While the thought of life after college terrifies many young adults during the final years of school, Brooklyn’s Loose Buttons know how to use their new-found free time: focusing on their indie rock band. Since graduating a few years ago, the quartet they’ve released a well received debut EP in 2014, opened for popular acts such as Grizzly Bear and My Morning Jacket (at the CBGB Festival) and also headlined big local venues like Brooklyn Bowl. The quartet’s 2016 single “Crowded Room” strays away from the fuzzy garage rock of their previous single “Thrill”, while bringing a more melodic and cleaner approach, referencing the sophisticated pop of the eighties of bands like Prefab Sprout and Talk Talk. The guitars and drums create the tracks compelling danceable rhythms, while Eric Nizgretzky’s placid vocals paint a vivid picture of making out in a crowded room until the song slowly fades as with rolling drums and moaning guitars. – John Honan, photo By: Spencer Kohn

We added this song to The Deli’s playlist of Best songs by emerging NYC artists – check it out!

We clapped for a man who had eaten four hamburgers, someone from deep in the crowd. Loko Ono’s drummer Jason Adam picked him out.

That was after vōx’s (pronounced “wokes”) opening set, which the audience gave a wide berth for. She ended on the floor after escaping from a sheer curtain, shadows of lancet arches blocking out flowers as she became a voice and nothing more.

And in the end, Jason and Kathleen Adams ended on the floor too, turned into some jumbling mess of limbs after recalling tales of a primitive world. A rhetorical question fell on self-conscious ears—most people were not willing to dance. But that didn’t undermine Loko Ono’s performance; it was quite clear they did not give a fuck either way.

By the time Miya Folick carved out her stage, fans were lining the ramparts of Non Plus Ultra. Formalities first: Folick revealed the music video for “Pet Body”, which also debuted at 2015’s CMJ Music Marathon. She watched on from the sidelines with her crew and Nick Ventura (Froth, HOTT MT), subbing in with his faded fiesta red Jaguar.

Minutes later, Folick was staring at the sea of strange darlings, head submerged in tessellations of light. We nearly suffocated on neighbors’ small talk until she cranked the fuzz way up and blew the room out. Made it sound large and vast like the ocean. She had no trouble adjusting; it was clear as the first time we saw her that the singer was in her element no matter the crowd. All she needed was a crowd.

You get a second chance next week at Girlschool Collective’s collab with San Pedro’s Third Thursdays Live, minus Loko Ono/plus Gavin Turek, Dot and DJ Suzie Strong. – Ryan Mo, photo by Rachel Collins

Folk-pop duo Dear June have a new EP due out in August and were recently nominated them in our best-of New England poll, so now’s a great time to get caught up on the pair. Their previous Fences EP nailed down the fundamentals crucial to solid songwriting.  The project hangs it hat on understated multi-instrumental arrangements, simple melodies and most notably the harmonization of Liz Ziebarth’s and Justin Kelley’s voices. The two sing together for long stretches across the LP, and form a sum that’s greater than its (already great) parts. It’s the emotional and romantic quality of their male and female voices combined that adds what either of their voices can’t contribute individually. We’re excited for their Come Around EP due out 8/18, don’t miss the release party that same night at The Red Room Cafe on, before they go on tour. —Henry Solotaroff-Webber

After moving to New York City from a small town in California, The Mystery Lights solidified their lineup and won over Brooklyn crowds with their vibrant and rough garage-psych. The band was the first to put out a release on Daptone’s rock imprint Wick Records back in June with their self-titled debut. The quintet’s vintage sound is deeply rooted in the spirited nature of garage and punk, while also bringing ’60s blues rock to the table. Album opener “Follow Me Home” features fuzzy, hypnotic guitars and rumbling drums with lively fuzz-soaked rock and roll vocals that often employ a yelping delivery. “The energetic track “Too Many Girls” (streaming) evokes the early soul and funk records with a smoother delivery,  call and response vocals, and winding guitars. The Mystery Lights will be playing Baby’s All Right on August 17th! – John Honan

Following her appearance at Ontario’s WAYHOME festival, Bishop Briggs (fka BISHOP) releases her new single "Pray (Empty Gun)" to much blog fanfare. The net-banger pits In Return-era  Odeszian synths strained through recuperated trap beats, courtesy of producer duo MJ&iRoK, with the cosmopolitan voice of LA-transplant Briggs.

Bishop Briggs plays her next show with Coldplay at the Rose Bowl on 8/20. Listen to Pray (Empty Gun) below. – Photo by Chad Kamenshine

"Through Being Hip," the latest single to drop from fuzzy surf-pop band YJY, is an upbeat anthem set against the millenial malaise. The song explores the murky territory of navigating trends while still trying to figure out a person’s own individuality–a crossroads many twenty-somethings face. The ironic lyrics are supported by catchy instrumentals with surf rock drumbeats, that have the potential to become our next earworm. Look out for a full album dropping soon, but in the meantime, check out the latest single below. – Olivia Sisinni

