To be clear, the Winter Solstice is happening on December 22. But that shouldn’t stop you from celebrating the darkest night of the year (in advance) with the Non Plus crowd this Sunday. The illustrious Deb DeMure, aka Drab Majesty, performs its last show with some novel Bay-area lovelies. Exray’s conjure their signature grainy sci-fi sounds, followed by the experimental pop project Naytronix (of tUnE-yArDs), whose live set is rumored to reimagine songs from his latest album Mister Divine. Creepers will end the night, drawing out some drug-addled psych visions. Guest DJs Kerry McCoy and George Lesage IV of Deafheaven facilitate our journey into the dusk. – Ryan Mo

This blog covered Brooklyn based songwriter JJ Byars‘ old band Hungry Hands back in 2012 and noticed that they seemed to be "going through a lot of changes" – as if that wasn’t the case for 95% of the bands out there… Well it looks like JJ’s band mate related turmoil led him towards a solo musical project, which produced a full album released in June of 2015, and entitled ‘Waterlogged.’ A lot of tracks in it are just vocals and acoustic guitar, although one of the tracks featuring drums is so good they make us think he should probably give the band idea another shot. ‘Migration’ (streaming below) is a song that can make your day, with its celestial melody that defies gravity and expectations. It’s also based on some kind of premonition, since it revolves around the lyrics "this year there’s no winter" – which is true, although the song was released last summer. This track, together with opener "Blue in the Face" showcases a songwriting development towards elegant pop melodies and arrangements reminiscent of a sparser version of Grizzly Bear, while most of the other songs on the record reveal more folky overtones. You can see JJ Byars live at Rough Trade on January 9th with The Can’t Tells and Bear Ceuse.

Although released back in 2010, Brooklyn trio Corporal’s self-titled album still intrigues with its smooth aggression. Fronted by the deeply talented actor Michael Shannon, Corporal gracefully melds the genres of rock, folk, and Americana on the 10-song effort, recalling other bands while still sounding fresh. From the propulsive, Heatmiser-like “Glory” (streaming) to the tumbling, Tom Waits-esque “Let Me Eat It,” Corporal is both proof of Shannon’s several talents and an elegantly compelling re-discovery. The band plays Baby’s All Right on Saturday (12/19). – Zach Weg

Yohuna is the ambient pop project of Johanne Swanson, a Brooklyn based native of Eau Claire, WI. The artist’s output is somewhat dispersed and reveals a very active collaborative spirit: a fair amount of tracks feature also other artists, like many of the ones found in the project’s Soundcloud profile, while others are split releases with up to four acts involved, like her 2013 "Clubhous Split," a digital record shared with other three dreamy and atmospheric female artists: Emily Reo, MoonLasso and Brown Bread. There seems to be only one "proper" release so far, and it’s 2011’s "Revery," an uber-mellow but still playful DIY work full of interesting textures, mostly forged by using reverbered vocals, distorted synths and effected drum machines. "Mateo" (streaming below) is probably the most satisfying track out of it. Yohuna will be performing at Baby’s All Right on 12.22. – Photo by M-P Photography

Aliso Viejo’s Pedestrian recently released Healthy Ways to Die, an album that gives new meaning to the phrase "freezing-point depression". Nine songs draw from solitude and capitulation, transmuting the propulsion of Brand New and Explosions in the Sky with the desolation of Deathconsciousness. It’s austere, boundless, and cold as the deserts of the South, with thick sheets of Luke Feilberg’s and Logan English’s guitars that arrest their solemn and soft-spoken lyrics. Hypothermia never sounded so sweet.

Listen to Healthy Ways to Die, released on Sun Terrace Records on Bandcamp, iTunes, and Spotify. Pedestrian celebrates their record release with The Swan Thief, Conheartist, and Ridgeway this Saturday, more details here. – Ryan Mo

If there’s a DC band that’s found the staples of punk, it’s definitely Brick Top. Featuring raspy, yet clear vocals and a messy harmony between guitar and drums, these four guys have nailed a familiar, but distinctive sound that’s exciting and is reminiscent of the 90s, recalling greats like Jawbreaker and Bad Religion.They just put out their very first EP and you can find the sweet title track below. There are only six tracks, but they explore a nihilistic sense of being and futile view of modern existence. It may be pop-punk, but that doesn’t make it any less dark. -Jonathan Goodwin

