Nu-Disco continues its resurgence with artists like LEFTI whose new EP Discoteca is a full-blown ode to the intoxicating rhythms of ’70s NYC Disco and ’80s European dance music. Inspired by the colorful disco show posters he saw scattered across the streets of Spain during his childhood family vacations, LEFTI (real name Alex Suarez) injects a heavy dose of house and funk into each song. The lead single “Every Time” (ft. Spencer Ludwig) is a powerhouse of high bass harmonics, snappy snare hits, and of course Ludwig’s fantastic trumpet. New cuts of “Make You Mine” and “All Night” also bring LEFTI’s classic disco influences to light with percussive beats and guitar riffs that would make Nile Rodgers proud. LEFTI will celebrate the release of Discoteca on April 4th at the Toucan Sounds label launch party at Freehold in Brooklyn, NY. – Rene Cobar

NYC group Ghost Funk Orchestra will be taking the stage at Brooklyn Bazaar on April 4th, and they will be bringing the sounds of their 2017 record Something Evil with them. In songs like “Fluorescent,” the group uses Djembe rhythms to lure the listener into a vortex of funky basslines and soulful vocals, their odd time signatures keeping you at the epicenter of the jam. The nine-piece ensemble of Julian Applebaum (bass), Seth Applebaum (guitar), Kyle Beach (drums), Stephen Chen (bari sax), Laura Gwynn (vocals/keyboard), Romi Hanoch (vocals/percussion), James Kelly (trombone), Joshua Park (guitar), and Rich Seibert (trumpet) utilizes every instrument at their disposal to craft a type of “heavy soul” or “dark funk” sound that fits their namesake. If you are up for something new, we recommend checking them out. – Rene Cobar

Distant Mountains released their latest album Stationed Lockstep on March 1, the first full-length album the band self-engineered and self-produced (Light Rail Studios, San Francisco). Well they’ve done a fine job. The album as a whole is a breathing piece; songs fade and blend into each other with seamless mixing and a refreshing blend of experimental, alternative rock that might please fans of Wilco and My Morning Jacket. Track “Look Back” is an opening song with the epic quality of early Arcade Fire and has some clever-funny lyrical and vocal moments. Enjoy that deep warble for a second there. Our recommendation is to hold out for Side 2: tracks “Expensive Taste,” “Solstice,” and “Junipero” blend together with a seamless spacey quality. Distant Mountains is Paul McCorkle, Scott Lord, and Ben Manning. Stay tuned into their sites for upcoming shows. – Michelle Kicherer, Associate Editor

Dina Maccabee’s forthcoming record The Sharpening Machine is a balancing act; Maccabee juggles inclinations towards melodic singing and experimental vocal expression, while simultaneously modulating between instrumental textures both acoustic and electronic. While it can be initially perplexing to discern her overall vision, it is out of these contrasts that she creates a tension wherein shifts in structure and sound deliver a satisfying build and release. Recent single “Could You Be Right” serves as a testament to the record’s dynamic nature, changing from stumbling synth lines and a wandering vocal melody to an indie-pop, almost baroque-like march during the song’s chorus (and then back again). It’s a peak behind the curtain to Maccabee’s uniquely singular vision which will drop in full on April 5th – stream it below, and be sure to catch her at The Owl Music Parlor on April 6th with Kaethe Hostetter and Out of Sight of Land. -Connor Beckett McInerney (@b_ck_tt)

Channeling a sound reminiscent of forward looking artists like Radiohead and Pink Floyd, NYC-based band Upright Man molds a signature psych-rock style propelled by a traditional guitar, bass, and drums set up. In their 2017 debut self-titled album, the trio consisting of Aidan Dolan (guitar/vocals), Nick Katz (bass/vocals), and Max Yassky (drums/vocals) flaunts  an assortment of openings for each song that range from punchy and overdriven basslines to swiftly picked guitar riffs. Songs like "Ecstacy" and "Agorognostic" soothe with ambient verses and then explode into hard-charging choruses that show off the band’s authentic sound. In songs like "Say What You Mean" you can hear the folk influences of Led Zeppelin’s groundbreaking second album, and yet, through all these changes the three New Yorkers remain themselves. The album’s title track (which double as the band’s names, since the record is self-titled) is a hard-hitting classic rock ode that truly crystallizes the group’s versatility. Upright Man will be taking the stage at Brooklyn Bazaar on March 15th. – Rene Cobar

