NYC

Album review: Man Bear – Infinity Cat (EP)

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(Photo by Layne Haley)

Lo-fi: pretentious calculated choice or economic necessity? When someone says, “Because that’s how __________ did it,” you know you’re dealing with the former. When someone says, “I have no idea what I’m doing,” that’s a sign of honesty, simplicity, and little money.
 
Man Bear’s latest EP, Infinity Cat, is riddled with economic necessity, a condition that doesn’t bode well for fashion endorsements. In fact, listening to Man Bear, it’s obvious the band doesn’t bode well for fashion anything. But it all makes for great songwriting and a real, gritty-sounding recording.
 
Continuing to fly the tattered banner of Midwest punk rock, Kansas City’s Man Bear lets it rip with five solid tracks of shredded melodic anthems. Vocals are nearly lost in the mix, guitars are distorted within an inch of their lives, and someone might have bumped a keyboard, then let it play the same loop for the first three songs.  And through all the power and noise, a strand of pop sensibility threads the three-piece outfit together.
 
The favorable comparisons to The Replacements, Soul Asylum, Buffalo Tom, and Superchunk are inevitable, but in no way diminish the sermon Man Bear preaches. Paul Westerberg would be spinning in his grave, bright green with jealousy, if he didn’t have the bad sense to still be alive.
 
Don’t think because Infinity Cat chooses heart over production that Man Bear doesn’t try. They pack their short songs with tons of hooks and tight rhythms. The backward guitar solo in the tragi-ballad “A Girl I Once Knew” and the pulsing cowbell in “All Goes Down” are nice touches. Man Bear tries all right; they just don’t try to please everyone.
 
Infinity Cat probably won’t usher in a new-wave of mid-paced, rootsy punk rock. Too unfashionable, too risky, and too bad, because the near absence of any type of rock—punk or otherwise—has made albums like Infinity Cat more crucial than ever.
 
 
Man Bear will be performing at The Brick on Saturday, March 2. The band was recently featured on KC Live on KSHB-TV 41 (see below), and was also named the winner of The Deli’s open submission poll for Best Kansas City Emerging Artist of 2012.
 
 

–-Steven M. Garcia

Steven is guitarist and lead vocalist for Kansas City power pop trio Deco Auto. He also makes a deliciously angry salsa.

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NYC

Album review: Bloodbirds – Psychic Surgery

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Bloodbirds’ latest release, Psychic Surgery, takes no prisoners as it roars across a hyperdistorted punk psychedelic landscape. At times, the album oozes with a raw and spastic energy similar to that of Nirvana’s Bleach. Other times, it meanders down swirling passages of thickly affected instrumentation. Either way, it is truly impressive how much pleasantly overbearing noise is conjured up by this three-piece group, consisting of Mike and Brooke Tuley (of Ad Astra Arkestra fame) and Anna St. Louis.
 
Driven by what seems like more guitars than Billy Corgan could count on both hands and feet, this album is fuzzy, buzzy, yet well executed. Underneath the torrent of distortion, the solid beat and bass combination of Tuley and St. Louis keeps things grounded and moving along, while paying close attention to not clash with the siren of guitars wailing above them. And although the material does get a tad formulaic at times, it is a damn solid formula: chaos noise incarnate loosely trapped within the parameters of pop structure.
 
“Bad Animal” sticks out for me. The intro fools the listener a bit with 26 seconds of Bob Seger-esque guitar noodling before launching into an all-out sonic blitz. Reminiscent of early Queens of the Stone Age, it is a furious four minutes of song, almost too saturated at times with antagonistically distorted guitars, but nicely counterpointed by the stripped-down, daydream verses. Being one of the more straightforward and less meandering efforts on the album, it packs a blow worth noting.
 
“Patterned Sky” prominently features restful female vocals and flexes the psychedelic and dreamy muscles that Bloodbirds has to offer. The main guitar finds itself clean, verbed to almost surf rock in a way. This track gets in and out pretty quick and provides a nice breather to the otherwise resonant assault.
 
