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-- The 60's --
The 13th Floor Elevators
Janis Joplin
-- The 70's --
Stevie Ray Vaughan
Asleep at the Wheel
Willie Nelson
The Skunks
Townes Van Zandt
Guy Clark
Jerry Jeff Walker
-- The 80's --
The Dicks
Marcia Ball
The Butthole Surfers
Joe Ely
The Fabulous Thunderbirds
Nanci Griffith
-- The 90's --
Lucinda Williams
Arc Angels
Shawn Colvin
Alejandro Escovedo
Fastball
Jimmie Dale Gilmore
The Gourds
Robert Earl Keen
James McMurtry
Toni Price
Kelly Willis
-- The 00's --
Okkervil River
The American Analog Set
...Trail of Dead
Explosions in the Sky
Patty Griffin
Sara Hickman
I Love You But I've Chosen...
The Octopus Project
Okkervil River
Bruce Robison
Spoon
The Sword
What Made Milwaukee...
   


This is a preview of the new Deli charts - we are working on finalizing them by the end of 2013.


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Running the CMJ Marathon 2012 - Day 3 - by Josh S. Johnson
Beast Patrol, Thomas Simon, Sewing Machines, JJAMZ, Linfinity, MS MR.


The third day of CMJ is the festival’s Humpday. Once Day Three ends, the festival is already more than half-over. Now that I’m halfway done with running the CMJ Marathon, I feel pretty good about my journey towards the finish line. While my marathon numbers are solid, they aren’t as good as Paul Ryan’s. Of course, Ryan made up his marathon times on the spot, so at least I’m winning in that regard.
 


First up was Beast Patrol at the Rockwood Music Hall, who was indeed quite beastly. Led by a fiery pixie for a lead singer in Vanessa Bley, the four-piece band tore through a fast set filled with heavy punk-rock songs. All eyes were on Bley fiercely strummed her guitar and violently grabbed the mic stand. Beast Patrol’s exuberant set almost made up for Rockwood’s incredibly lame one-drink-minimum policy. Almost.
 


My next stop was the Deli’s Electro showcase at the Delancy. Opening the show was composer extraordinaire Thomas Simon, who solely manned a vast amount of pedals while riffing on guitar and singing in a low, growling voice. There were so many pedals on stage that Simon could curate his own pedal museum. Or he could just join forces with the Deli’s own Stomp Box Exhibit, held Friday and Saturday at Main Drag Music from noon to 9 PM.

Simon’s intense guitar playing highlighted his performance. His instrument had an ominous, jungle-like sound, as if a tiger would burst through the stage at any moment. The most energizing moments of the set came when the guitar was given the most power. For Simon, heavier is better.

After Simon’s set, I got mistaken for a member of a band for about the fifth time this week. Being confused for a rock star has done wonders for the old self-esteem. Now, if only I could get people believe I'ma an NBA point guard, then both my childhood career aspirations would be fulfilled. How people perceive you is at least half the battle, right? Right? Let’s move on.
 
Continuing the trend of one-man bands at the Delancy’s upstairs lounge, Max Horwich brought his delightfully bizarre project Sewing Machines to the stage. Horwich’s set began with a traditional folk sound, followed by the use of loops and other electronic elements, resulting in what has been dubbed as “folk-tronic.” Basically, Sewing Machines sounded like if aliens conquered the West, then adapted and started playing folk music. In that regard, Sewing Machines is the best version of “Cowboys and Aliens” ever.

In addition to some excellent musical stylings, Horwich was also quite the charming stage presence. From the matter-of-fact way he introduced his set as “I’m going to play four songs for you” to his beef with the talky portion of the crowd, Horwich was always compelling. Plus, he used a freaking microphone as a guitar slide, which doesn't beat using a beer can or bottle, but is still pretty cool.
 
My next stop was the Bowery Electric, where I wanted to check out LA five-piece JJAMZ, mostly because of their drummer, Jason Boesel. Boesel used to be the drummer for Rilo Kiley, a band that is currently in possession of the Theodore Roosevelt spot on my Mount Rushmore of my favorite bands of all time.
 


