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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...
   


Welcome to the new Deli Charts, organized by genre and scene.

To rank the artists with the star system go to the Top 50.


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scene blog

This one’s just plain fun y’all. Opposite Day is a staple of the Austin scene that plays some of the most technical and pure fun music in Austin, a combo you don’t often get. This vid is their new track “AI IOU,” and it’s a series of shots that cut between the band doing their hard-playing, wild-beat thing and then a buncha robot shots that feel very MST3K. That’s a pretty good touchstone in terms of era as well, as this track feels quite outta the 90s though all beefed up with some heavier, mathrockier shit, and the idea of a wilder, more indie Barenaked Ladies that plays faster and punkier isn’t far off. It's fun too to get great tracks that aren't really about love or social issues or something pretty, but instead just about a cool ass concept that the musicians like; in this case a mufucking robot made from parts of other robots! Check the lyrics: "I am rememebering what happened to the parts that make me/I am a conscious agent assembled from other machines." That's the good scifi shit. Tune your robot ears and focus your android eyes on this thing below, and let the AI tell you all about its weird ol' self!

July 31, 2015
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It doesn’t take long for shit to start getting weird when you’re not on the typical “wake up in the morning, sleep through the night” schedule, especially if you start pushing the time you do sleep further into the daylight hours. And the longer you’re on the vampire grind, and the longer you actually don’t sleep at all, the more things go from just a bit off to a point where you feel almost completely unlike all the people you see in the world who sleep normally. Feeling unreal and like other people and their regularly scheduled lives are completely alien, living in some other universe, becomes the normal.

This is the sentiment that provides the framework for local rapper vftvc’s (Vicky Flair the Voodoo Child) new album sounds of insomnia, which is a deeply candid attempt to explain and share the feeling of being an insomniac, and a drug-using, cynical, conflicted one at that. It’s rough in parts and it’s not hard to see that it’s spawned from a young mind dealing with a lot of issues (and not always in a healthy way), but it is striking for what it does right.

For one, it gets the feeling of insomnia and feeling distant from the world absolutely perfect. The tracks, all produced skillfully by beatmaker forest green, are designed to induce feelings similar to those that come with insomnia; they often drag along, there’s a lot of dreamstate sounds like bells and meandering horns, and the delivery is often very deadpan and low-energy (in a good way that drives the insomnia feeling home) but sometimes goes manic or gets heavily distorted in a psychedelic way (a bit Odd Future-esque).

The lyrics do much the same, often directly talking about the weird unliving state of being an insomniac, such as in the intro for “demons,” which is delivered in a way that makes it sound like an entry in an audio journal by someone losing their mind. In it Vicky delivers, in his standard listless voice and over a barking dog that really places it in a physical place (you can almost see him sitting in a dark room with the light of the day that’s already come again leaking through the blinds) the following, which we’re copying in its entirety because it gives an excellent summation of the feelings at play in this album:

“It’s around the end of July, and sleep has become a total stranger. I try to stay in the good frame of mind throughout this time, amidst all the things falling apart around me. But it seems in those twilight hours, those voices those [something, hard to hear], their influence in my head seems to get stronger and stronger, and I feel it puling me to the dark place. I try to rise above it, but. I don’t know how much longer I can hold on.”

The levels of introspection and honesty here are strong, and impressive for a young creator. Whether or not you empathize with the rapper or support how vftvc deals with and sees life, which is admittedly a dark perspective most of the time, that he’s giving his perspective so fully makes the album rich. He’s not hiding much of anything here, though while he’s revealing the things that are making him depressed or conflicted, he’s also reveling in it a bit, and he doesn’t hide that either. It’s all on the table- the way he both loves and needs drugs and also sees the bad shit they’re doing to him, the way he isn’t sure if he likes himself or not or you or not but is also set in his ways and has developed a sort-of comfort with them, or at least he wants you to see it that way (something he also doesn’t hide).

The album shies away from nothing and will very likely make you uncomfortable for doing so in at least a few places, and some may not connect with it at all either for its roughness or its perspective, but because of that rawness and revelation, it’s also a striking piece of art from a young thinker worth watching. The whole album is well worth a listen, so get doing so below and get ready to feel a little…off.

July 27, 2015
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Sometimes you come across a bit of music that’s so in its own world and by an artist with so little information available online, that it seems almost more like outsider art than a part of the general scene- even the really obscure parts of the scene. That’s a dead-on description of billy, an (apparently) Austin-based solo artist that does some washed-out, way weird psychedelic electropop and who released his best yet piece this month with the structurally surprising and oddly charming track “mindz.” We couldn’t even get a legit picture of this elusive artist who doesn’t seem to have a Facebook page (at least that we can find); we had to take a screenshot of his Instagram and crop it. That ain’t normal these days y’all, but it kinda does add to this kid’s charm in this age of oversharing.

The track itself is equally enigmatic- it starts heavily melancholy in both tone and concept, a piece of slow electronic pop with equally balanced elements all plodding within its simple drum machine beat. Butt then at 1:07, when the chorus pops in, a very Air-esque high-toned, bright and pretty hook comes through hard and just massively changes up the feel of the whole song. It takes it from weird and cute but potentially something that might get overlooked after a few listens to a track that’s just arrestingly unique and which can even get the spine tingling a bit with its lazer-clear tones.

