Another month means another iteration of National Sawdust’s The Revolution. Closing out the year (as well as the decade), this Thursday’s Vol. 45 continues the series’ longstanding effort to spotlight local musicians across the genre spectrum and will feature performances by the artists Childish Japes, Maitri, and Michael Wingate.

While The Revolution’s strengths have always laid in the diversity of sound brought out to Brooklyn each month, there’s a consistent groove that permeates the sounds of this week’s three performers. For example, Brooklyn nu-funk duo Maitri’s electro-heavy, polyrhythmic jams, are matched in vibe by the soulful indie rock of Childish Japes, both inhabiting similar spaces albeit producing their tunes via synthetic keys or an electric guitar (respectively).

Likewise, Michael Wingate will contribute to the evening’s atmosphere with his own brand of rhythm and blues. Cop your tickets here and get your dancing shoes ready for Thursday.

Brooklyn five piece Pale Lights have been a quiet force in the New York music scene over the last decade; following the reissue of their sophomore LP The Stars Seemed Bright earlier in 2019, the band also contributed the joyful twee romp “Golden Times” to Fadeawayradiate Record’s sunshine/psychpop comp F.A.R. OUT last month. A sunny, 60s-influenced tune, “Golden Times” immediately evokes nostalgia in both its lyrics and sound, carrying an energy somewhere between a television variety show and contemporary jangle pop outfits. Underscored by melodic guitar melodies, relaxed baritone vocals, and a swirling organ backbone, the track shows that Pale Lights’ golden times are not foregone, but perhaps still to come. Stream it below, and catch Pale Lights at Union Pool on December 14th, playing in Slumberland Records 30th Anniversary party. —Connor Beckett McInerney

Brooklyn psych rock outfit Early Spring’s music is an impressionistic, watercolored soundscape, replete with hazy vocals and bright, verdant guitar work. Their latest split single hang around + hurt me bad disorients from the start, inviting the listener to let the band’s screaming riffs wash over them; despite the apparent intensity of the group’s gain heavy instruments, their coupling with the Early Spring’s meandering, echoing vox induces a strange calm, a sort-of meditative calm in the eye of a tropical storm. Tune in below, and catch Early Spring at the Kingsland on December 12th, supporting Squeegee Men.

Offset by Fincheresque lighting and massive Phil Collins’ alt-rock instrumental hits, new Nicotine Dolls video “Burning a Good Thing” ruminates on the wandering thoughts that can ruin an otherwise healthy relationship: namely, the desire to be with someone else. In the eyes of of singer-songwriter Sam Cieri, such thoughts as contemplations (and perhaps unintended actions) have a tendency to undo otherwise stable relationships and, in so many words, “burn a good thing.” Against this metaphorical fire, the track’s visuals feature actual flames, not to mention a manifestation of the psyche in the form of physical blackmail; exacerbating the tension of the music video are Nicotine Doll’s massive percussive hits and muted, tactile string work, building to stadium-filling riffs evocative of 80s guitar pop. It’s a dramatic ride from start to finish — watch it below.

Today the folks at Burger Boogaloo announced the 2020 line up with a nice holiday ticket special. The Oakland punk festival takes place again at Mosswood Park in Oakland and will feature our beloved host, Mr. John Waters. This year’s lineup is full of some oldies and goodies. After not having played a Bay Area show in 25 years Bikini Kill brings their feminist punk to the evening stage, alongside folks like San Francisco punk legends Flipper. Sweet and solid Oakland cuties The Younger Lovers are coming along and they’re worth the trip right there. The delightful Plastic Bertrand is gracing our good ol’ fashioned Ameican stage and let’s hope he plays a little “Hula Hoop,” baby. Stay tuned for more on the festival and in the meantime, please practice your hula hooping. –Michelle Kicherer, Associate Editor

New York alternative-R&B crooner Harrison Lipton returns with his latest slow jam, “2 Good 4 Me,” a song billed as the “world’s softest diss track.” Inspired by a less-than-positive public critique of Lipton’s 2018 single “Pool," Lipton, rather than going on the offensive, finds himself cooly turning inwards, examining facets of his persona, his personal journey with queerness, and his life as an artist in NYC. While the song’s primary narrative is rife with self-doubt and anger, its surface level vibe is as nonchalant as ever; easygoing 80s keyboards, Lipton’s distant vocal performance, and an Act 5 surprise sax solo layed down by Zach Berro exude radiant coolness. This combination of components both introspective and confident make “2 Good 4 Me” a resonating effort, a relatable tune for anyone who’s struggled to keep their composure in a world of constant criticism. Listen below, and catch Harrison Lipton at Mercury Lounge on December 12th. —Connor Beckett McInerney