Other than Boesel, the main attraction of JJAMZ was the band’s sassy little spitfire of a lead singer, Z Berg. Led by Berg, the band played that kind of indie-pop where every song sounds like an adorable love song. While JJAMZ was entertaining enough, watching Boesel play drums in a band fronted by a very Jenny Lewis-esque lead singer was a little too close for comfort, so I went up the street to the Lit Lounge to see Linfinity.
 

I’ll admit, I was initially drawn to Linfinity because of their name. I still have a small case of Linsanity (now would probably be a good time to offer up a hearty “screw you” to James Dolan), so I wanted to see anything that reminded me of the best story out of last year’s NBA season.

However, Linfinity’s set proved they were much more than an intriguing name.  The New York band played indie-dance rock very reminiscent of Franz Ferdinand. Also like Franz, Linfinity’s sound had bite and swagger, courtesy of their rambunctious frontman, Dylan Von Wagner. Von Wagner was the most compelling frontman I saw perform Thursday. His voice was extremely expressive, and every so often his eyes would light up with crazy - although I later discovered that was because he was literally getting electrocuted by his microphone. I guess things like that happen when you play the “Bands of the Budget” showcase.  Yet even after the technical problems were resolved, Von Wagner was a forceful presence that could not be denied.

Ending the night was the biggest show I’ve seen at CMJ so far: the mysteriously alluring MS MR (top picture) at the Bowery Ballroom. I had seen MS MR perform over the summer at Santos Party House, and since then, the band has developed a much more dynamic stage presence. Their stage presence wasn’t bad at Santos, but, at the Bowery Ballroom, it was much more confident and refined.

That being said, any stage presence at all is icing on the cake that is the voice of MS MR’s MS, because, good god, that voice is incredible. See, this is one of the many reasons why it’s so hard to take American Idol and all these other competitive singing shows seriously. MS MR’s lead singer could tear through those shows without even really trying - and did we mention that THEY WRITE THEIR OWN SONGS??? When MS' voice is combined with a powerful drum beat and a commanding stage presence, the result is electrifying.

The highlight of the show was, of course, the band’s first single, “Hurricane.” Even though it was obvious they would close with their most popular song, the song still felt fresh and honest. MS MR was truly awed by the crowd’s more than enthusiastic response, and it was easy to tell that when the band returns to the Bowery Ballroom, they will do so as headliners.

After rocking out to one of the best songs released in the past year, it seemed like a good time to call it a night. With that, I mounted the hump that was CMJ Thursday. Er, something like that. 

 

 

 
 
 

 

The Deli's CMJ Shows 2012

 

 
 
 

 

From the NYC Open Blog: pow wow! debuts new LP

After a little over a year in the making, pow wow! has debuted their first full length record, Don't Stop To Look, streaming and available for download now on their bandcamp and soon available on Itunes, Spotify, Amazon (& More) as well as a limited run vinyl LP pressing before the end of the year. Voted one of of L Magazine's NYC Bands You Need To hear in 2009 and covered extensively by Brooklyn Vegan, Time Out New York, Village Voice, and various other local and international blog's after having released a handful of EP's and singles between 2009-10, pow wow! returns in 2012 with "Don't Stop To Look," their most diverse, yet focused and finely crafted pop record to date. Keeping true to their march to your own beat mantra as a band, the offerings on Don't Stop Look marry 60+ years of international pop music influence while honestly narrating an experience that is quintessentially New York. Passive and passionate; Yearning yet resigned. Candid, sometimes cryptic, but always conversational in delivery. Check out their latest video here. (As posted in The Deli's Open Blog - post your band's entries, videos, and Mp3s here). The Deli NYC Open Blog is powered by The Music Building.

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Cold Blood Club releases a first EP

You remember 'White Boyz' right? The song that tried to make white male timidity into a cool thing, while being picked up for Mercedes Benz Fashion Week 2012 to soundtrack catwalks across Bryant Park. Indeed, Cold Blood Club are almost too catchy for their own good. Well, now the group is back with their first official EP, 'Headlines & Firefights.' Lead vocalists Kendra Jones and Brad Peterson are not exactly known for being timid, so you know when they do something new, it's sure to turn heads. And based on their increasing penchant for loud, obnoxious party music, and loud, insane parties... it's bound to be a thing best experienced live. - Mike Levine (@Goldnuggets)

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Psychobuildings release new video for 'Wonderchamber'

