Lillet Blanc’s music takes a hint from their namesake: both are intoxicatingly sweet, yet refreshing. The band’s execution of the dream-pop aesthetic showcases honeyed melodies, boasting Emily Rawlings’ vocals whirling through a backdrop of groovy pop stylings, and cutting through the sonic daydream with beautifully pure high notes. Thankfully, the band’s “moody songs with a lil’ sass” avoid falling into an excess of saccharine by featuring near-sinister lyrics that give them a unique edge. For a taste of something special, check out Lillet Blanc at Trans-Pecos, tonight (11.03). —Amanda Ogea

It’s been two years since Brooklyn dreamgaze collective No Honeymoon released their excellent sophomore EP “Together Alone” (reviewed on The Deli here).  The long wait for new material is now over with two tracks currently available as a preview of their latest EP “It’s Whatever.”  Recent single release “Were Doing Fine” shows the band stepping back from their previous, heavier shoegazey guitars, opting instead for a cleaner sound that helps highlight an heart-tugging melody and emotive vocal performance.  Newer cut “Don’t Want To” (streaming below) brings that weightier force back, while introducing what sounds like an organ behind the verses, with the vocal performance of Cait Smith reminiscing, at times, of The Cranberries’ Dolores O’Riordan.  The unexpected tempo shift occurring a third of the way through slows things down to a more deliberate, buzzy and distorted sonic resolution.  You can preorder the EP now, with the band playing a show the night of its release at Trans Pecos on 11/10. Photo by Aya Sato  – Dave Cromwell

The thing that makes New Myths so hard to pin down is, paradoxically, how familiar their music feels. The synths and dance beats are recognizably new wave, but the guitar tones pay tribute to angsty alt-rock. To top it off there’s a mood of goth darkness veiling the vocal harmonies and instruments below it. Blended together, New Myths’ sound is relatable yet exciting calling to mind alternative classics without over-referencing any particular artist. You can experience it live next at Brooklyn Bazaar on November 16^th. – Cameron Carr

Blood Cultures’ buoyantly catchy single “Indian Summer” dropped all the way back in 2013. “Indian Summer” was an electro-indie gem that gave a glimpse into Blood Cultures’ distinctive talent for poignancy and melody. It’s a style the producer/multi-instrumentalist has come to master on his debut LP, Happy Birthday.

In the four years since “Indian Summer” dropped to considerably positive reception, hype over Blood Cultures’ debut has ebbed and flowed. It’s rare for an artist not to capitalize on the type of momentum generated by a successful indie single like “Indian Summer.” And it’s even rarer for an artist to fulfill the promise of a well-received single in the way Blood Cultures does on Happy Birthday.

The album feels truly sonically coherent. Throughout, Blood Cultures riffs on the soundscape he painted in “Indian Summer” in varied ways. And they’re all wonderful and welcome experimentations: Drawing from a palette of synths, dreamy vocals, found sound-esque samples, and filtered guitar riffs, Blood Cultures creates a record chock full of standout tracks. “Phospholipid,” which feels like a musical cousin to “Indian Summer,” is one such standout. The lyrics echo the longing and pathos felt in the melody: “You ask yourself what am I to do? (You ask yourself, you ask yourself) Your mother says don’t let him get through (Your mother says, your mother says) You ask yourself, what am I to say? Don’t give me away Don’t keep me astray The way you play your games.” It’s simple, yet potent stuff. The best of Lykke Li and or a subtler M83 come to mind.

Elsewhere, “Coastal” is an expressionist dream that builds and strengthens with synths and sweeps reminiscent of Kool and the Gang’s legendary soul hit, “Summer Madness.” Album opener, “Scenes from a Midnight Movie” is a fitting declaration of Blood Cultures’ artistic vision: “Oh please, tell us about all the things you have seen About all your visions and all of your dreams It seems to me That you’re set free It seems to be The only possibility…” It’s a vision full of pathos, wonder, and joy. – juan leon

Xhosa. Babyteeth. Sunspeaker. Slurpee. Din Ra. If the names of the artist playing at avant-garde venue Trans Pecos on November 2 don’t intrigue you enough, the music definitely will. Xhosa blends hip-hop, electronic, future, and smoky, piercing vocals. Slurpee’s tracks are wonderfully spastic bursts of bubblegum electronica. Babyteeth (formerly RIVKA) produces chill vibes with dark tendencies for a haunting effect. Downright beautiful, hypnotic electronica characterizes Din Ra’s music. With this eclectic roster, there’s something strange for everyone.