It’s easy to imagine yourself in a verdant, lonely locale when listening to the music of East Village-based songwriter Trafton, and new single “Gone” is his coldest, most distant destination yet. Damper-pedaled pianos and an at times whispering falsetto endow this recent offering with visions of wintery woods, a more key-friendly take on the isolation familiar to fans of Bon Iver or Thoreau’s Walden. Within this distance established between Trafton and the listener, however, is a separate, more intrinsic loneliness, the product of a separation between the artist and their now-gone ex-love, as well as a desire to return; Trafton’s parting words implore the individual to “come tell me I’m wrong, and please don’t be gone.” It’s a haunting track that will resonate with fans of folk and good songwriting during this cold December— listen below. —Connor Beckett McInerney

Alt-rock duo A Shadow of Jaguar will release their new full-length album Different Brain on January 11th at Knitting Factory, but they’ve released its first single “Love You, Hate You” as a preview. One listen to this Deli premiere and you’ll understand why A Shadow of Jaguar are a band to watch going into the new decade. The duo’s grunge-inspired riffs pack lots of energy and emotion, especially on a track like “Love You, Hate You” which tells the story of love without the happy ending. A Shadow of Jaguar will release Different Brain on a bill alongside fellow Brooklyn bands The Rizzos and Ovareasy; ring in the new year with all of them on January 11th. – Will Sisskind

Dreamy, introspective songwriter Annie Hart releases her sophomore solo album “A Softer Offering” this month, two years after her “Impossible Accomplice” debut. Already known as an innovative film composer and founding member of Lynchian synth-faves Au Revoir Simone, Hart continues to expand her body of work with this latest release. Opting for a more spacious, minimal sound, first single and video (streaming below) “Wilderness Hill” centers around a steady low note pulse and stark electric piano chords. With self -directed video footage shot in the songtitle referencing area of Margate, England combined with hometown Rockaway Beach imagery, Annie’s hushed vocals match this early morning contemplative mood. Follow-up single “Don’t Breathe For Me” employs singular held keyboard pads, angular electronic percussion and deep-twang melodies behind a raw vocal recitation on the need to move on. The whole album is a cohesive work that emphasizes the spaces inbetween our hectic lives, where our own thoughts are encouraged to mingle with the artists creations. The album is out in full on 12/13 with a release show that night at Union Pool. – Dave Cromwell

Part of living in New York is an unfortunately normalized culture of exhaustion, both physical and emotional. Few cities can boast a guide of the Best/Worst places to Cry in Public; such cultural phenomena are likely a product of rising rents, a drive by management for greater productivity over the course of the 40 (or 50, or 60) hour work week, and failing infrastructure (just a guess). And despite the bullshit, we’re all still here, a sentiment at the core of Noah Chenfeld’s new single “I Love Being Tired.” Lamenting the necessity to save money, the crowded nature of the subway, and the absolutely brutal winters, Chenfeld finds resolve on the song’s chorus, aptly crooning “I love being tired” over vintage, Zombies-esque keys sand syncopated Fender chords. Chenfeld’s lyrics are both a passive acceptance of the hurried lifestyle inherent to city living and a tongue-in-cheek critique of the rat race we’re all active participants in; listen to it this weekend when someone at a party asks you “how are you doing” and you politely abstain from telling them how you really feel, and catch Noah Chenfeld at Pianos on December 6th. —Connor Beckett McInerney

Oakland-based alt-pop artist Sun Kin just released the single “IDKY” off forthcoming LP Private Time. Kabir Kumar, the India-born artist behind the music, seeks to point out what he calls the “shallowness of algorithmic music selection” that we’re surrounded by. Kin creates bedroom pop songs heavy on the organs with earnest lyrical inflections. Says the track: “When it’s the date of the show/Just simply act like you know/It’s okay to be admired/And while you’re sharing your screen/You must pretend like you have seen/The confidence of a paycheck.” Where the song really shines is in the composition with special praise to those horns and percussion. The full LP is full of catchy soulful pop songs with special guests sprinkled throughout. Sun Kin releases Private Time on January 17th, where they’ll be playing The Starline Social Club. -Lucille Faulkner 

Photo: Ginger Fierstein

Paper Fairy returns with a video for the new single "We Laugh", featuring project mastermind Chris Gaskell and a whole lot of feet. The single comes from the NYC-based band’s Tautology EP, a follow-up to last year’s Haunter Haunted. On Tautology, Gaskell’s avant-garde pop creates a dialogue between the concepts of the real self and the performed self. The video for "We Laugh" shows this conversation through close-ups of feet touching, Gaskell’s face appearing in the big toenail (an unlikely place for a face to appear), and glass causing blood to spill, along with other examinations of body, pain, and voyeurism. Take a look at the strange, weirdly-engrossing video below, and catch Paper Fairy at Berlin on December 8th for the video release show. – Will Sisskind