“Wonderchamber,” the new video by Brooklynʼs Psychobuildings, creeps along like an arachnid lullaby poised to disintegrate into a danceable labyrinth. Subtly political, its Nietzschian lyrics deadpan the sensual allure of an omnipresent cult leader who speaks with “glitter in his pockets” to crowds more than willing to drink his kool-aid. Psychobuildings leader Peter LaBier prances across the singleʼs video in a shirtless jiggle, gently balanced by the kaleidescope ballet effects that brings to mind Damien Hirshʼs larva collages. When LaBier emerges halfway through in a psychedelic unitard, the whole affair feels somehow enlightened and utterly irresistible. Five live shows during CMJ last week cemented the bandʼs devil-may-care aesthetic to dizzying response. - Brian Chidester 

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Tracy's CMJ Day 5 -TinVulva, Bugs In The Dark, Life Size Maps, Eula, The Everymen, EndAnd, SLEEPiES & more

And finally, we get to the last day of this CMJ fest. Far from tired, I'm in a place where, buzzing off the large amounts of live music I've been restlessly taking in for the last four days, I'm just NOT sure what to do with myself once this is over. Converse might be hard, as one: I've gone partially deaf, and two: all I've been doing all week is chat and shake hands, to the point where if I have to say once more 'Tracy from The Deli', I might just die. But before I unplug my brain for the whole of Sunday, time to take you through the final leg of this run. Read Tracy Mamoun's report of CMJ's Day 5 here. - In the picture and streaming: SLEEPiES, who by the way have planned a sweet Halloween bash mit Pixies, Ramones, Siouxsie and The Banshees and Joy Division covers, check it out here


  classifieds
 


Tracy's CMJ 2012 Day 5 - by Tracy Mamoun

TinVulva, Bugs In The Dark, Life Size Maps, Eula, The Everymen, EndAnd, I'm Turning Into, Puppies & SLEEPiES (again!)
- by Tracy Mamoun



 

And finally, we get to the last day of this CMJ fest. Far from tired, I'm in a place where, buzzing off the large amounts of live music I've been restlessly taking in for the last four days, I'm just NOT sure what to do with myself once this is over. Converse might be hard, as one: I've gone partially deaf, and two: all I've been doing all week is chat and shake hands, and I think if I have to say once more 'Tracy from The Deli' I might just die. But before I unplug my brain for the whole of Sunday, time to take you through the final leg of this run. Have been in a bubble now for a few days, and it seems like when the noise stops it's all going to seem OVERLY silent. 

The first half of a day, I spent at XPO 929, where we were hosting our last show of the week, with the noisiest bands of our 2012 selection. The afternoon was kicking off with TinVulva, who as Bugs In The Dark singer Karen said, 'kicked ass', spitting out their message to the opposite sex with more spite & strength than you'd ever really expect from these three tiny ladies which, two of which, despite the obvious shortcut of this comparison, you can place somewhere along the lines Kathleen Hanna meets The Amps meets.. the 5,6,7,8's? Is that last one cheap? Does it have something to do with the two Asian frontwomen? Not certain, but there is something in the stage presence that takes me in that direction. However, as a trio, they pulled off a great performance. Definitely one I'd see again.

Second up were Bugs In The Dark, four-piece powerhouse 'sex rock' with an eye set on the finest of the 90s, who despite going for some awkward-ish enamoured bits of performance delivered a great set. No lies, I did during a third of 'Picture' think 'Hey, that's ripping off..?', but as it turns out, it was only a really sick song of theirs lodged deep in a corner of my brain since first listening to the band. A truly impactive live show building up on solid riffs and raucous vocals which Rockower will at some point pour into a megaphone, only to amp-up the noise factor a notch, with a ferocious fist-lifting stage presence. A great act, which the EndAnd guys will aggree with as they've already made plans to share some more bills with the band after this. 

Then Life Size Maps came on. Playing as a duo some invasive indie pop/rock built upon a shimmering windy loop which came back on for a couple of the tracks, with some intensely reverberated vocals which the singer kept asking to turn up a notch. Not that there's anything to dislike, but it's just not really my thing, that's as honest as I'll get. Somehow, the balance between either too saccharine a noise-driven band or too noisy a pop band seemed to just not match the degree of straightforward noise-noise delivered by the other bands on stage that day; yet taking into account some high-energy fast-riff efforts and a young singer who was determined to deliver 100% despite a crowd which had begun to slightly disperse, they deserve a certain credit for finding their own way to merge glistening neo-psycehdelic influences with the sounds of guitar&bass. And to be fair, their tracks are most definitely catchy, so for those a little more suited to the sweet side of things, I'm guessing they're probably a winning act.

