of experimental indie. Futhermore, the track is evocative of other alt-jazz efforts, primarily Radiohead’s "Life In A Glass House," done so in a way that ratchets woodwinds, percussion, and electronics up to an 11. 

“Paradise Flat” is the first single from Dollshot’s forthcoming sophomore effort, Lalande, out January 25th. Stream it below. –Connor Beckett McInerney (@b_ck_tt)

Much of Ackerman’s new 5 track EP, 1000 Variations of Yourself, is shrouded in echoes. This reaches a spacious pinnacle on the penultimate track “For Everyone You’ll Never Know,” where two-plus minutes of silky reverberation precede the core of the song. Ackerman, which describes itself as an “experimental rock group and multimedia collective,” invests generously in effects-laden transformations of pop sounds. Not to say that the Brooklyn group comes from an otherworldly place—opener “Tiger Traps” brings Animal Collective-esque electronica to the mix, M83 or Grizzly bear style indie rock ambience can be heard in the title track and “I am No Longer Afraid of Coyotes!,” and the closing falsetto and light funk of “Loverboy” holds plenty of pop appeal—but Ackerman’s tendencies toward the dreamy, less expected ends of that world distinguish them in the indie pop realm. Listen to 1000 Variations of Yourself below. – Cameron Carr

Since last year’s lovely-brilliant EP “The,” we’ve been awaiting the next move from Oakland’s own Perhapsy, solo project of artist Derek Barber (Curls, Bells Atlas). The new album, “Kingdom Starlight Bliss,” weaves an energy both soothing and invigorating. A shoegazing lover’s dream, songs are textured with the intricate guitar work that earned Barber his mad respect. Resonating melodies reach an almost intergalactic quality (check out The Curse!). His sweet vocals express emotions that are at times darker than most of his previous work: sad stories sprinkled with tough emotions and epiphanies; references to dooming relationships and dark times ahead. But as Barber puts it, “Kingdom” is an album full of endings, changes, and the eventual sparkle at the end of the tunnel. Give it a listen and check out those sweet images, too (did we mention he’s also a cartoonist?)….Enjoy! – Michelle Kicherer, Associate Editor

The National Sawdust’s ongoing series “The Revolution”,  is dedicated to showcasing local artists and collaborators and Saturday 12.15 is The Revolution, Vol. 34. This month’s acts include Salomon Faye, Melissa McMillan, and Zoo Berries. 

Melissa McMillan puts an ambient, electronic twist on R&B vocals. Her velvety voice soars over dark, looming beats and ominous percussion. Her latest release, "Shade," is a meditation on contemporary jazz and Neo-soul.

Salomon Faye is a French American rapper who uses his particular brand of avant hip-hop as a jumping off point to explore the arts and music scene in Brooklyn. Many of his lyrics are often introspective and lean towards the philosophical. In 2017, he put out his King Salomon EP, which featured J. Cole and this year he dropped the single “Whatever,” back in November. After being associated with the A$AP Mob, Faye opted to pave his own path and collaborate with underground artists around him to create THEiLLUZiON, a collective of sonic and visual artists. After spending years behind the scenes, Salomon Faye has set the stage and put in the work to finally assert himself as a trailblazer in the NYC underground hip-hop scene.

Zoo Berries find a fusion between funk, jazz, r&b through grooving bass and smooth improvisation. Throughout their latest, EP.1, the 7-piece bring together sax, drums, guitar, bass, piano, and spoken word, creating an easy-going instrumental sound that brings together the best aspects of traditional funk forms and contemporary compositions.

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You can buy tickets to The Revolution Vol. 34 Saturday 12.15 here. 

Brooklyn indie rock trio Valentin Marx is premiering here a brand new single, titled “Made Up.”. This band has certainly reemerged with an enlightened new perspective on this track, exposing more than just their collaborative talent. “Made Up” offers a bold look at the modern social landscape (and all zombifying apps that come with it), voicing the afflictions of forming relationships in the digital age—and it does it with style. Starting with an airy dream-pop feel, the song’s smooth jangly guitars in the opening are met by lead singer Andrew Kissel’s slacker-ish vocals, forming a tension that is all too fitting for this track’s lyrical context. Being just the first taste of this band’s upcoming releases, “Made Up” gives a relatable, jam-worthy preview of the new material that can be expected in the new year. Check out Valentin Marx’s newest single below and stream their earlier music on Bandcamp. – Rebecca Carroll