Bisco Smith has been rocking the hip hop underworld of NYC for over ten years now. Collaborating with artists and producers across the musical spectrum from all over the world, his track “Decompression” produced with ex NYC, now LA-based indie-phenom Cassettes Won’t Listen in 2005 has remained a fan favorite. This duo has finally reunited under the name The Freeze Tag, and, with the help of renowned street artist Bishop203 and director Vidoli, created a 5 song/video saga following the trials and tribulations of Hamster Kid, a fictionalized representation of the struggle for greatness within us all. Critics will undoubtedly draw comparisons to the Gorillaz regarding the animation and indie-rock/rap collaboration, but closer listening will reveal a depth of lyricism and content that surpasses this distant hairy mainstream cousin. Bisco’s charming vernacular and gift for visceral urban narrative is an unlikely companion to CWL’s pristine electro-pop, but the resulting project will definitely give you pause—at least until some un-freezes you.
On a separate note, Cassettes Won’t Listen has just announced a new album, KEVINSPACEY, due in June. – BrokeMC

Mp3: The Freeze Tag – The Hustle

"We just released our 3rd Record out on CRAFTY RECORDS called "Big MiSTakeS"…Its out on Vinyl! we are so stoked…..influences are based in the "WE Jam ECONO" style, but we love everything from Jonathan Richman to Slayer!! We’ve been around Brooklyn for 7 years and counting.. please take the time check the music out wen you can… Put your your ears to the ground, and clap your hands when you feel it! See you soon! THE SWEET ONES!" – (as posted in The Deli’s Open Blog – post your band’s entries, videos, and Mp3s here). The Deli’s NYC Open Blog is powered by The Music Building.

NYC music lovers into charity and the mellow, thoughtful, jazzy pop style of female songwriters such as Fiona Apple and Norah Jones may want to head to Tenth Rail on 413 Tenth Ave @ 33rd St. tonight (Thursday 04.21) for what promises to be a rather smooth night in company of 3 talented NYC female singer-songwriters. Allison Tartalia (pictured) distinguishes herself for a slightly aggressive songwriting edge and for sophisticated arrangements that range from the orchestral to the electronic. Alexa Wilkinson, who has toured and shared the stage with Ingrid Michaelson and Bess Rogers amongst others, offers more intimate songs with big melodic openings, while Chloe Temtchine, who had the good fortune to licence a song for an American Express TV commercial, is the more folky of the bunch, preferring to have her beautiful voice accompanied by a simple acoustic guitar.

Baltimore’s folk-noise duo Wye Oak have collaborated with B-more artist Katherine Fahey and photographer Michael O’Leary to make a sweet video for "Fish" from their latest album Civilian, which was also featured as DC Deli’s Album of the month back in March. Check out the video below.

I’ve been following DC’s alt. art-rockers The Chance ever since I picked up their s/t debut EP in the local punk section at Tower Records (RIP!) years ago. I’ve heard their sound progress from DIY punk to epic arena rock, and after several line-up changes over the years, it now appears that Joshua Padgett (vocals/guitar) and Viraj DeSilva (drummer) have found their bass niche in Christian Baldo (Death by Sexy), all of whom totally brought it in a powerful way to Black Cat’s mainstage last Friday.

Their set kicked off with the title track off their upcoming release "New York City Girls", a ridiculously catchy anthem about high-heeled chicks in said metropolis that combines elements of pop rock and fuzz, complete with a memorable chant along chorus, a danceable rhythm section, and guitar licks that remain in your subconscious and emerge again at the sight of a skyscraper.  To say the least, it set the pace for the rest of their set featuring tracks that harped on a vast spectrum of genre, including noise, shoegaze, 80’s metal, alternative, and even a bit of goth as Padgett’s falsetto reached Siouxsie-like quality tinged with, I’m going there, a Latino octave-changing yodel, which was very apparent during "The Abyss of Love."

Also apparent during "Abyss" was the near mimicked moves throughout the crowd following the swaying onstage from Padgett and Baldo. DeSilva’s gargantuan pounding beat was spot on as keys swirled over layers of intensified loops that continued to grow until its fulfilling climax, proving it to be their most dance-friendly track to date.  Following soon after was their ballad "Lapdance in Heaven" that went from beautiful string plucks and synths to a beyond awesome guitar solo from Padgett that was the most Frank Zappa/Stevie Ray Vaughan thing I’ve ever witnessed at the Cat, and something I’d only expect to hear/see at a 100,000 capacity stadium.  At one point during the epic battle of the pick, some staff got onto the house’s light board and turned the stage into a complementary light show- enhancing the journey up and down the fretboard, and thusly validating the arena potential The Chance has grown into.  And based on the crowd’s reaction, we heard it too. (Gif by Chris B. Pic by Binh Ngo.)  –Dawn