Next were EULA, one of those bands I wish I'd seen perform before writing them up for the issue, for despite the buzzkill of playing for a small afternoon crowd in such a large space as Party XPO, Alyse Lamb (who, due I suppose to her ferocious attitude, I imagined quite a bit taller) managed to show off a bit of what her stage act is about. For such a tiny lady, she takes up the whole space at ease, pacing up and down from one amp to the next, pinching the far end of her guitar strings to slip some high-pitched noise within the ramble of dissonances and bassey layers. Why did I wish I'd seen them before the issue went to print? Because their live set reveals thrice more impactive a band than the records betray, at some points drifting into shambolic spurts of fast drumbeats & shreds as the show unfolds. Wish I'd actually seen them again later on, to see what they're like once the sun goes down, but as you'll read a bit further down, had some planning issues. That'll be for next time. 

First headliners of the show were The Everymen, regarding whom I find myselg more or less in the same case as EULA. Except that I had actually seen them once before this show, but here again, we're speaking of a band about fifteen times more explosive than their first album 'New Jersey Hardcore' or even the more faithful earlier records would let one guess. I heard someone saying they sounded like 'the E Street Band on crack'. And despite the fact that they're nowhere near as tensed-up as the image makes them seem, it is all in all a pretty accurate description of their punk 'big band' frenzies, so here we go, quoting. Remember that Stray Cats song that goes "rock&roll is never too loud"? Well if a four-piece can make noise, imagine what an eight-piece band giving 200% on stage can amount to. 

Finally, our second headliners were EndAnd, second King Killer representatives of the day, part of a their own micro-scene of truly talented musicians drifting far from the hype's beaten tracks to find an edge to noise. We got treated to a few songs from their next album, 'Mechanics and Energetics of Stilt-Running', currently being mixed, which sees them diving further towards hardcore punk with this time round barely an ounce of that pop sensibility pointed out in most reviews of their first output.  

Legion, my next stop, was most definitely the type of bar I'd never want to hang out in. For the exception perhaps of a 4am/in need of a drink/feeling silly type of situation, in which case listening to Patrick Hernandez's 'Born To Be Alive' whilst sipping red wine out of a whisky tumbler could seem an acceptable option. Let's be honest here for a second. The only reason I headed there was that, reading the wrong page in my notes, I believed Cool Serbia were playing. Instead, the line-up turned out to be a cast of kitschy pop bands. Having in mind a stop at the EISGTCMJ show at Paper Box for a Sleepies night cap at 10:40, why not stay for a couple?

As it turns out, Sleepies weren't playing at 10:40. Damn you guide. But we'll get to that in a minute.

I'm Turning Into (yup, these charming lads), in spite of -fair enough - not exactly breaking ground, bring an interesting touch to their live performance, through which one gets to appreciate the different styles coming together in their album, with one player only risking the guitar solos, but all very space-aware, i.e not hitting the drums too hard or the volume too high, reverberation on the other hand used and abused for some dreamy pop/hazy garage.

Next up, Puppies, who with a name like that... anyway. The frontman/keyboardist takes on perfectly well the role of the endearing quirky kid cracking jokes trying to find lookalikes for the entire cast of the Simpsons in this tiny backroom. With three pretty ladies on bass, guitar and drums, the band plays some smooth-swaying crackly surf pop tickled by keyboard melodies heading towards some slightly grittier garage numbers sounding something like Cassie Ramone meets the BBQ show - to picture some super- saccharine lo-fi skipping jams filled with 'ooh-oohs', that's as good as I have.  

Bands aside, I hope I never have to go back to Legion. 

But finally, we get to the last gig that was to close the week en beaute. Is seeing the same band twice cheating? Probably. Then again I did catch Foxygen three times, and although one would have sufficed, having god-knows-how met my 'quotes' for the week, it doesn't seem completely silly to compare performances.