Perhaps some of the album’s most interesting guitar work is featured on its title track. All too often guitarists in this genre can get inane or annoying when trying to fill time with random effect noise. Tuley avoids that pitfall in “Psychic Surgery,” putting together a solid and dynamic performance. With what I assume is at least a handful of effects, he coaxes his guitar through a variety of emotions in a nice compact instrumental section. From wailing to pouting to singing to just random robotic musings, it is clear that Tuley is very aware, in control, and discreet with this performance.
 
The album ends with a bombardment of riffs called “Time Battle.” This song screams like someone beating the shit out of a banshee. It may just be the perfect summation of the rest of the record. There is just enough breath to the verses to make you think you might have some chance of keeping your eardrums intact, but all hope of avoiding the dreaded rrrriiiinnnggg in your ears while trying to fall asleep at night is lost once the vocals give way to the cavalcade of searing guitars. It is a fierce bitch slap to the face, the perfect way to finish off the sonically engorged LP.
 
All in all, Psychic Surgery will make your audiologist incredibly pissed at you. Bloodbirds do not hold anything back. There is no mute button left on any track in the final mix. If their live show is anything as powerful as this record is, I would suggest earplugs inside earmuffs inside an old deep sea diver’s helmet for protection. Or chance it. Bloodbirds would be a wonderful thing to go deaf to.

Bloodbirds was recently selected to play Ink’s Middle of the Map Fest, which is curated by The Record Machine and runs from Thursday, April 4 to Saturday, April 6. Details on schedules and venues will be forthcoming.

–-Zach Hodson

Zach Hodson is a monster. He once stole a grilled cheese sandwich from a 4-year-old girl at her birthday party. He will only juggle if you pay him. I hear he punched Slimer right in his fat, green face. He knows the secrets to free energy, but refuses to release them until "Saved by the Bell: Fortysomethings" begins production.

He is also in Dolls on Fire and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.

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Philadelphia

The Deli Philly’s Best of 2012 Poll Top Performers: Grande Marshall

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Grande Marshall (a.k.a. Xavier Marshall-Booker) burst into the Philly and national spotlight in 2012 with his impressive debut mixtape 800, which is meant to tell his story about what is going on in Philly. Heavily influenced by his music-loving family, the North Philly emcee began laying down his own verses after hearing Nas’ “One Mic.” His laidback, stoner flow has received comparisons to current artists like A$AP Rocky. However, the brash young talent chooses to denounce such correlations because he feels that people tend to name more popular artists as touchstones to try and box in what he is doing – proudly claiming it as all his own. Grande recently signed to Fool’s Gold Records (founded by DJs A-Trak and Nick Catchdubs) where his music will no doubt reach more of the masses, which will surely further help to establish him as a new beacon for future artists in the Philly hip-hop community. (BTW: Check out the full list of emerging artists from our Best of 2012 Poll HERE!) – Q.D. Tran 

NYC

New single: “Wonderful Daze” by Chocolate Wurms

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The #1 in under- underground Kansas City trash pop meets an indie art rapper scientist of lyricism in this laid-back groove single with a purpose. I had actually quite literally just dusted off an older Chocolate Velvet CD from the early 2000s the other day to give it a spin when I saw on Twitter (which is both CV’s and Wurm’s social media of choice) that this collaboration had happened. Having also known, worked with, and been a fan of Wurm’s for many years, I was certainly intrigued what this seemingly odd duo would come up with. After listening, the pairing makes perfect sense.
 
For the most part, the beat is super chilled out, almost sounds like something you’d hear on a TLC record. It’s a groove you can easily throw on and sit back, sip a drink of whatever color liquor you prefer, and just enjoy.
 
Wurm handles the verses with his usual deft and quick-spit rap stylings. Whereas I don’t listen to rap enough to have a developed ear to understand everything he is saying, the pace and intensity of his vocalization provides a nice contrast to the silky track beneath. The hook is supplied by Chocolate Velvet and features spaced-out, dual-octave, half-sung/half-spoken vocals that have been a staple of his sound for almost a decade.
 
