Catch Fern Mayo Before They Hibernate For the Winter At Their Show This Week in NYC

Xosar plays a late-night set Thursday at Good RoomEXPAND
Xosar plays a late-night set Thursday at Good Room
Courtesy of Xosar

What's that stereotype about New Yorkers believing that the best of everything comes from NYC? Maybe it's true about pizza, but a wonderful thing about living here is the near-requirement for bands to stop by the city on tour. Almost no one skips us in favor of somewhere else. Injecting new energy can only make our already healthy local scene stronger, and the lineup of shows for the first half of the week proves that some of the best music coming out these days hails from beyond our little aural paradise. Broaden your horizons with any (or all) of the below. 

Monday 1/11
Denetia and Sene.
Brooklyn Bowl
8 p.m., $8

Girl heads to NYC to make it as a singer-songwriter, moving into an arts and music collective in Brooklyn, where she meets Boy, a native New Yorker in need of a powerful voice to sing over his homegrown beats. It’s a modern take on a classic story, and it’s also the way Denitia and Sene. wound up making chill electro pop as a duo. Their debut album, His and Hers, dropped in 2013, reaching No. 11 on the iTunes R&B chart and earning them major media accolades, and they released a four-track follow-up EP, side fx, via Soundcloud nine months ago. With their star on the rise, this promising pair plays a sultry set at Brooklyn Bowl for the venue’s Mo’ Beat Monday series. With StringsNskins and Geek Session. — Lindsey Rhoades

On the Rise: Not Blood Paint
Le Poisson Rouge
7:30 p.m., $10

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When we profiled a new concert series from music and art cabaret Le Poisson Rouge called On the Rise back in August, there was only one show scheduled, but the venue’s marketing director Brianne Sperber had big plans for success. She hoped to showcase the local scene’s brightest up-and-coming acts by booking lineups big enough to draw a crowd while featuring bands who haven’t quite reached the wider audience they deserve. Her bet paid off: The series has flourished, and for this edition LPR hosts another batch of next-big-things. Headlining art-rockers Not Blood Paint put on a raucous, theatrical show that’s hard to forget, and their sound dovetails nicely with the roomy, feel-good indie vibes of Howth, the moody, searing guitar rock of A Deer A Horse, and the plucky punk of Language. — Lindsey Rhoades

Tuesday 1/12
Beech Creeps
Union Pool
8 p.m., FREE

NYC’s Beech Creeps get it: times be short. And their response is to deliver their loud, full-throttled rock with haste. Sporting Superchunk-recalling vocals and relentless riffing that would earn them a smile from Lemmy above, Beech Creeps cling to the jugular with pouty-faced jams. This is for the Kiss fans who were born after the makeup came off. The trio released their self-titled debut LP last year, an impressive romp that wore its influences on its sleeve, as exhibited in the track “Arm of the T-Rex.” Led by Zach “PP Coolata” Lehrhoff (who splits his time between bands Ex Models and Knyfe Hyts), Beech Creeps make it easy to nod along. – Silas Valentino

Vision
Berlin
8 p.m., FREE

Venerated SoCal garage imprint Burger Records signed East L.A. rockers Vision in 2012 after singer Christopher Valer and his brother Phillip Dominick handed off their demo with the remark that the band “doesn’t get enough recognition.” They show off the same swaggering confidence — fully warranted, by the way — on Vision’s debut album Inertia, which Burger released last year. Only an L.A. band could have created this sound, which draws from both the no-fi punk scene surrounding downtown venue The Smell and the legacy of rock legends who frequented the Seventies-era Sunset Strip. But what results, surprisingly, is not only un-Californian but entirely un-American: sneering vocals and expansive melodies not heard since another set of brothers — the Gallaghers — ruled the world. No one could have guessed three guys from Fullerton were the inheritors of Britpop, but isn’t making impossible dreams come true the whole point of rock ’n roll? —Zoë Leverant