So yes, I missed SLEEPiES at Paper Box, but instead, got to see them at the Fuzz showcase, with as full a room as I'd seen them play for. And a 'special stamp' to drink for free as, having lent a hand carrying the snare drum (that was it, literally) upstairs, the lovely girl at the door seemed to believe I had something to do with the band. Which I just went with, obviously. Despite having already snuck in a six pack, which was now no longer an awesome plan but a burden and a half.

Hard to come back on these guys without either repeating myself or going into too much detail, which I am saving for a Q&A to be posted soon. So for now, I'll stick to a couple of comments, starting with the fact that I finally got to hear the Hot Singles played all in one go, which, despite understanding where the hesitation would come from, Feelers, with its sprightly clean-cut punk momentum, tying far less into the new album's aesthetics (or even those of their earlier records) than would Sludge River Mouth, I'd been impatiently waiting for.

Personal highlights aside, there are a few reasons why I seem to find their gigs a sure value, one which to do with WWW working its way between hook-laden hits and destructured raw noise to find an edge to both, where your taste for grit is fulfilled whilst half the room can joyously sing along. Which was the case that evening, as it seems half the people in the room knew the words to every song.

Then, there's also the fact that once you get bored of seeing/hearing as many self-indulgent half-assed noisemakers as I did back in London, substituting for any glimpse of thouroughness, creativity, or craftsmanship for that matter, the more or less guaranteed effect of a fuzz&feedback-driven cacophony, well.. it's a treat to find some young guys who'll take it upon themselves to work on the outskirts of the punk/grunge/noise battlefield whilst using and abusing the same means as the pack to feed one enough dirt to keep things interesting. Know who else is finding it interesting? Julian Casablancas, who turned up to catch their last CMJ performance. Just thought I'd slip that in. 

Credit where credit's due, here's a band that has slowly built its niche way beyond the shortcut-led mainstream of today's punk scene, and a definite favourite of these few months in New York City. 

So to wrap up, I want a SLEEPiES tee. 

Anyway, this last show was a lovely end to a great week. Consistent? Not really. Organised? No. Productive? I've probably seen more acts from Missouri or Ohio than from any scene covered by The Deli. But the ride was a WHOLE lot of fun, so for that.. cheers Paolo! 

 

 
 
 
 

 

The Deli's CMJ Shows 2012

 

 
 
 

 

  classifieds
 


Tracy's CMJ 2012 Day 5 - by Tracy Mamoun

TinVulva, Bugs In The Dark, Life Size Maps, Eula, The Everymen, EndAnd, I'm Turning Into, Puppies & SLEEPiES (again!)
- by Tracy Mamoun



 

And finally, we get to the last day of this CMJ fest. Far from tired, I'm in a place where, buzzing off the large amounts of live music I've been restlessly taking in for the last four days, I'm just NOT sure what to do with myself once this is over. Converse might be hard, as one: I've gone partially deaf, and two: all I've been doing all week is chat and shake hands, and I think if I have to say once more 'Tracy from The Deli' I might just die. But before I unplug my brain for the whole of Sunday, time to take you through the final leg of this run. Have been in a bubble now for a few days, and it seems like when the noise stops it's all going to seem OVERLY silent. 

The first half of a day, I spent at XPO 929, where we were hosting our last show of the week, with the noisiest bands of our 2012 selection. The afternoon was kicking off with TinVulva, who as Bugs In The Dark singer Karen said, 'kicked ass', roaring to the opposite sex with more spite & strength than you'd ever really expect from these three tiny ladies which, despite the obvious shortcut of this comparison, you can place somewhere between kelly deal and the 5,6,7,8's. Does it have something to do with the two Asian frontwomen? Not certain. But they pulled off a great performance. 

Second up were Bugs In The Dark, four-piece powerhouse indie with an eye set on the finest of the 90s, who despite going for some awkward-ish enamoured bits of performance delivered a great set. No lies, I did at some point think 'Hey, that's ripping off..?',but as it turns out, it was only a really good song of theirs which had stayed engraved in some corner of my brain. A truly impactive live show building up on power riffs and some vocals a la Kelly Deal which Rockower will at some point poured into a megaphone to just amp-up the noise factor a notch, as if the show wasn't already loud enough. A great act, in my opinion, and in EndAnd's two as the guys made plans to share some more bills after this. 