Thematically, this song is a celebration of making art for art’s sake. This idea is by no means a new one, but this duo is able to paint a new shade on it that keeps it from being just another starving artist anthem.
 
Got no money in the bank, I know where I stand
Summertime comes and I soak up a tan
If you want to make music, don’t call it a brand
Wurms made of chocolate never made a cent
 
I admire the fact they finish up the song at a swift and enjoyable three minutes and nineteen seconds. It is just enough to make their point with passion and get out the door without beating the listener over the head with a monotony of holier-than-thou excess. It does exactly what pop music should do, leaves you wanting more. I certainly hope they do just that.
 

Chocolate Wurms is the combination of the main creative forces behind Chocolate Velvet and Wurm & the Madness. “Wonderful Daze” is its debut single.

–-Zach Hodson

Zach Hodson is a monster. He once stole a grilled cheese sandwich from a 4-year-old girl at her birthday party. He will only juggle if you pay him. I hear he punched Slimer right in his fat, green face. He knows the secrets to free energy, but refuses to release them until "Saved by the Bell: Fortysomethings" begins production.

He is also in Dolls on Fire and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.
 
 
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NYC

Album review: The Great Vehicle – The People’s Cathedral of Wavelengths (EP)

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Described as “a guided tour of performance, technical, and philosophical minutiae,” The Great Vehicle’s The People’s Cathedral of Wavelengths journeys down an experimental and rock-infused path to deliver a fresh sound that help gives the “progressive” genre a good reputation.

The People’s Cathedral of Wavelengths opens abruptly with “Bald Chemist,” a track that sets the dynamic and progressive tone for the rest ofthe EP. A guitar solo about two-thirds of the way in provides a throwback feeling reminiscent of early/mid-’90s rock, but in the best way possible. “Touched in the Head,” a proclaimed “disparate mismatched junk glued together with industrial-strength adhesive—in the best way possible,” builds upon itself with ascending and descending scales and an introductory riff that supposedly has been in the works for years. “Swan Meat (Slight Reduction)” closes out the EP on a strong note. Though there is an overarching heavy guitar sound throughout all of The People’s Cathedral of Wavelengths, the song has a contagious tempo and beat that makes it the most catchy track of them all. Strong percussion coupled with some random hollering from “an unknown preacher from an unknown cable channel” that the band tossed into the mix make “Swan Meat” a favorite on the EP.
 
It can be a rare case to find progressive rock songs that are less than 10 minutes long and actually “progress” from start to finish. The Great Vehicle does a great job at keeping listeners’ attention in their tracks and giving them a beat to dance to.
 
The Great Vehicle is composed of Mason Fann, bass; Gregg Todt, drums; and Troy Van Horn, guitar. The People’s Cathedral of Wavelengths is the band’s first EP, released January 22 and recorded at Sandusky Sound Co by Erik Voeks. The six-track EP can be purchased and downloaded at Bandcamp. Also on this site, the band gives fan some added insight by sharing the backstories to all the songs. 
 
 
–Alex Peak
 
Alex Peak is a magazine designer by day and a music listener by night. To her, stumbling across great new music is even better than finding a $10 bill floating around in the laundry.  
 

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Nashville

Calling All Interns!

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We’re on the hunt for new faces to add to the Deli Nashville family! If you live in Nashville, have a talent for writing and at least 10 hours per week to throw away on the rock n’ roll dream, then you’re exactly who we’re looking for.

You can do most of the work from home in your pajamas, and the jobs assigned will vary, including simple editing tasks, re-phrasing press releases about bands, posting live shows listings, working on The Deli’s database, and some blogging. You will be able attend shows as a writer for The Deli, so being 21+ is by no means a requirement, but it will help you in reaping the full benefits of the internship.

