Zula is the experimental pop project of brothers/duo Nate and Henry Terepka. Their music puts it’s listener in an almost hypnotic dream state through the use of synthesizers, soothing vocal harmonies, roaring guitars, and off beat drum patterns. There is no single term or sub-genre to describe this group, but things that come to mind include pop, indie / alternative rock, and electronic.


Pointillistic structures with a mainspring of minimalism.

— Jon Pareles, The New York Times

For lack of a better word, this is pop, sincere, offbeat, and playfully and unassumingly experimental: you’ll be hard pressed to find anyone else that sounds like them, or as musically and effectively fulfilling.

— Tiny Mix Tapes

Pop sensibilities push through well-crafted avant-rock.

— Impose

Yours Are The Only Ears


Yours Are the Only Ears is the recording project of songwriter Susannah Lee Cutler. Her music leans towards a mesh of sentimental bedroom pop and lo fi folk. Somber guitar progressions mixed with synthesizers and keys compliment her stripped down yet poignant lyrics.


Sometimes there’s a thin veil between sadness and comfort, some warmth in crying. Susannah Cutler’s folk project, Yours Are the Only Ears, finds this veil and hands it to us.

A lovelorn request for company from a bruised soul, the drum-clasped track doesn’t just showcase Cutler’s striking poetic ability to speak volumes with just a single phrase, but quietly conveys the precious calm that a lullaby such as this can provide.



Haybaby is a sludge-pop, slop-rock, power trio from Brooklyn, NY. Full-length debut Sleepy Kids and followup ‘Blood Harvest’ EP released on Tiny Engines.


From the noise corners of Brooklyn, Haybaby have recorded their first album with lovable indie label, Tiny Engines. There’s plenty to say here – let’s start with blunt honesty… this is a really good album. So stop reading this now, and go get yourself a copy.

Vocalist Leslie Hong’s delivery is reserved and muted for the most part, lending an even more intense feeling that we are voyeurs witnessing a private moment not meant for public consumption.

Infinity Shred


Infinity Shred soars skyward into the future. This post-rock trio from Brooklyn, NY make dark and hallowed synth music.


Founded in 2012, Infinity Shred is the sound of a perfect future doomed to relive its past. A forty-third century metropolitan utopia fatally obsessed with analog synths and distorted instruments. Armies of gracefully engineered, doe-eyed warriors mercilessly slaughtering each other under a dusky sky of neon stardust. A trio based in New York City crafting uplifting synth-driven pieces tinged with just the right amount of death.

How Infinity Shred didn’t land the score for Stranger Things could be one of the grand mysteries of the 21st Century. The first two minutes of the titular song off their 2013 LP, Sanctuary, released on the OK Go-founded Paracadute, predates the wistful menace of S U R V I V E’s theme by three years.



Performing with a rotating lineup of musicians, Peaer is an object set in motion, staying in motion. Songwriter Peter Katz (formerly of Fugue, Poverty Hollow, Suns) has an understanding of dynamics, amplitude, and melody as they interact as physical bodies, pushing, pulling, peaking and falling. Consequently, Peaer produces songs about communication as a force on a linguistic and kinetic level communication between individuals, between yourself and other self, between your heart and your brain.


Peter Katz (guitar, vocals), the mastermind behind Peaer, uses dynamics and space to shape the images around him, creating a sense of warmth in darkness, gaining as much emotional weight from his lyrics as his delicately layered compositional work.

Katz’s songs sound like David Bazan on a warpath or the desperate pleas of a man on his last breath. Songs like “Pink Spit” unleash a certain venom, but not in a nasty way—Peaer tastes good. [Dan Bogosian]

Ciarra Black


Brooklyn based musician and DJ, Ciarra Black, is co-founder of No-Tech, a monthly experimental dance party and label that focuses on the fusion of noise and techno. Ciarra is also part of the noise/techno oriented industrial duo Appetite, which released a tape on Ascetic House last year.


The majority of the tape has Black balance boogieability with greying atmospheres and amelodic hiss in a fresh new form that billows out of the speakers damn well stunningly.

Ciarra’s roots of noise and industrial are prominent in her live and DJ sets with an unapologetic love for a pulsating and beat driven dancefloor.

Tiny Hazard


Tiny Hazard is an avant-popular band from Brooklyn, New York. Combining strategic dissonance of early 20th Century American composition and with the courage of balladeers like Bjork and Cocteau Twins, the music of Tiny Hazard is jarring and magical.


My oh my, Tiny Hazard is full of surprises. Swaying from saltine-thin bedroom pop to sludge to experimental synth to passionate piano meditations — sometimes within the span of a single song. Unafraid to utilize silence, whispers, softness, and what might otherwise be thought of as “sweet” sounds to convey a feeling that’s the opposite of weak, sometimes teetering on the brink of madness. Weird, weird stuff.

— Nicole Disser, Bedford + Bowery

The band’s overt passion and delicious incorporation of small minutia overloads their music with so many of those “oh, fuck!” moments that are instantly recognizable when you hear something so raw, so unique, so true, and so rare.

— Adam Ouriel, Pretext Social Club

Singer Alena Spanger delivers a bewitching vocal that’s slyly-sweet like Regina Spektor-meets-Fiona Apple, and ragey raw the next.

— Kim Taylor Bennet, Noisey

These are places – environments that have been lived in – loved in, deeply and sincerely. In short, the work is unapologetically human.

— Ryan C. Miller



Brooklyn based quartet BEARS traditionally have made doom-pop alternative rock music with apparent punk and indie influences, but their sound has matured and evolved a lot in the past few years. On their most recent Bandcamp release, ‘i could if i would’, BEARS sound like a completely different band. Incorporating lap steel guitars, intricately haunting vocal harmonies, and a lo fi buzz that authenticate their sound; transforming their sound into something more like country or folk.



PILL combines fast, forward-thinking lyrics that express social unrest with contempt for rock formalism. Call it No wave, call it post-punk; at this stage, it’s more modern-day folk or protest music, a howl of freedom that is conscious of that freedom’s cost. Pill’s full-length debut Convenience released on Mexican Summer August 2016.


Pill proudly, angrily carries on the traditions of New York music, punk rock, no-wave, feminist art rock — take your pick. But what makes Convenience unique and impressive for a debut is how the songs evolve as a singular and critical personality over the record, taking a stylistic and narrative tour through different anxieties and simulated scenes before arriving at a fortifying conclusion, a body with renewed strength.

Their live shows are a tandem assault: singer Veronica Torres’s seething delivery, Ben Jaffe’s blaring saxophone lead.