 

Then Life Size Maps came on. Playing as a duo some invasive indie pop/rock built upon a shimmering windy loop which came back on for a couple of the tracks, with some intensely reverberated vocals which the singer kept asking to turn up a notch. Not that there's anything to dislike, but it's just not really my thing, that's as honest as I'll get. Somehow, the balance between either too saccharine a noise-driven band or too noisy a pop band seemed to just not match the degree of straightforward noise-noise delivered by the other bands on stage that day; yet taking into account some high-energy fast-riff efforts and a young singer who was determined to deliver 100% despite a crowd which had began to slightly dissipate, they deserve a certain credit for finding their own way to merge glistening neo-psycehdelic influences with only a guitar and bass. And to be fair, their tracks are most definitely catchy, so for those a little more suited to the sweet side of things, I'm guessing they're probably a winning pair.  

 

Next were EULA, one of those bands I wish I'd seen perform before writing the up for the issue, for despite the buzzkill of playing for a small afternoon crowd in such a large space as Part XPO, Alyse Lamb (who, due I suppose to her ferocious attitude, I imagined quite a bit taller) managed to show off a bit of what hey stage show is about. For such a tiny lady, she takes up the whole space at ease, pacing up and down from one amp to the next, strumming the far uneasy end of her guitar strings to squeeze some high-pitched noise in-between dominant bassey layers. Why did I wish I'd seen them before the issue went to print? Because their music is about ten times more impactive live than the record makes it out to be, in some points drifting into some juicy takes on punk form sporting fast-shredding and rapid drumbeats. Wish I'd actually seen them again later on, to see what they're like once the sun goes down, but as you'll read a bit further down, had some planning issues. 

The Everymen, more or less the same case scenario. Except that I had actually seen them before, but here again, a band about fifteen times more explosive than their first album 'New Jersey Hardcore' or even the more faithful earlier records would let one guess. I heard someone saying they sounded like 'the E Street Band on crack'. And despite the fact that they're nowhere near as tensed-up as the image makes them seem, it is all in all a pretty accurate description, so here we go, quoting. 

 

Finally, our headliners were EndAnd, second King Killer representatives of the day, part of a their own micro-scene of truly talented musicians drifting far from the hype's beaten tracks to find the edge of noise. We got treated to a few songs from their next album, 'Mechanics and Energetics of Stilt-Running', currently being mixed, which sees them exploring hardcore punk with this time round barely an ounce of that pop sensibility pointed out in most reviews of their first output.  

 

Legion, my next stop, was most definitely the type of bar I'd never want to hang out in. For the exception perhaps of a 4am/in need of a drink/feeling silly type of situation, in which case listening to Patrick Hernandez's 'Born To Be Alive' whilst sipping red wine out of a whisky tumbler could seem an acceptable option. Let's be honest here for a second. The only reason I headed there was that, reading the wrong page in my notes, I believed Cool Serbia were playing. Instead, the line-up turned out to be a cast of kitschy pop bands. Having in mind a stop at the EISGTCMJ show at Paper Box for a Sleepies night cap at 10:40, why not stay for a couple?

As it turns out, Sleepies weren't playing at 10:40. Damn you guide. But we'll get to that in a minute.

 

 

I'm Turning Into (yup, these lads), in spite of -fair enough - not exactly breaking ground, bring an interesting touch to their live performance, through which one gets to appreciate the different styles coming together in their album, with one player only risking the guitar solos, but all very space-aware, i.e not hitting the drums too hard or the volume too high, reverberation on the other hand used and abused for some dreamy pop/hazy garage.

And so finally, we get to the last gig that was to cloture the week en beaute. Is seeing the same band twice cheating? Perhaps. Then again I did catch Foxygen three times, and although one would have sufficed, having god-knows-how met my 'quotes' for the week, it doesn't seem completely silly to compare performances.

So yes, I missed SLEEPiES at Paper Box, but instead, got to see them at the Fuzz showcase, with as full a room as I'd seen them play for. And a 'special stamp' to drink for free as, having lent a hand carrying the snare drum (that was it, literally) upstairs, the lovely girl at the door seemed to believe I had something to do with the band. Which I just went with, obviously. Despite having already snuck in a six pack which was now no longer an awesome plan but a burden and a half.