Comprised by Reni Lane and Anna Nordeen (two NYC artists whose solo careers were covered in this blog) Fever High just announced the November 10th release of their debut album "FHNY." The duo plays a brand of retro-pop that seems to look for inspiration in all the sunny and melodic musical eras of the past. if the synthpop of the ’80s is a recurrent influence (hear 2015’s break out single "Tantalized" in this regard), the preview track from the upcoming full length, "Casting My Spell" (video streaming below), reinterprets the west coast’s pop sound from twenty years prior, when the Beach Boys had just broken into the scene. The other single "Good Advice," also included in the upcoming release, features more exotic influences conjuring up beach parties in the early aughts. Stay tuned for tour dates.

hunter & wolfe has made their mark in the indie rock sphere with their uncanny ability to be at once tender and unquestionably vulnerable while maintaining a blithe sense of self-awareness that prevents their songs from crashing into overly emotional territory. Their soon to be released EP, the cleverly titled Late Then Never, seems to be shaping up to deliver more of their hallmark charm as the band just dropped their third single from the record, "Dear Annie." The acoustic track is stocked with smart lyricism and a heart-wrenching melodies that are sure to pierce anyone who’s ever become ensnared by the throes of love and loss. Check out "Dear Annie" streaming below, and keep your eyes peeled for the album, coming out early November. – Olivia Sisinni

Pollen can be invasive, and (as those with allergies know) it’s basically everywhere; but from out of the powdery, sneeze-inducing substance springs life. In a weird way, this almost parallels the overall vibe of NYC. It’s a cramped, noisy place infested with people and ideas, but every so often the seemingly aimless find their mark and creativity blossoms. It makes sense then that eccentric avant-pop act, Pollens, would call NYC their home. The band, who, to take a quote from their bio, specializes in " ecstatic readings of boring lists," takes a unique approach to songwriting that seems almost tailor-made for the Buzzfeed generation. But don’t let that fool you: though the band claims to want their music to be – to steal another quote – "dumb and immediate," their latest release, Mister Manufacture, packs a lot of heart into its celebration and dissection of the 2017 human condition, and the mundanity of modernity. With a decent amount of noise and a flair for the experimental, the album manages to be surprisingly catchy and well worth checking out, so be sure to stream Pollens below. The release party is scheduled for November 16th at Secret Project Robot. – Olivia Sisinni

A Shadow of Jaguar plays hazy, 70s-inspired rock n roll sans pomp and/or circumstance. The Brooklyn-based-via-Colorado duo are gearing up to release their first ever LP, RAW, and if single "Veruca Bath Salts" is anything to judge by, the album’s title is more than apt. Blending bare-knuckle and gritty rock with tongue-in-cheek lyricism and old-school cool, A Shadow of a Jaguar is one feline-themed band you’re going to want to pounce on. Check them out streaming below.-Olivia Sisinni

If you haven’t checked out Thick yet, now is probably a good time. The Brooklyn garage rock trio has been buzzing lately with a nod from The New York Times in an article on how women are making the best rock music and a feature on Glassnote Records Noteworthy Compilation. The attention is much deserved. Thick play hooky garage-pop that marries grit, power and three way harmonies. Whether you’re already a fan or just want to see what the hype is about, you can catch the band at Union Pool on November 9 with The Wants, BLED, and Future Twin. – Cameron Carr

Far be it from Brooklyn breakout band Zuli to do anything with subtlety; they’ve released their debut album On Human Freakout Mountain at a pre-Halloween fiesta at Murmrr Ballroom, complete with some bloody Facebook pics to promote the event. The new LP contains ten tracks from Ryan Camenzuli — the brain behind Zuli — which carry the groove-laden jams of 2015’s Supernatural Voodoo up another level. Played live, these songs electrify any crowd; at the Halloween release show, produced by creative collectives CON TEMPLATE and Loop Troupe, they made listeners catch their breath more than any ghoul ever could. Listen to the title track of On Human Freakout Mountain below. – Will Sisskind

Sweet Cream is a band that sits comfortably in their genre. Namely, classic rock, though with a hint of country, and a few mingling folksy harmonies. "No Light Light" has a self-aware, sultry darkness to it, bringing out slick guitar fills from within the crevices of the arrangement. The band might not be breaking down walls, but their music approaches every aspect of classic rock with taste and nuance – Sweet Cream are certainly carving their name into the plaster. Catch them live at Mercury Lounge with The Wild Reeds on November 13th. -Geena Kloeppel