Soft Fangs is the lof-fi bedroom pop recording project of singer-songwriter John Lutkevich. His debut album The Light was recorded in the attic of his childhood home, to be then released in March via Exploding in Sound Records and Disposable America. Its lo-fi quality and melancholic vocals breed a warm and intimate atmosphere born from Lutkevich’s desire to alleviate life’s struggles. Evoking the vulnerability of Elliott Smith and atmospheric sonic inclination, Lutkevich wears his heart on his sleeve when talking about growing older, being unable to find a job, and waiting around for someone to love you back. His vocal delivery is desolate, and sometimes borders on a whimpering tone, however, when paired with the tender guitars and lush instrumentation, his songs can provide a cathartic release. Soft Fangs will be playing at the Cake Shop on August 13th and the Throne in Brooklyn on August 19th! – John Honan

After four years, Sleepies are back with a new full length entitled Natural Selection, released on July 16th via Mirror Universe Tapes. The record marks a definite shift for the band towards late ’60s British psych. The opening two songs ‘Chips Left‘ and ‘Genetic Cousins’ (streaming) toy with melodies reminiscent of unforgotten madman Syd Barrett, but fill up the sonic spectrum with a tense and fuzzy blend of garagey distorted guitars. Following song “All Over The Years” follows recycles Parquet Courts’ "Nu-Post-Punk" sound (a recurring influence), although the spacey chord changes never fail to remind us the psych nature of this work. Delirious power-track Sky Chase is filled with urgency and intriguing vocal arrangements, while pushing the saturation of their garagey sound to eleven. Throughout the album, the guitars always lay the groundwork with threatening tones and riffs, but this tension is constantly resolved through memorable choruses and vocal melodies – for a satisfying listening esperience. – John Honan

When The Smell was given notice to close for demolition, news spread like wildfire and galvanized Southland’s music comunity into action. Organizer/musician Gregory Cole (Crescendo) scrapped plans for his summer DreamGaze Festival and concentrated efforts to raise funds for the legendary venue. But he was not alone in that endeavor—Cole reached out to two active veterans for help: Top Acid‘s Chris Gonzalez and guitarist/singer Sophie Negrini (Janelane).

"Gregory messaged me out-of-the-blue because he had read a post of mine [where] I wrote about how much The Smell meant to myself and the rest of the community when the building first received its demolition notice," Negrini recalls. Even though the three ran in different scenes, the DIY venue’s monumental influence brought them together. 

With owner Jim Smith’s blessing and months of planning and outreach, over 30 bands joined with hundreds of fans on August 6th in a converted warehouse space near the San Antonio Winery. The three were rarely in sight—always running from stage to stage, prepping backlines, moving equipment, and keeping the cross streets free of pedestrian traffic and litter. Crowds moshed and nodded in solidarity. Despite minor issues with sound and schedule (it’s never picture-perfect when you’re DIY), the festival came up with over $15,000 raised.

"This is the teamwork & togetherness that saves The Smell. I have no doubt in our community’s ability to achieve [The Smell’s] permanence of address for generations of music lovers of all ages," says Cole in retrospect.

Gonzalez was even impressed by the results. "I think that’s just a huge indicator and a true testament to how much respect everyone has for Jim and the sober scene he’s created at The Smell."

Check out our photo recap of Save The Smell Fest on our Instagram @TheDeliLA. – photo by Rachel Collins

You might not think you know Luke Reed, but odds are you do, at least from the bands he’s in. A member of Bent Shapes, Mini Dresses, Fedavees and Feral Jenny, Reed is deeply embedded in Massachusetts’ music scene to say the least.  He’s an accomplished solo artist as well, having released tracks over the past few years that range from mellow to psych pop to a standalone krautrock track — no kidding! His latest single is called "Without You," and seem to take a nod or two from The Avalanches tune of the same name, sounding almost like a hungover version of it. With tropically inflected guitars, Reed’s vocals add another dimension to the track’s wistful, psychedelic and disoriented, and sing repeatedly "I wouldn’t know which way to go without you." This song prooves Reed’s talent is only matched by how busy he must be with all these projects, and you can see him live solo at Great Scott on 8/18. —Henry Solotaroff-Webber

Forming as a duo along opposite coasts, Jackal Onasis eventually became a Brooklyn-based fuzz rock trio in 2015. Influenced by bands such as My Bloody Valentine, Autolux, and the Deftones, their music is a fierce blend of shoegaze, post-hardcore, punk, and noise rock. Guitarist Alex Molini and drummer Jordyn Blakely share vocal duties on their debut full length Big Deal Party, creating delightfully mellow harmonies over the band’s chaotic and sludgy tracks. Their fuzzy noise-pop borrows the soft-loud-soft dynamic from grunge, while adopting the wailing ‘wall-of-sound’ element of shoegaze and noise-rock. Molini and Blakely’s melodic and breezy vocals have an hypnotic effect when paired with their crunchy guitar and bass tones and the crashing drum parts. Jackal Onasis will be playing Shea Stadium on August 12th in support of NYC legends Fiasco! – John Honan

We added this song to The Deli’s playlist of Best NYC songs by emerging NYC artists – check it out!

foster., a NYC based artist blending blues and hip hop, delivers a hard-hitting track to the tune of "Think Me a Fool." The song, which lauches with a soul-quaking guitar line a la Gary Clark Jr., combines hip hop beats, with vocals that feature the warm distortion of an old school radio. The single is catchy, raw and seamlessly mixes two genres in a way that feels fresh. Check out the track below, and click here to hear more from foster. – Olivia Sisinni

This artist submitted music for coverage here.