It was 1977 when David Bowie, drawing inspiration from the sight of his producer embracing his lover by the Berlin Wall, released “Heroes,” ostensibly one of his best singles (and probably one of the greatest rock tracks of all time). While the politics of the period undoubtedly underscore the song’s lyrics, the track’s core theme is distance, the varying uncontrollable factors that keep us from the people we long most to see. Though this is may be an ahistorical reading of Ziggy Stardust’s intentions, it’s hard not to listen to Brooklyn multi-instrumentalist Jeremiah Brunnhoetzl’s (d.b.a. Arlo Indigo) cover without considering the context of our contemporary malaise-ridden daydream — in the age of social distancing, it’s likely many of us find ourselves fantasizing about how things would be, how great things could be, if the odds could be overcome, albeit briefly. Thankfully, Brunnhoetzl’s “blue pop” instrumentation, his pulsing synth-driven, 80s-tinged approach to Bowie’s work, masterfully captures the original’s dispirited energy with a contemporary spin. Give it a listen below.

David Pattillo is something of a blues rock cult hero in New York City, but you could likely tell that from looking at him. Replete with hair well-below the shoulders and a flare for late 60s / early 70s fashion, his music under the moniker Strange Majik conjures up classic influences, which when channeled through a contemporary filter, become something else entirely that’s wholly (and delightfully) weird. His latest offering 20/20 excels in this mishmash of past and present sounds, a psych-y, funky odyssey that reads like an alternate history Summer of Love wherein the public found out every batshit conspiracy theory of the time turned out to be true (as opposed to being declassified years later). And while Pattillo’s craft is in a five decade long tradition, his songwriting is very much of-the-times, which makes for an engaging cognitive dissonance — hearing Strange Majik groove under lyrics describing the breakbeat pace of modern living (“World On Fire”) and the surveillance state (“Whistleblower”) feels inherently anachronistic, a prediction of things yet to come hidden in dusty forgotten vinyl. Moreover, this combination of a modern worldview, a carefully curated mix of genera, and Pattillo’s strange bent succeeds in making a rock and roll record that feels truly contemporary, a task that’s no small feat these days. Play it loud, below. —Connor Beckett McInerney, photo by Ky DiGregorio 

If you’ve suddenly found yourself spending a lot of time indoors, the introspective rock of Weak Signal is prime listening in the age of social distancing, and new single “Rolex” cuts right through the bullshit of all “necessary" social gatherings we’re thankfully avoiding this month (and likely next month [and the month after that probably]). The detached vocals of frontman Mike Bones parse a late night scene unflinchingly, an interior monologue detailing coked-out conversations and polite laughter, his hushed vox complimentary to a shuffling percussive line, sparse guitars and a walking bass line. This isn’t to say the band can’t make space for noisier segues, specifically during the track’s chorus, but even as electric power chords and budding snares enter the scene, the foggy, unfocused mindset remains, with Bones and bassist Sasha Vine crooning in unison, “yeah I know, without knowing.” Such quiet instrumental qualities and loose-form narratives may remind listeners of Stephen Malkmus’ word-association approach lyricism, or the understated indie of Yo La Tengo — give it a listen below.

Dan Knishkowy set off on the audacious task of treating the concepts of love and friendship ”with the gravity and wonder [they] deserve” on new LP Solid Love, doing so in his consummate early 70s folk fashion that feels ever patient and kind. Under the project name Adeline Hotel, Knishkowy brings in a slew of collaborators (including Winston Cook-Wilson of Office Culture, Ben Seretan, and Brigid Mae Power), succeeding in rendering the indescribable as emotional visceral. On the album’s title track, listeners are greeted with melting slide guitars and inviting acoustic arpeggios, which seamlessly segues to a rich tapestry of warm piano improvisation, shuffling brush drum-work, and occasional woodwind accents — though despite full accompaniment, the song remains evenhanded, never overwhelming even as each component becomes invariably more complex and rich. It immediately evokes Nick Drake’s Bryter Layter, and is recommended for those seeking a sensitive, plainspoken effort. Stream it below, and catch Adeline Hotel at C’mon Everybody on May 9th for their record release show. Photo by Chris Bernabeo

Queens-based avant-garde musician Annika Zee synthesizes sounds both tactile and intangible on Factory Pageant, producing experimental electronic with a freeform vocal jazz slant. Lounge-like percussive lines underpin twisted synths, dreamy pads, and wurlitzer keys, with Zee’s voice echoing outwards, all of which contribute to a thoroughly spacey, atmospheric effort — though that doesn’t mean it doesn’t have its share of delightfully discordant segues. Utilizing a variety of genre-influences keeps the record interesting and readily transformable — the future house type beat of “Super Model” jarringly changes to the atonal slow jam “Roses, the Red” to the mellifluous blue wave of “Lydia” back-to-back-to-back. Regardless of its wide-ranging sound, Factory Pageant remains cohesive in Zee’s boundary-pushing ear and penchant for the weird — in lieu of attending Annika Zee’s now-cancelled March 20th show at Planet X, give it a listen (or purchase) below. —Connor Beckett McInerney

Evenhandedness is the name of the game for New York songwriter Jason Ross. Under the handle Moon Sand Land he impressionistically charts life’s various ups and downs on split EP The Duality of Man, letting recollections of the oceanside views, secret-sharing, and afternoon trysts fall out his mouth in a signature, exasperated drawl while leading a lofi cadre of collaborators in garage rock unison. In line with the EP’s title, there’s an impeccable balance that permeates this project’s duration — the oftentimes frustrated nature of Ross’s emotive vox is cut with the brightness of his instrumental backing, a pleasant blend of shimmering 90s electric guitars and progressive, exciting song structures, which keeps this extended play interesting throughout its four tracks. Give this submission a stream below.

