Flatbush’s Jacob ZL isn’t afraid to channel his own struggles through his music, toiling in smooth vintage-inspired beats and self deprecating lyrics as he rides the wave out of an intense breakup. In "Distance" is song about a romance gone wrong, that sees the MC delivering lines about the end of a tormented relationship with the ease of someone resigned to his fate. It might not be easy listening, but it’s definitely intriguing – check out the track below. -Sunny Betz

Posture, the sophomore EP by Brooklyn’s atmospheric synthpop duo Haulm, features an aged desert landscape contained within a thick white border. It’s a perfect fit for the brooding, dark, and spartan work laid down over the release’s five tracks; one can almost picture an unknown beast slouching from the sandy landscape against the dissonant keys of Reed Kackley, as JT Norton’s distant, almost fugue-state vocals weaves in and out. It’s an EP oozing with atmosphere that’s curated using relatively few musical elements, and speaks volumes to Haulm’s penchant for fine tuning sparse synths and the human voice into engaging, mysterious soundscapes.

You can catch Haulm at SXSW on March 12th and 15th – until then, stream Posture below. -Connor Beckett McInerney (@b_ck_tt)

Hailing from Queens, Lina Tullgren plays music that almost denies this geography and origin. Whether it’s her collaborations or solo material, the music from this DIY artist rarely conforms to the ideas of the moment or regional trends, without using the kitchen sink approach to experimentation. Thrashing drums and guitars that are simultaneously gritty and pristine can sneak up on you, whereas Tullgren’s vocals dip into emo territory at times and are the gravitational center for every song; these compositions are so powerful because of their disparate elements and how they resemble genres we know, but are blended in unexpected ways in her music. The even more surprising part is how these uncomfortably surreal songs harmonize together, reaching a point where these funeral marches are equal halves of hypnotic and skin-crawling. It’s music that beckons us to go deeper into the void, and you’ll be able to see it live on March 15 at the upcoming unofficial SXSW show linked to our Austin Synth and Pedal Expo – more info soon! – Tucker Pennington

The Brooklyn dream-pop duo known as CLAVVS has always had their feet squarely planted in the realm of electronic soul-pop. Swaying soundscapes and luscious vocals were synthesized into a potent formula. Yet with this recent run of new singles to promote their upcoming EP No Saviors, the pair have cracked open new patterns to make their distinct ideas sound infinitely more versatile. Lay Back adds a baroque flourish (reminiscent of some Tricky’s best ideas) that crashes down like a waterfall of strings, while the title track (streaming below) bursts with polyrhythms and self-assured brashness. Retaining their hazy aura and breaking out of the dream pop bubble with exuberance is a balancing act that CLAVVS pulls off with the utmost ease. – Tucker Pennington

With three full length albums and a fair share of movie placements under his composer and musician’s belt, Matt Shapiro cannot not be called a staple of the NYC scene. He recently unveiled The Addict (streaming below), the first single from the upcoming EP Fade In, scheduled for an early March release. Mostly electronic, The Addict represents – according to Shapiro himself – a return to a more disciplined and stripped down approach to writing, after the epic and layered sound of his latest LP Metaphysical. However, after the initial bars (which are stripped down indeed), The Addict builds into a rich and warm sound conveyed by luxurious, ’80s inspired synth pads and by Matt’s soulful tenor and spot on falsettos, which sing about the best addictions of all – Falling in Love.

We’re happy to report that Oakland’s own Rex Ruit will be playing at The Starline Social Club this Thursday the 28th as part of Noise Pop. Tracks like “Vertigo” and “South” give this rocky post-punk album a lighter feel. Lovely guitar melodies blend with vocals that come in and out of clarity and really push this album into an almost dream-pop beachy realm while still keeping that alternative feel the band is known for. They’ll be part of a pretty killer lineup: Black Marble, Spiritual Cramp and Shutups at one of our favorite venues. –Michelle Kicherer, Associate Editor