Wednesday 1/13
Metz 
Bowery Ballroom 
8 p.m., $18-$20

On II, the follow-up to their much-lauded self-titled debut, Toronto’s Metz stuck to their guns, unleashing the same wave of holy punk terror that jolted complacent indie rockers awake back in 2012. Even if thrashing riffs, death-rattling drums and squelching feedback isn’t your thing, Metz are a thrill to see live, invariably dripping sweat by the end of their tumultuous sets. They spent October and November touring Europe; their current January run stateside is a special one for its inclusion of Bully, whose scorching alt-punk masterpiece Feels Like was one of last year’s most astounding releases. Like Metz frontman Alex Edkins, Bully’s Alicia Bognanno isn’t afraid of screaming ‘til her vocal chords are raw. Bring earplugs. — Lindsey Rhoades

The Ex
Le Poisson Rouge 8 p.m., $20-$25

To kick off this year’s Winter Jazzfest, Le Poisson Rouge has assembled one of the best line-ups for the five-day fete. Each of the performers on the bill have spent their careers redefining the borders of jazz, then stretching far beyond them. Minneapolis-based avant trio Happy Apple start the show. (Some intrepid fans might recognize bassist Erik Fratzke from his doom-metal project Zebulon Pike.) Next up, two arresting sets from solo instrumental pioneers: Bill Laswell, whose basslines have rumbled on recordings spanning funk to heavy metal to electronic prog, and Colin Stetson, whose astonishing circular breathing technique gives his sax a sound unlike anything that came before his style. Headlining are Amsterdam’s the Ex, who started in the punk scene and subtly introduced Ethiopian rhythms and jazz improvisation over the course of their three-decade career.—Lindsey Rhoades

Thursday 1/14
Xosar
Good Room
10 p.m., $15

Mysterious Berlin-by-way-of-Bay-Area producer Xosar makes dark, dub-drenched house jams that reference goth and rave culture without veering into pastiche or camp. After releasing tracks on a handful of labels she launched her own, Gyrocyre, in November, and released her four-track EP Show Yourself. Never one to take a breather, she’s since shared eleven new works, collectively titled Holographic Matrix, on Bandcamp, adding to an already prolific output. Fresh off the Tokyo edition of Red Bull Music Academy, she brings her moody electronica to Good Room on Thursday for a late-night set. Brooklyn-based artist Aurora Halal, creator of roving underground party Mutual Dreaming, opens the show.—Lindsey Rhoades

Fern Mayo
Silent Barn
8 p.m., $7

Brooklyn’s Fern Mayo surprised fans when they announced on Facebook that this will be their last show until spring. It’s an out-of-character remark from a band that’s been burgeoning before NYC’s eyes, releasing stellar debut EP Happy Forever in October and performing locally at a tireless pace. The lo-fi garage trio doesn’t skimp on the catchy melodies, and singer Katie Capri is a name in the making with her jagged vocals; she's got one hand clenching the microphone and the other in Alanis Morissette’s pocket. Fern Mayo's upcoming seasonal break suggests they’re hunkering down to produce, and if that’s what it takes to create more songs like "Orangina Filth,” then they can take all the time they need. – Silas Valentino

Creepoid
Trans-Pecos
8 p.m., $10-$12

After years in Philly’s DIY punk scene, Creepoid temporarily relocated to Savannah, Georgia to record their third LP, Cemetary Highrise Slum, released last summer by Collect Records. The album almost didn’t come out, though, since Collect was the label that risked its financial security by deciding (wisely) to cut ties with its main backer, human embodiment of capitalist greed Martin Shkreli. It’s a good thing Collect survived: although Creepoid always dabbled with elements of shoegaze, psych and grunge, their latest feels deliciously sludgy thanks to its birth in Southern humidity. They’re back in Philly now and set to hit the road, but this special pre-tour visit to Ridgewood noise emporium Trans-Pecos — with Future Punx and Bambara opening — is one not to miss. — Lindsey Rhoades


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