“Mimi,” the debut single by dream folk project Carli & the Dark, firmly establishes artist Carli Naff’s aptitude for magically realistic songwriting over the course of an atmospheric four-minute sonic novella, rendering hazy recollections of an evening in a manner that seems like an oracle’s visions. Gradually shifting from the minimalism of guitar arpeggios to a a full band, as sparse percussion and slide guitar enter the fold, Naff’s vocal performance retains its distant-yet-powerful quality before coming to an abrupt, forlorn stop, echoing into the recesses of the night as quickly as they manifested. With an equal emphasis on electric folk and dream-pop production, this track is recommended listening for fans of Andy Shauf and Songs: Ohia alike — give it a listen below.

New York trio Yancy appropriately named their 2018 LP Hi, Neighbor! — their noisy, melodic punk and seemingly upbeat demeanors indicate they’re more than likely to have their fair share of run-ins with the folks next door, though you’d expect them to be friendly in mitigating any noise disturbances. Such bright energy is the consequence of a conscious decision to base their sound around triumphant guitar riffs and a bombastic vocal performance that sounds like the the lovechild of Tim Kinsella and Ian MacKaye. As such, their music is well suited for a specific subset of aggressive yet well-tempered individuals, tunes for people who bare wide grins in a mosh pit. Give it a listen below, and catch Yancy at Alphaville on March 19th.

Listening to “Daylight,” the latest single by New York folk artist Hayfitz, feels in many ways like exploring an old, abandoned house. Atmosphere-inducing artwork aside, what begins as a hushed, almost secretive track gradually expands to become a rich offering that showcases songwriter Brandon Hafetz’s aptitude for layered, chilled instrumentalism; every nook and cranny is filled with echo-laden guitar arpeggios or ambient synth. As the track progressively brightens, however, Hafetz’s falsetto remains a tethering force, with lyricism that details the difficult chats that are oftentimes necessary. “[The song] serves as a constant reminder to have the scary, sober conversations, even if it means letting your guard down,” Hafetz said of the track via email, a sentiment fitting for his abidingly somber vocal performance. Give it a listen below, and keep an eye out for his forthcoming LP Capsules, out 5.29. Photo by Sam Cope

The hallmark of Pictoria Vark’s 2018 EP self titled was the abiding minimalism that permeated most of its tracks, which created a space in which listeners could ruminate on her lyrics against a muted backdrop of sauntering bass lines and restrained, bright power chords. One year and a good deal touring later, her latest single “Good For” finds the young artist filling in the gaps, laying down intricate, interwoven guitar work in a way that feels, instrumentally, far more active and alive, yet never to the detriment of her songwriting chops; still present is the soft power inherent to her engaging voice and words. Part of what makes “Good For” the expressive offering it is comes from the song’s percussive vamps, which build energy over its three and half minute run time — paired with sliding electric guitar accents and underlying acoustic strumming, it evokes a mild, folk rock energy that’s expressive and lush. Stream our premiere of the track below, and catch Pictoria Vark at Pete’s Candy Store on April 19th.

Two dudes, a four track, and a singular microphone are the driving force behind vexation, the debut offering by lofi, “tropical country” duo Otra Vez — and that’s really all they needed to make a groovy, kickass record. Endowed by the charm of its palpable crunchiness and compressed vox and available for four dollars and twenty cents on Bandcamp (nice), the album skirts being defined as silly or serious; members DJ O’Loane and Sean O’Hara seamlessly switch between ditties detailing past relationships (“death by 1000 cuts”) and stoney meditations on the virtues of selling out (“fat sandwich”), their detuned guitars and easygoing percussive lines in toe. Recommended for fans of Makeout Videotape, Soko, and John Dwyer deep cuts, give it a listen below, ideally on a rooftop with a couple of buddies, and catch Otra Vez at Our Wicked Lady on April 2nd.. —Connor Beckett McInerney

It’s an unfortunate truth that, with the passing of time, we tend to lose touch with those that matter most to us, a fact that’s become abundantly clear to Bushwick-based indie pop artist Couvo as of late. His new single “Still Hanging On” is an ode to old acquaintances and relationships that come with the changes inherent to life, a shoutout to erstwhile friends in his hometown of Manchester, Connecticut, channeled through bright, downtempo indie pop reminiscent of the Morning Benders and pre-Powerman Kinks. A sunny-yet-forlorn disposition powers Couvo’s lyricism — nostalgic, yes, but always grounded in realism, the “knowing, in the moment, that these relationships will fail and these people will leave, or you’ll be the one to go,” in his own words. Sweetly sorrowful and bolstered by a third act explosion of winding saxophones and group harmonies, Couvo proves that, despite these seemingly-inevitable transformations, there’s resilience and strength to be found in act of “hanging on.” Stream our premiere of this track below, and see Couvo at the Way Station on March 23rd, alongside Ruby Wave, Phil Robinson, and Zman. Photo by Kevin Condon