If you’re up for a very laid-back challenge, send your clips and writing samples along with a short summary about yourself to nveditor[at]thedelimagazine[dot]com, and good luck!

xoxo,
The Deli Staff

NYC

Modern Rivals play Pianos on 03.06

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Ah… defenestration. There’s nothing like it! Actually, I had to look this one up. It seems it’s the act of throwing someone out the window – it often applies to kings or other people in power. For Modern Rivals‘ latest, ‘Sea Legs EP,’ this is exactly what seems to be on ultra-literate singer Erick Lee’s mind these days. The record mixes these intrigues with groove-backed confetti and lots of charm. See the sun-soaked quintet when they play Pianos on March 6. – Mike Levine (@Goldnuggets)

Philadelphia

Help Solve the Mystery of SandCastle at KFN Feb. 21

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I’ve been really diggin’ on SandCastle’s LP Wild Legend with its creepy vocals, obtuse lyrics and infectious lo-fi grooves and melodies. I was turned on to the album by my Deli brethren Adam G. However, neither one of us really know anything about the project, and the Internet has failed to share anymore information with us, except that they’ll be performing tonight at Kung Fu Necktie and that there are few more less rad bands with the same name. Unfortunately, I’m stuck editing The Deli’s annual SXSW print issue with a tight deadline so no fun will be had by me this evening. But that shouldn’t stop you so swing by the show, and feel free to drop me a line or comment below if you have more info about SandCastle. They’ll also be sharing the bill with a couple of other local next generation up-and-comers, psych rockers Satellite Hearts and indie popsters Family Vacation. Kung Fu Necktie, 1250 N. Front St., 8pm, $8, 21+ – Q.D. Tran 

NYC

Anders & Kendall celebrate release of “Wild Chorus” at Rockwood – 02.24

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You might remember Brooklyn-based Kendall Meade from Sparklehorse and Mascott, and Anders Parker from Varnaline as well as the Woody Guthrie project New Multitudes. The two are now band mates in Anders & Kendall, a new, rather mellow, and tastefully produced rootsy pop effort. The band just released their debut album "Wild Chorus" with a free show at Rockwood Music Hall on February 24.  Check out the video of single "We’re on Fire."

Philadelphia

Free Download: Daytrotter Session – Purling Hiss

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Yesterday, a new polished track, "Mercury Retrograde," surfaced from Purling Hiss‘ forthcoming album Water on Mars (Drag City). We thought that we might have to wait for their show on Apil 5 at Johnny Brenda’s to hear how some of the latest material might sound live. Luckily, Daytrotter just released their session with the Hiss so our wait is already over. And yes, we’re glad to hear Mike Polizze’s guitar sounding as sleazy and raunchy as ever! You can download the session for free (with a membership or free trial membership) HERE. Enjoy! (Illustration by Johnnie Cluney)

Philadelphia

New Track: “Coast To Coast” – Waxahatchee

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Katie Crutchfield recently moved to West Philly with her sister and former bandmate Allison Crutchfield, who now fronts Swearin’ (the rest of the band also lives in the same house). Well, Katie’s latest project Waxahatchee is preparing to release a new album titled Cerulean Salt on March 5 via Don Giovanni Records. We already shared with you the first single from the album called "Peace and Quiet," and now you can check out another new track "Coast To Coast" below. (Photo by Samantha Marble)

L.A.

Artist to Watch: Wages

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Sometimes, it’s best just to make a change and hope how that things will kick off elsewhere. The duo of Nick Campbell and James DeDakis, known in band form as Wages, were previously living in North Carolina prior to moving to L.A. last year. But before making that trip, they recorded their debut EP Shady Chamber, which features that all-embracing, big-tent indie rock sound that will surely reach the hearts of many who like their songs to be suffused with that life-affirming warmth. Nevertheless, the songs vaguely hint at grandness, and maintain a suble restraint even when they occasionally opt for towering, bittersweet conclusions. Most of Shady Chamber is built around sonic sculptures and chamber pop sensibilities, entwined with arpeggiated, tuneful guitars and layered angular harmonies that usually build into discreet atmospherics. The duo is still currently in transition, assembling all the moving parts that will no doubt help them expand their sound. But considering they haven’t been around for long, these travelers with a plan are settling, and definitely on track to becoming favorites in the local scene.