Hard to come back on these guys without either repeating myself or going into too much detail, which I am saving for a Q&A to be posted soon. So for now, I'll stick to a couple of comments, starting with the fact that I finally got to hear the Hot Singles played all in one go, which, despite understanding where the hesitation would come from, Feelers tying far less into the new album's aesthetics (or even those of their earlier records) than would Sludge River Mouth. Yet hey, nothing's worth a challenge.

Personal highlight aside, there are a few reasons why it's always a treat to go check them out, one which has to do with the hard to pinpoint difference between any track and a hit – WWW, in that gap, sits comfortably on its fence, delivering a restless succession of the grittiest A-Tracks to lodge at the top of your playlists. So when it comes to seeing them live, each song is what you'd call a 'classic' if that makes sense, meaning that what they craft is no doubt some of the catchiest punk/grunge/noise mash-up on offer. Ergo, half the people in the room new the words to every song. 

Pleasure to have people to mosh about to their tunes with. Pumped-up ladies bouncing at the front, nice one; that was a lovely end to a great week. Consistent? Not really. Organised? No. Productive? I've probably seen more acts from Missouri or Ohio than from any scene covered by The Deli. But the ride was a WHOLE lot of fun, so for that.. cheers Paolo! 

 

 
 
 
 

 

The Deli's CMJ Shows 2012

 

 
 
 

 

  classifieds
 


Tracy's CMJ 2012 Day 5 - by Tracy Mamoun

TinVulva, Bugs In The Dark, Life Size Maps, Eula, The Everymen, EndAnd, I'm Turning Into, Puppies & SLEEPiES (again!)
- by Tracy Mamoun



 

And finally, we get to the last day of this CMJ fest. Far from tired, I'm in a place where, buzzing off the large amounts of live music I've been restlessly taking in for the last four days, I'm just NOT sure what to do with myself once this is over. Converse might be hard, as one: I've gone partially deaf, and two: all I've been doing all week is chat and shake hands, and I think if I have to say once more 'Tracy from The Deli' I might just die. But before I unplug my brain for the whole of Sunday, time to take you through the final leg of this run. Have been in a bubble now for a few days, and it seems like when the noise stops it's all going to seem OVERLY silent. 

The first half of a day, I spent at XPO 929, where we were hosting our last show of the week, with the noisiest bands of our 2012 selection. The afternoon was kicking off with TinVulva, who as Bugs In The Dark singer Karen said, 'kicked ass', roaring to the opposite sex with more spite & strength than you'd ever really expect from these three tiny ladies which, despite the obvious shortcut of this comparison, you can place somewhere between kelly deal and the 5,6,7,8's. Does it have something to do with the two Asian frontwomen? Not certain. But they pulled off a great performance. 

Second up were Bugs In The Dark, four-piece powerhouse indie with an eye set on the finest of the 90s, who despite going for some awkward-ish enamoured bits of performance delivered a great set. No lies, I did at some point think 'Hey, that's ripping off..?',but as it turns out, it was only a really good song of theirs which had stayed engraved in some corner of my brain. A truly impactive live show building up on power riffs and some vocals a la Kelly Deal which Rockower will at some point poured into a megaphone to just amp-up the noise factor a notch, as if the show wasn't already loud enough. A great act, in my opinion, and in EndAnd's two as the guys made plans to share some more bills after this. 

Then Life Size Maps came on. Playing as a duo some invasive indie pop/rock built upon a shimmering windy loop which came back on for a couple of the tracks, with some intensely reverberated vocals which the singer kept asking to turn up a notch. Not that there's anything to dislike, but it's just not really my thing, that's as honest as I'll get. Somehow, the balance between either too saccharine a noise-driven band or too noisy a pop band seemed to just not match the degree of straightforward noise-noise delivered by the other bands on stage that day; yet taking into account some high-energy fast-riff efforts and a young singer who was determined to deliver 100% despite a crowd which had began to slightly dissipate, they deserve a certain credit for finding their own way to merge glistening neo-psycehdelic influences with only a guitar and bass. And to be fair, their tracks are most definitely catchy, so for those a little more suited to the sweet side of things, I'm guessing they're probably a winning pair.  