For these past few years, the conversational focus on mistreatment of women in entertainment has been in turns cathartic and grueling. It’s a long overdue conversation, and it was only a matter of time before it started to make its appearance as a focal point in music. Songwriter Emily Reo chooses pop as a medium to explore misogyny in the music industry and in every day life on “Strawberry”, the premiere track off her upcoming record Only You Can See It. Balancing sardonic lyrics with an anthemic instrumental, "Strawberry" features Reo’s voice front and center. After listing off a number of micro aggressions from patronizing men, she belts, “How many girls in this city are getting T-I-R-E-D”, and it’s easy to imagine a crowd screaming back in response. The track gives the clear impression of an artist coming into her own, ready to share herself with the world and not willing to take crap from anyone. Only You Can See It will be released on April 26th, and Reo will be celebrating the release that night at Baby’s All Right. In the meantime, mark your calendar, and stream “Strawberry” below. – Sunny Betz 

There are some songs that make you feel like they came from your own mind, that understand in a way that feels maybe a bit too close for comfort. And Somerville-based artist Saccharine‘s most recent full-length release Hollow Space is filled with them. In the vein of Ben Gibbard, Kevin King has infused emotional lyrics with an earnest and energetic delivery that leaves the listener feeling a whirlwind of excitement, awe, heartbreak. On this release, King’s songwriting is unrivaled, his arrangements are cathartic; the result is a set of songs that linger much longer than expected. See Saccharine live at O’Brien’s Pub in Allston on March 1, alongside Burlington rock darlings Clever Girls, who are currently on tour heading towards the Midwest. Until then, stream the full album below. – Lilly Milman

Sid Simons, the leader of Brooklyn freak folk collective Girl Skin, embodies the spirit of a wandering musician in a contemporary context. Originally of Portland, Oregon (with stints in Australia and Shanghai prior to settling in New York), Simons makes it immediately clear that he has channeled his long, strange trip into the group’s sonic output; the band’s last single “Bite Real Hard” prominently features acoustic guitars against mandolin accents and an echoey, sliding voice. Before getting too dedicated to a folksy, Americana sound, however, “Bite” becomes electric, drone-laden shredding emerging from the woodwork as Simon repeats, “everything I know, I have from you.” It’s a distinctly modern twist on the folk of yesteryear, reflecting Girl Skin’s ability to blend both old and new styles into a cohesive, instantly classic output.

Girl Skin will head south to SXSW next month, but they’ll be back at Rockwood Music Hall on April 7th. In the meantime, go for a walkabout and watch the video for “Bite Real Hard.” -Connor Beckett McInerney (@b_ck_tt), Photo by Andy DeLuca

Matt Jatkola and D. Orxata make up the Boston-based eclectic indie-pop duo FBGM. Their newest single "High" (streaming below) is a bouncy ode to highs and lows. The buoyant melody is kept afloat by a breezy delivery of deadpan lyrics like "How do you get me so high in the morning? … Why is it easy to cry in the morning?" The lyrics operate in paradoxes, and the production effortlessly adds a shimmery texture. Written, produced, recorded, and mixed by Jatkola himself, the track is steeped in a heavy dose of experience and sentimentality. It’s undoubtedly the work of people who care about what they are creating, while also playing around with infectious pop sensibilities. FBGM is currently on a west coast tour and will return to New England on March 10 to play Hutghi’s at the Nook in Westfield, MA. – Lilly Milman

The atmospheric, often ethereal soundscapes of Brooklyn’s Raia Was are perfectly executed exercises in restraint, where a powerful vocal performance sharply navigates the dimly lit labyrinth of downtempo art pop. Her most recent release “Reprise” is a focused, minimalist effort – a song that reads as a lonely internal monologue on a cold, winter night. Was’s vox never explodes or relies on any melodramatic twists and turns, but rather plays counterpoint to the track’s synthy elements, finding strength in its hushed, sometimes breathy qualities; it serves as a preview of more carefully crafted tunes on Raia’s forthcoming debut record, Angel I’m Frightened (Side A/ Side B), which drops this spring.

Raia Was will perform tracks from her upcoming LP at Berlin on March 6th, supported by fellow Brooklynite Harb. Stream “Reprise” below. -Connor Beckett McInerney (@b_ck_tt), Photo by Lissy Laricchia