The lyrics continue the trend of ambiguity, seeming to be a reflection on perception and the way it interacts with relationships (“In our minds/We won’t go/In my mind/You want them”), but being deliberately obtuse about it in a way that pairs happily with the way the track’s sound is hard to pin down. All of it makes you wonder who billy is, what they’re all about and what else they can do, and that to us is the sign of a very interesting emerging artist indeed. Try billy’s stuff out yourself below, and if any of y’all have more info on this musician (at the least so we can let them know about the post), feel free to share in the comments. We’d like to know more about this one.

July 26, 2015
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Sometimes all a straight killer music video needs is a good fuckin’ setting, a cool ass scene of folks into the shit in front of them, and a few dicks, fart clouds, battle axes, demon tongues and horns ’n skeletons drawn all over the frames. That, at least, is the winning combo for the new vid by long-hair havers and dive-bar rockers Sweat Lodge, who (in conjunction with Kash Powers) used to make the visual accompaniment to the deeply early metal of track “Bed of Ashes.” Speaking of the young days of the big-chord, reverbed-up, psych-on-edge version of metal, this video reads like the music-and-quick-cuts intro to a movie about metalhead kids in those simple, patched denim vest loving days, being slammed full of fuck-off attitude, booze and weed and characters aplenty partaking in both of ‘em and what’s obviously a show that everyone is pretty fuckin into, all with hair a’bangin’ in the dingy, slightly-vomit scented air of one of Austin’s least 6th Street bars, The Grand on Airport Boulevard. All stories I know of and have been part of that take place at The Grand are on the “what even is sobriety” end of the debauched scale, and from the looks of things, Sweat Lodge and their crew of merry friends are there these days makin’ damn sure the place doesn’t go and do somethin’ dumb like getting more respectful or whatever.

Looked at as a peak into a very different kind of scene than that which you’ll typically find at the more mainstream venues in town, this video ain’t just a hell of a track to throw one back to and get raucous with, it could also be taken as an invitation to a scene in Austin that doesn’t give a fuck about flannels or manscaping, if of course you can find it and you ain’t an asshat. The Deli wants more of this, and Austin’s soul kinda needs it. Please keep it up Sweat Lodge, and the rest of y’all turkeys need to switch out some of those quiet ass records you got for somethin’ louder ASAP, ya hear? This is a hell of a good place to start.

July 26, 2015
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MMMmmmmmmmyayah, some heavy shit for ya up in this hot ass week. We here at The Deli dig showin' off some of the genres that aren't always as much in the limelight in Austin as others, and so we're gotdamn pickled to be able to throw you some good ole damn ole hard rocking music today, compliments of Big Chords and Shoutyscreams act We'll Go Machete. These guys released their first album in a while, the (we assume) jokingly titled Smile Club, on July 7, and anyone who was ever into post-hardcore shit like Fugazi, At the Drive-In etc. will eat this shit up they was Jaws from James Bond and metal was a viable foodgroup. There's somethin' artsier and weirder in here as well, with some really strange structures and experimentation with making guitars churn out some fucked up noises, and that the band name checks both Melvins and Slint in the info about this album says a lot about what you can expect. If you gots some pent up aggression and frustration goin' on this summer (who are we kidding, it's 2015, that's everybody) and wanna churn and burn along with some fucking music from the heavy side of the city, you can't do better than Smile Club.

July 21, 2015
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Goddamnit kids, there's just somethin' about truly earnest music that hits a chord deep within' yer chesty bits where the soul feels like it lives, and you just can't fake that shit no matter how hard you try. Twee and cutesy pop were like scientifically condensed versions of cute, yeah, but they really never got away from the saccharine nature that comes with something so deliberately boiled down. It might be cute, but it's like callin' one of those whipped cream injected whippersnapper cupcakes at Hey Cupcake! sweet: yeah we all get it, but it's not the kinda complicated and sticking sweetness-based revelations that, say, your mom's apricot cake baked in her small town home's old-ass oven will ever get ya.

All that's a very complex way to explain somethin' pretty damn simple, which is that Les Zombies makes music that is just real goddamn cute and entirely earnest-feelin', and that newest track "Unravel" is without question the most authentically un-heavy and adorable American love song we've heard in a damn long time. It's like a soundtrack for a kind of indie romance film set in the beige-and-green-washed suburbs with a lot of 80s clothes and cars that just doesn't exist anymore, and which would probably feel real put-on if it was made these days. Somehow this band keeps nailing this sound and sentiment in a pitch-perfect way that makes it feel like you can just go live in that kinda smaller, simpler, cuter world for a while. That ain't a bad thing in these angry, immediate days, in my opinion. Listen below, and let's give the past and the idea of love a bit of time to play around in our heads again as a less public, cuter, more personal thing that's still confusing but maybe more for the simple human parts and less for the whole mess of new problems that a social media, contemporary bae-infused narrative life has put onto shit. It's cute music that sounds great y'all, get up on it and let it get you feelin' some good, possibly bygone way.

July 21, 2015
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