Over the past few months, Rockaway Beach-docked duo Lewis Del Mar has accompanied its celebrated singles, "Loud (y)" and "Memories," with passages of Pablo Neruda’s and Gabriel García Márquez’s and, on the June-born group’s latest track "Wave(s)" (streaming below), the elegant poignancy of those late literary giants is mixed with a compelling kind of chill-pop. A sunset romance set to gentle guitars, ambling vocals, and lyrics that are both grounded and abstract, the melancholic but ultimately content song proves Lewis Del Mar as an act that can intriguingly bring its poeticism down to earth. Lewis Del Mar plays at Rough Trade on 12.2. – Zach Weg  

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

Flirting with trip hop, soul and electronic weirdness, Brooklyn electronic duo Soft Lit, in their first video "Ocean King" (streaming), offers an intriguing style that’s rather melodic, but filled with dark, somewhat menacing elements (presumably) concocted by programmer Tyler McCauley. Tara Chacón’s vocals carry a minimalistic verse towards the chorus’ rhapsodic opening, but the song’s overall atmosphere never breaks out of the claustrophobic feeling it sets from the get go. Earlier single "I Can’t Help It" is a more upbeat, straight forward synth-pop number, but Tara’s soulful vocals can’t help but lend a moody, melancholic touch to a track that – with that radio friendly chorus – could have been easily developed in cheesy ways we wouldn’t approve of. Soft Lit will perfor at Rough Trade on November 4th. 

While instrumental mediocrity is tolerated in many DIY inspired genres like Punk, Garage and Slacker Rock, you do not want to sound sloppy when you play in a Blues Rock band. Brooklyn’s Courtesy Tier know that, and produce music that’s as tight as it is explosive – both on record and live. What’s worth noticing though, is that they also, refreshingly, challenge a genre format that to many (us included) sounds at time stale. A song like "Cold" (from 2013, when they were still a duo), goes beyond the blues rock confinements, delivering something that’s truly unique. In this track, Omer Leibovitz’s relentless guitar recycles sonic references spanning from King Crimson’s early prog rock to the instrumental technique of old timey banjo players, while Layton Weedeman’s drums accentuate the song’s loud/quite/loud contrasting dynamics. Now a trio featuring Alex Picca on bass, the band announced the release of their new EP "Little Rock," with a release party scheduled at Rough Trade on November 3rd.

They defy every expectation with their sound, to say the least. Positive No, an indie pop rock group out of Richmond, has crafted a standout musicality with punk, dream pop, and indie influences all over the place, matched with an unpredictable flair for shifting crescendos. The energy is infectious and vocalist Tracy Wilson will have your attention within seconds, wrapping you around her little finger until the show’s end. Check out their wild and surprising jams at The Southern in Charlottesville on 10/24 at 10pm.

On first listen, the tides of fuzz bends and pick slides coming from Nick Ventura and JooJoo Ashworth will smash you against the pummel of Jeremy Katz’ low-end, knocking you senseless with the pelagic beats of Cameron Allen. And as your consciousness goes under the hazy depths, you will come to know Froth‘s oeuvre. The Los Angeles band, picked up once again by Burger Records for their 2015 sophomore Bleak, are traversing the interstate freeways of North America, having played a show yesterday at the Rebel Lounge in Phoenix, Arizona. Their next stop is the Rubber Gloves Rehearsal Studios in Denton, Texas, where they perform with Sealion and Dripping Wet.

The band has shifted from their ’60s psych-pop debut Patterns to a fuller sound, brimming with crackle and crunch. But beyond the shoegaze sonics, Froth is still very much centered on pop structure and sensibility, both highly sought after but rarely executed with grace.  

