Due out September 29th via Disposable America, their latest is a clamoring mix of dreamy pop, blistering shoegaze, and detached flashes of post-punk. "Right Supply" is our first taste, a song swarming with blissed out fuzz and a delicate piano lead. 

More than just another collection of fuzzy indie rock songs, Amanda X are taking a stance, donating all proceeds from the album to Women Against Abuse. Giant is an album that embraces beauty and intelligence over force and volume. 

The Rochester band's nerves are as jittery as ever on first single "Swimmer," a song that's able to embrace it's anxious state all the way to pre-birth, hoping to be a good swimmer vs a cum stain. Disguised via noise pop and basement fuzz, Big Fred make upbeat music for the downbeat mindset.

Footings have spent time in the mountains, you can put your faith in that. Enjoying the fresh air, the swimming holes, and embracing "Vibration, Too." Fuchsia teamed up with Pickles (D. Gould) for the video, creating simple animation that never distracts from the plucked viola and intertwined guitar. 

Rising up from the grime like a dirty punk phoenix comes Plax, a new band formed from members of Spray Paint, OBN IIIs, and Skeleton (among others). The band's debut album Clean Feeling is anything but; a hard wound and bruising rush of seasick proto-punk and lo-fi brawn.

Del Sur makes music for the summer (for the uninitiated, del sur translates to “of the sun”). Their newest song “Palm Lines” is no exception

Sometimes words aren’t enough. They get in the way, or don’t express what it is you’re feeling, what it is you want to get across. Eddie Garcia deals with those things. Armed with a guitar and a wide assortment of stomp boxes and electronics he releases thoughtful, internal, mood heavy music.

The video for Darkwing's "Saves" comes with the tag "old footage from the future," and the visuals follow suit. Grainy VHS style images are joined with the tracking date from the year 6666, uncertain times in the distant future captured by a resoundingly grainy past.

The video for CHUCK’s “Cherry Tree” wouldn’t be out of place living in the Met. Painted by Soren Hope, it’s a visual ode to dancing yrself clean best approximated to Monet directing a-ha’s “Take on Me” video.  

"Shopkeeper Rag," the EP's second single is built on a tight jangle, acoustic guitars and Wong's brilliant vocal melody setting a warm and relaxed tone. 

Pine Barons loves a set of hefty, rumbling guitars in its rock music. Their music is singularly positive and radiant, marked with a wide smile as it uses beautiful imagery of the earth’s fauna and flora to comment on the intricacies of human nature and relationships. 

"Writhe," the record's second single opens with a steady backbeat and a harmonic guitar groove, the cornerstone of any great Big Huge song. Then come the riffs... the sweet, unstoppable, endless riffs.

Gentle psych pop and experimental power-pop combine at Warm Body's whim, creating a mystifying sound that's both lush, radiant, and delicate.

Scattered with songs that dart genre restrictions, Robidoux's "audacity-pop" album blends together wistful drone, blown out slacker fuzz, free jazz-blues fusion, sampled experimentations, and lo-fi noise to create something ultimately pop friendly in the most alien of ways.

The Boston trio play a decidedly sloppy blend of lo-fi slacker rock, raw and loose at every turn, brilliantly weird, but captivating in every way. Cove Sauce burst through tangled riffs, sporadic distortion, yawped vocals and dense rhythms, creating something strikingly simple but vividly layered.

Washington, DC's Br'er play a particular brand of noise pop that distorts perception. The band's smooth edges and hypnotic pulse combines with lulling melodies to put you at ease, but there's an ever present sense of dread, something sinister is lurking in the shadows. 

No Friends' songs pilot a nocturnal wasteland in which anxieties aren’t tense and frantic, but slow-building, and all-consuming. The Hudson valley-based quartet have evolved their sound on No Friends, pushing the band’s familiar experimental slow-core sound into new territory.

"Gay Honey," the album's second single, is three minutes in off-kilter synth pop heaven. Haunting, breathily articulated vocals hover haphazardly over a syncopated synth riff; the melodic lines pushing and pulling against a straight-ahead rhythm section.

"Dusted," one of the record's many stand-out moments is a great introduction to their distorted bliss. Thea Chacamaty's vocals rattle on top of dreamy guitar surges and sharp rhythms, stripped of its edges and melted into a soupy delight.

The video for "Angels Don't Worry" and its warbling acid turned Americana melodies, captures life on tour as if watching from the band's passenger window, whirring by their surroundings but able to capture the sweetest moments to memory.