Pairing a singer-songwriter loaded with creative ideas and a multi-instrumentalist recording/mixing engineer is a formula that more often than not produces winning results. This is precisely what you get with Brooklyn’s Citris and their recently released album “panic in hampton bays.” Lead singer Angelina Torreano impresses with an alluring blend of come-hither bravado and lyrical nihilism, while do-it-all musician Chris Krasnow contributes drums/bass/guitar/synths/horns/percussion and backing vocals along with recording, mixing and mastering the tracks. Album opener “On The Sidelines" channels Daydream Nation era Sonic Youth and the way Steve Shelley’s tighter, more controlled drumming locked in with the single-note guitar riffing of Thurston and Lee. The chorus vocals change all that with harmonizing far more evolved than anything SY ever put out, moving things closer to the ear pleasing fourths that Drew Citron and Frankie Rose did so well with Beverly. Universally relateable lyrics “maybe we’re just rejects, force fed concepts all the time” progress to a coping mechanism of how “maybe we can be friends, see through the same lens on the sidelines.” “Burn Into The Sun” has almost a jazzy feel to it, which fits nicely around the wordy, impassioned vocals and busy drumming. Clocking in at over five and a half minutes, “Little Scars” ambitiously combines 90’s grunge Courtney Love angst with bombastic choruses and even a prog-rock tandem guitar interlude. “Here I am with the poison. I’ve given up, I’m not disappointed. Not looking for love, just want to hang out with you.” There are times when that’s all you need. – By Dave Cromwell

—Michelle Bacon 

I was listening to one of the staff members at White Oak Music & Arts as he told me about a ska show that broke capacity and a restroom sink.

That was mayhem compared to Wake Up, SFV, which floated upwards of 100 occupants shuffling between main stage and the lobby. On Sunday, the almost-nondescript music store, nestled with mechanic shops and powered by the will of 818, was host to a plethora of bands that not only called attention to the Valley’s diversity, but more importantly its spirit. From 5 p.m. onwards, neighborhood youth shared cigarettes and sipped on tallboys as homespun vendors displayed their arts and crafts with decorum, beaming with a confidence and sincerity rarely felt in Los Angeles.

And I moved with the crowd through the different phases that claimed my musical adolescence — the genres that waxed and waned in popularity, but never lost their tenacity. From Tone in Georgia‘s well-groomed freakouts to The Aeons‘ feel-good maximalism, 100 Once‘s acapella cover of Evanescence and R!OT‘s dextrous remix of Shia LaBouef. The Unending Thread‘s toe-tapping emo-soul and those cathartic shivers of COEX, down to the fog-heavy end of the Fever The Ghost‘s glitched-out mecha fantasy. Every band brought their all, and the spirited youth gave back tenfold. 

Happy anniversary, White Oak Music & Arts. And thank you for wake-up call, Cesar Alas. – Ryan Mo

What do Rubblebucket, Bear In Heaven, and Delicate Steve have in common, besides being based in NYC? Each of these musical projects contributes to new "super-group" Alexander F with a band member. Thankfully, this new musical project doesn’t sound like a mix of those three break out artists, but rather like a devastatingly fun version of the loud/quiet/loud rock of the ’90s, updated in a direction that’s more modern and more punk at once. We are digging their two Bandcamp songs (streaming below), which bode very well indeed for a night of abandon and debauchery at Union Pool on December 18. Kalmia Traver of Rubblebucket will be DJing. 

From the subzero depths of the Diamond Valley Lake, Shojo Winter premieres the title track to their upcoming EP release, "Somewhere Else", the first sign of life since their summer debut "Eternal Snow". Kevin McVey and Patrick Capinding, commonly associated with the ear-rending, emotionally destructive shoegaze band Crisis Arm, started on a new project to embrace glacial bleakness of coldwave and ethereal dreampop. Teaming up with Patricio Bautista, the three reimagine the glossolalic verve of Cocteau Twins and Lowlife in the wake of a post-Third Impact world.

Shojo Winter are holding a two-part release show, details below. – Ryan Mo

Dec. 18 — The dA Center for the Arts (Pomona) with The Victoriana, Shit Giver, The Lowered

Dec. 19 — House show (Lawndale) with Cruelty Code, Chikochikorita, and C. Kiten (Brittany Scheffler).

Rock’n’Roll, folks… will it ever get old? Not if keeps churning out bands with the attitude and chutzpah of Brooklyn’s Junk Boys, a garage’n’roll quartet that will be celebrating the release of their debut, self titled LP at Baby’s All Right on 12.16. Channeling at once rockabilly riffage and the fuzz-worthy sound of garage all New Yorkers should be able to appreciate, this is a band that can write and deliver punchy ol’ rock tunes without sounding passe’ and, at least on record, knows how to pull off the genre’s antics. If they can replicate this live (we bet they can), fun should be had in great amounts – you can experience this on your skin on December 16 at Baby’s All Right. Check out our favorite song "Sad But True," streaming below.