Watch their music video for "Nothing Baby", a "98% autobiographical" of drummer Cameron Allen, and let the feels seep in. Froth performs 11/12 at the Echoplex with Tamaryn — will we see you there? – Ryan Mo

Sometimes, in retrospect, some choices we make can be seen as premonitions… We booked garage pop duo Diet Cig for last week’s Deli flagship CMJ show at Pianos, even though we couldn’t cover them because they weren’t based in NYC, but New Paltz. Well, as it turns out, we met them the night of the show, and they announced their recent move to Brooklyn! And here comes the coverage: welcome to NYC Diet Cig, here’s another premonition for ya: it’s gonna drive you crazy with excitment (and stress)! The New Paltz boy and girl specialize in lighthearted garage pop featuring Alex Luciano’s adorably expressive vocals and casual lyrics, which tackle issues as varied as the dislike for smoking and the move into your first apartment. We are looking forward to hear what she has to say about her new life in the Big Apple! Their next show will be at Baby’s All Right on December 4th. Oh and by the way! They have a great live show.

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

Fresh from multiple appearances at the recently concluded CMJ fest, Brooklyn’s glam/grunge/garage rockers Sharkmuffin roll on with their personal take on the alternative rock sound. In addition to the myriad of rip-em-up exciting live appearances, the band continues to promote their recent full-length LP “Chartreuse.” That title track (streaming below) is a pure fun garage stomper, with lyrics detailing how they (someone) “Never want me around to hang loose;” the song sounds like a vintage rock and roll confusion scenario married to thumping bass and distorted guitar squalls. “First Date” moves in an even rawer, punkier direction, sounding like bratty girl-group fare with a touch of Siouxsie Sioux on her very first album “The Scream” (think “Carcass” or “Jigsaw Feeling”) in that shouty, aggressive vocal style. Sharkmuffin’s next show will be at popular Brooklyn haunt Pallisades on 10/30. We heard a rumor that, since the show will be the day before Halloween, the band will appear on stage dressed as The Powerpuff Girls – or rather some kind of hipster variation of them. – Dave Cromwell, photo by Chris Carlone

Saturday night at The Bitter End in Greenwich Village started with the serene songs of Huntington, Long Island-hailing quintet NY Lights (pictured). Sounding out few kinds of genres – indie, psychedelic rock, and Americana, amongst them -the one-year-old band struck an intriguing balance between warmth and edginess, its drum slaps and sandy vocals riding along the ear with steady drive.

Later, on the Lower East Side, in the oaken cellar of Rockwood Music Hall Stage 3, the standout of this viewer’s CMJ experience was seen: Grey McMurray. Enveloped in a low red light and aided by a trio of deft musicians (including a cellist), the Brooklyn-based artist played a kind of freak-soul as he dipped down into often uncomfortable yet sometimes inviting visions of spirituality and love, his drooping guitar and cavernous voice simultaneously chilling and moving the listener. Antony Hegarty and Nick Hakim are probably his musical siblings but McMurray conjured a creepily warm aura in Rockwood’s downstairs room that is perhaps his own.

Upstairs on Stage 2, fellow Brooklyn act EMEFE blasted its synth-lined afrobeat, its rubbery horns and perky electronics showing reverence for Fela Kuti and Talking Heads while culminating in its own pop-oriented, bold funk. The six-piece also allowed for some spontaneity, though, bandleader Miles Arntzen during one track recording the audience’s handclaps for inclusion on a forthcoming song.

Next door on Stage 1, Brooklyn three-piece Lazyeyes broke into a relentlessly ringing set that, during one song, brought to mind the rough innocence of ‘Pablo Honey’-era Radiohead and, during others, the foreboding catchiness that Joy Division displayed on "Disorder." Towards the end of its set, the frontman Jason Abrishami of the young group said that they "have a couple of songs left" while bassist Paul Volpe joked that they "have a couple of years left" but one hopes that they keep up their compellingly raw energy.