Next were EULA, one of those bands I wish I'd seen perform before writing the up for the issue, for despite the buzzkill of playing for a small afternoon crowd in such a large space as Part XPO, Alyse Lamb (who, due I suppose to her ferocious attitude, I imagined quite a bit taller) managed to show off a bit of what hey stage show is about. For such a tiny lady, she takes up the whole space at ease, pacing up and down from one amp to the next, strumming the far uneasy end of her guitar strings to squeeze some high-pitched noise in-between dominant bassey layers. Why did I wish I'd seen them before the issue went to print? Because their music is about ten times more impactive live than the record makes it out to be, in some points drifting into some juicy takes on punk form sporting fast-shredding and rapid drumbeats. Wish I'd actually seen them again later on, to see what they're like once the sun goes down, but as you'll read a bit further down, had some planning issues. 

The Everymen, more or less the same case scenario. Except that I had actually seen them before, but here again, a band about fifteen times more explosive than their first album 'New Jersey Hardcore' or even the more faithful earlier records would let one guess. I heard someone saying they sounded like 'the E Street Band on crack'. And despite the fact that they're nowhere near as tensed-up as the image makes them seem, it is all in all a pretty accurate description, so here we go, quoting. 

Finally, our headliners were EndAnd, second King Killer representatives of the day, part of a their own micro-scene of truly talented musicians drifting far from the hype's beaten tracks to find the edge of noise. We got treated to a few songs from their next album, 'Mechanics and Energetics of Stilt-Running', currently being mixed, which sees them exploring hardcore punk with this time round barely an ounce of that pop sensibility pointed out in most reviews of their first output.  

Legion, my next stop, was most definitely the type of bar I'd never want to hang out in. For the exception perhaps of a 4am/in need of a drink/feeling silly type of situation, in which case listening to Patrick Hernandez's 'Born To Be Alive' whilst sipping red wine out of a whisky tumbler could seem an acceptable option. Let's be honest here for a second. The only reason I headed there was that, reading the wrong page in my notes, I believed Cool Serbia were playing. Instead, the line-up turned out to be a cast of kitschy pop bands. Having in mind a stop at the EISGTCMJ show at Paper Box for a Sleepies night cap at 10:40, why not stay for a couple?

As it turns out, Sleepies weren't playing at 10:40. Damn you guide. But we'll get to that in a minute.

I'm Turning Into (yup, these lads), in spite of -fair enough - not exactly breaking ground, bring an interesting touch to their live performance, through which one gets to appreciate the different styles coming together in their album, with one player only risking the guitar solos, but all very space-aware, i.e not hitting the drums too hard or the volume too high, reverberation on the other hand used and abused for some dreamy pop/hazy garage.

And so finally, we get to the last gig that was to cloture the week en beaute. Is seeing the same band twice cheating? Perhaps. Then again I did catch Foxygen three times, and although one would have sufficed, having god-knows-how met my 'quotes' for the week, it doesn't seem completely silly to compare performances.

So yes, I missed Sleepies at Paper Box, but instead, got to see them at the Fuzz showcase, with as full a room as I'd seen them play for. And a 'special stamp' to drink for free as, having lent a hand carrying the snare drum (that was it, literally) upstairs, the lovely girl at the door seemed to believe I had something to do with the band. Which I just went with, obviously. Despite having already snuck in a six pack which was now no longer an awesome plan but a burden and a half.

Hard to come back on these guys without either repeating myself or going into too much detail, which I am saving for a Q&A to be posted soon. So for now, I'll stick to a couple of comments, starting with the fact that I finally got to hear the Hot Singles played all in one go, which, despite understanding where the hesitation would come from, Feelers tying far less into the new album's aesthetics (or even those of their earlier records) than would Sludge River Mouth. Yet hey, nothing's worth a challenge.

Personal highlight aside, there are a few reasons why it's always a treat to go check them out, one which has to do with the hard to pinpoint difference between any track and a hit – WWW, in that gap, sits comfortably on its fence, delivering a restless succession of the grittiest A-Tracks to lodge at the top of your playlists. So when it comes to seeing them live, each song is what you'd call a 'classic' if that makes sense, meaning that what they craft is no doubt some of the catchiest punk/grunge/noise mash-up on offer. Ergo, half the people in the room new the words to every song. 

 

 

 
 
 

 

The Deli's CMJ Shows 2012

 

 
 
 

 

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