Cassandra Jenkins released her debut album Play Till You Win in 2017, but her songs from that record continue to enchant new listeners in different ways. The songwriter released an acoustic version of her cosmic track "Hotel Lullaby" on March 8th, in which she strips the song of everything but her hushed voice, her guitar, and a symphonic string quartet. The track takes on greater intimacy this way, making you feel like you’re getting a listen into its inner workings. This version of "Hotel Lullaby" got some recent publicity when ABC’s Musicland — a show on their online channel ABC Localish — premiered it in a video, showing Jenkins performing the song at the Plaza Hotel where her father used to play piano. Take a listen to the acoustic version of "Hotel Lullaby" below. – Will Sisskind

New York City is a paradoxical place. With familiar landmarks vanishing on the daily, many of the things we conjure when we think about the city are in fact no longer there. This is the city that native Brion Starr inhabits, and his music reflects the disaffected feeling of watching the place you love become unrecognizable before your very eyes. What’s particularly fascinating about Starr’s music is that it draws a lot of influence from one particular New York legend: the underground glam rock scene of the 1970s. The sparkling cacophony of his experimental brand of vintage rock leans more toward Brian Eno than David Bowie, and while watching him perform in sequin jumpsuits its hard not to imagine what those who shaped New York’s past might think of the city today. Perhaps that’s the very question Starr wants us to answer. Wrapping up a tour with The Chills, Starr plans to release his LP Global Identity on March 21st – while you wait, check out “Oh Please”, the first single off the album, below. – Sunny Betz

In an industry dominated by big personalities, it takes a lot for a hip hop artists to stand out. Brooklyn based rapper Leikeli47 has taken on this challenge, ironically, by disguising herself behind a mask – one she dons in interviews and during shows, and is rarely seen without. However, you shouldn’t take the mask as a clue of her being shy, since on her latest album Acrylic she proves she is anything but. Her flow is playful and brash, and on tracks like “Tic Boom” and “Girl Blunt” she experiments with unconventional vocal intonation and rhythm in her takedowns of those who might doubt her individuality and self assurance. Leikeli47 is just one of many talented artists who will be playing this year’s SXSW festival – you can catch her set on March 13th at the Hip Hop/Rap Showcase, and stream Acrylic below. -Sunny Betz

After a year of tribulations, Nate Salman of Waterstrider, poured heavy energies into his newest EP, The Way Out, on 30th Century Records. The result is a warlockian, mesmerizing blend of songs that have the surreal quality of our beloved Enya but with a Julien Ehrlich falsetto and dark, poppy synths. The single “Breed” is melancholy but hopeful. Lines like “Farewell to secrets/I’ll never keep them” are sung with a pure earnestness and are serenaded by keys with an airy, forestlike quality. This experimental, futuristic collection brings Waterstrider into a new realm. –Michelle Kicherer, Associate Editor

FREE Eventm RSVP here! Info about Day One here!

For our upcoming Austin Pedal & Synth Expo Showcase, we are excited to get to feature the music of a couple of NYC locals. The electronic music Beshken makes is meditative and complex, weaving between digital and acoustic instruments with dreamlike results. His latest track, “Cursed”, picks its way between honey smooth synths and dissonant vocal effects, reflecting on the mental revolutions between sleep and insomnia. On the other end, while their lyrics too reflect on sleepless thoughts, the music of CLAVVS is rather lucid. The production on their most recent single “Devils I Know” places the vocals at the forefront of a hypnotic and unexpectedly baroque electronic backdrop. The Expo will be held on March 16th at the Chugging Monkey – listen to CLAVVS, Beshken and the other artists who will appear below. – Sunny Betz 

Wild Pink‘s new EP 5 Songs is a delightful listen, and its remixes and new tracks serves as a fitting primer to new listeners. The group’s last full-length record Yolk in the Fur came out last July, which means that a taste of a something new was in the cards. Therefore, Wild Pink have compiled two new tracks: The wistful "How’s The Tap Here?" about changing relationships, and the anthemic "Coaches Who Cry" about growing up in Virginia. To keep things interesting, the band have also included remixes of three tracks from Yolk in the Fur for the EP: Shy Layers’ trip-funky "There Is A Ledger", Dondadi’s glitched-out "Love Is Better", and Eerie Gates’ atmospheric "All Some Frenchman’s Joke". Wild Pink recently performed at Bowery Ballroom, and they’re currently on a US tour. While you wait for them to return to NYC, you can listen to "Coaches Who Cry" below. – Will Sisskind

We are happy to announce our return to Austin with not one but TWO live show during the famous music festival in the Texan city. The shows are linked to our Austin Synth and Pedal Expo, hosted on the third floor of very central venue Chuggin’ Monkey.

This is a free show – RSVP HERE!

Here’s the lineup and a playlist for the first night, on March 15, hosted at the Chuggin’ Monkey‘s ground floor right on East 6th Street!