Back at Stage 2, New York outfit Nuf Said ended the night with its jazzy R&B, the group’s swirling horns proving a pleasant and compelling addition to the gently strong vocals of lead singer Ioana Vintu and the mellow guitar-bass combination in the background. Like other New York outfit Mad Satta, Nuf Said seamlessly melds genres such as jazz, R&B, and funk while showing that they can end a talent-packed festival such as CMJ with festive boldness. – Zach Weg 

Strumming on their ukuleles, The Prettiots make the horrors of young adult life into comical, playful, and more importantly, reassuring tunes. Comprised of two New Yorkers, Kay Kasparhauser and Lulu Prat, the duo soothes growing-up anxieties with a fatalistic attitude, but listen closely and you’ll hear The Prettiots’ talent for catchy melodies and memorable hooks. On their single “Suicide Hotline,” Kasparhauser sings  "Woolf took a dip with some rocks in her pockets / I’d say comparatively I’ve got a bad case of the fuck-its.” Their melodies, light and airy, mask their troubled, but relatable, and ultimately, reassuring lyrics – who hasn’t had a “bad case of the fuck-its after all?” The trio, who played three CMJ shows last week, just released single “Stabler” (under Rough Trade’s wing!), in a classic cassette format, as the video below makes clear. They will be traveling to Europe for a two week tour.

Of the small contingent of Toronto artists that traveled to NYC last week to participate in the CMJ Music Marathon, Greys was by far the loudest – and ended up also getting the most attention. The quartet plays post-hardcore unapologetically inspired to legendary band Fugazi (one of their songs is named after the DC band’s guitarist Guy Picciotto). They’ve been around since 2011 and have a European tour, two EPs and two singles under their belt. A new 7", entitled "Repulsion." will be released on October 30th. Check out their powerful single "If Anything," streaming below.

Last night at The Bitter End in Greenwich Village was a refreshingly feel-good, mostly funk affair. First on the neon-lit stage was Nashville/New York quartet Anna Haas + The Effect whose loud, rollicking tracks fondly recalled such iconic bands as The Rolling Stones and Fleetwood Mac but burst to their own life with frontwoman Haas. With her rock-strong voice and fluid dance moves, she wasn’t so much the head of a band as much as the bearer of a flickering rock torch. New York five-piece Animal Reporters were next, performing similarly funk-influenced songs of jumping keys and virtuosic guitars that, at one point, surprisingly yet thrillingly dipped into psych-rock. The group’s funked-up cover of Bob Marley’s “I Shot the Sheriff,” a song that is perhaps reinterpreted too much, also proved intriguing. A somewhat more ominous funk hit the room next with Brooklyn quintet Ferrari Truck. Beginning with a slow, stormy song that reminded one of The Doors’ darker cuts, the Flatbush-rooted group then went into a warm, blues-inflected track that sounded like something The Dude would zone out to. As heard in their guitar-fuzzed, poignantly-titled track “Whispering You,” though, the band seemed keen to move as well as thrill the listener. Fellow Brooklyn five-piece Cousin Earth (pictured) took the stage next, beginning their set with an unabashedly glorious rendition of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher," lead singer Terry Brennan using a mini mouthpiece to simulate that track’s perky instrumentation. Then, after playing one of the loopy, effects-oriented songs from their forthcoming new album (due 11.20), the band segued into an amusing yet rocking medley of what seemed to be Kermit the Frog and a reggae-tinged version of “Somewhere over the Rainbow,” displaying this group’s fun-loving nature. Over at Rockwood Music Hall Stage 1, New York quartet The Amigos ended the night with its bluegrass-inflected, accordion-based tracks that blasted the longing of the blues in a pleasantly sunny way. – Zach Weg

Los Angeles collective All Scene Eye has taken over Saturdays at The Lost Knight, hosting free shows every weekend for the tired and thrifty of Echo Park.

Tonight fans of noise rejoice as gaze-y quartet Blood Candy blasts the British-styled pub with some sweet Dead Moon jams. The night opens with SHEER‘s heavy nostalgic hum mere days after the announcement of their debut LP Uneasy. The glorious rose petal flash of San Pedro’s post-punk duo Band Aparte follows suit. And drugpop quintet Slow White ends the night with sonic opiates.

21+, but you bet your sweet drinking-age ass it’s gonna be a sick night. Indulge in the aural apéritif below, courtesy of Blood Candy. Mind the freeway construction traffic, tho. – Ryan Mo