Philadelphia

The Deli Philly’s October Album of the Month: Blessed Suffering – Pill Friends

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With warmth reminiscent of bedroom cassette tapes and the later days of summer, Pill Friends’ latest effort Blessed Suffering is adequately named. Lyrical narratives conveyed by heartfelt vocals indicative of the aftermath of being alive, Blessed Suffering casts Ryan Wilson as a proselytizing prophet with poetic diction, reviving adolescent longings in listeners still tempted to lose themselves in reveries and reflections.
 
“Rituals,” the album’s opener, is somber but captivating. Highlighted by driving chords, humming strings, and an overall lush emotional soundscape, Pill Friends’ depth rests in their ability to create anthems that effectively captures the poetry of life’s contradictions of mortality. As Wilson croons, “Forgive me for nothing/Forgive me I’m nothing.” “Rituals” progresses towards its end, characterized by Wilson’s candid lyricism and gradual static evocative of anxious lethargy. In its final moments with sparse yet articulate instrumentation, the namesake of Blessed Suffering’s first bears its fullest meaning. Kicking off with a muffled laugh, the cinematic start of “Parking Lot Graves” brings to mind similarly somber optimists like Happy Birthday or The Babies. Melodic with heartfelt riffs and a memorably buzzing chorus, Wilson’s diction devolves into shouts towards the track’s end. Affirming listeners that “You can’t be saved,” Wilson’s aesthetic resembles that of a younger Conor Oberst circa ’98 (A Collection of Songs Written and Recorded or Letting Off the Happiness) but less a coy demeanor and with more decisive precision.
 
“Forget Me” is a morbid love song depictive of lovers or close friends. Filled with latent longing and doom, the song, despite its bleak outlook, exudes a bittersweet sentiment towards fear and suffering, viewing both as legitimately intimate and plausibly meant to be a shared experience. It is difficult not to feel minimally hopeful as Wilson croons, “I’ll wipe the blood from your tears/through your pointless suffering.” With a similarly emotive tone, “Satan Is Your Master Now” is warm with jangly riffs and hissing cymbals. Seemingly upbeat instrumentation paired with gloomy lyrics again proves Pill Friends’ penchant for juxtaposition in regards to their instrumentation and relatively dark yet endearing lyricism. Ending with fuzzy dissonance, “Satan Is Your Master Now” fades out like a dream upon waking, easing into the opening notes of  “Wearing My Dead Dog’s Skin.” Wilson’s sincere delivery pairs well with initially mellow guitar and a hypnotic yet steady backbeat. As “Wearing My Dead Dog’s Skin” progresses, the track’s serene attributes evolve into a more pronounced anxiety covertly as Wilson repeats “I trust in hell.”
 
“Not Here” is an undeniably garage-pop influenced anthem full of feedback and fuzz fostering a caustic energy similar to that of contemporary garage gurus like Ty Segall (pre-Sleeper) and Terry Malts. Ending with a re-visitation of the album’s fourth track, “Not Here” gives way to “Mall Goth,” a relatively more reserved cut with intimate vocals that serve as a symbolic farewell to adolescent martyrdom and a sincerely acknowledged awareness of whatever comes next.
 
“Prayers” and “Suffering” are lastingly cathartic, the latter of the two (much like many instances throughout Blessed Suffering) strikes a nostalgic chord in listeners through earnest lines like “Love evades every thought/and pills nullify my restless mind/I hate myself but I couldn’t hate you / even if I tried.” Like the perfect revamp of an early 90s B-side by a Saddle Creek wunderkind, Wilson’s “Suffering” feels universal. It feels true. Extending religious imagery from beginning to end, Pill Friends’ triumphant but modest exit is marked by “I’ll Rise To Die Again.” Highlighting the paradox of resurrection and the complications of mortality, Pill Friends’ benediction to Blessed Suffering is affective with few (if any) flaws.
 
The production quality of their latest LP makes leaps and bounds past the group’s previous releases, taking them further away from something just between college friends after the bars are closed to a band refining their craft before just being discovered by the rest of the world. – Dianca Potts

NYC

Baltimore’s Vinny Vegas First LP out Nov. 5

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After 7 years of dishing out self-released EPs and touring the entire east coast, Baltimore’s rock band Vinny Vegas are releasing their first LP The Big White Whale on Nov. 5. The hometown release party will take place on 11/16 at the Metro Gallery in B-more. They recently did a session with Audiotree Live which you can check out below.

Philadelphia

Music Video Premiere: “Speckled Hawk” – Aunt Dracula

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A few years back, Scott Daly caught the local media’s attention with his way-out-there psych-pop project Aunt Dracula. But then, there was radio silence (figuratively, of course). Now, he’s back ready to take us on another tripped-out musical journey once again. This past summer, Daly posted his eight-song album Face Peel, which he originally planned to be release in 2009. He is currently working on a new full-length album with local producer extraordinaire Jeff Zeigler, and there is also a release of remixes waiting in the wings. Well, until all that comes to fruition, we’d like to premiere his new music video for "Speckled Hawk," a kaleidoscope of colors and imagery that was created by Logan Owlbeemoth. You can catch Aunt Dracula performing live in Philly the day after Halloween at Ortlieb’s sharing a bill with Zeigler.

NYC

The Teen Age unveils videos + plays CMJ on 10.16

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The carefree melodies of doo wop and bubble gum pop are coming back big time in this new decade, and Brooklyn’s The Teen Age pair them with a lo-fi approach and distorted… everything! The band just unveiled this video for single "Matador" and announced it will be participating in the CMJ Music Marathon with a show at Spike Hill on October 16.

San Francisco

Congratulations to The Hangover Brigade for Winning The Deli Magazine SF’s Artist of the Month Poll

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Congratulations to the San Francisco based indie folk pop band, The Hangover Brigade for winning The Deli Magazine San Francisco’s Artist of the Month Poll! We’re very excited for this up and coming band, and the fans have confirmed their support and excitement! Lead singer, Tawnee Kendall’s, beautiful and commanding voice coats The Hangover Brigade’s saucy folk country pop music sensabilities with great ease and medolious style. We wish The Hangover Brigade great success on all their endeavors! Congratulations!

Philadelphia

Bad Braids Opening for Angel Olsen at JB’s Oct. 2

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If you had a chance to catch my guest DJ spot on XPN last night, then you might have heard one of the loveliest voices coming out of the local music community. Megan Biscieglia, a.k.a. Bad Braids, is a Brooklyn transplant, but with her latest LP Supreme Parallel (Haute Magie), the petite songbird carries on the respected tradition of freak folk in Philly that seemed to flourish in the aughts with acts like Espers leading the way. On tonight’s bill at Johnny Brenda’s, there will be union of truly impressive vocals when Bad Braids opens for Chicago-based indie-folk darling Angel Olsen, who captivated the blogosphere last year with her release Half Way Home (Bathetic). Yeah, this is a pretty big show that you don’t want to miss. Johnny Brenda’s, 1201 N. Frankford Ave., 9pm, $12, 21+ – Q.D. Tran

New England

Arc Iris Currently on East Coast Tour

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A few days ago, I wrote about Bent Shapes and Clap Your Hands Say Yeah performing at The Middle East Downstairs. Well, I went to the show last night and I was captivated by a band I had never heard of before. Bent Shapes and CYHSY both put on excellent sets, but Providence-based Arc Iris absolutely stole the show for me.

The five-piece group had everything you could want in a live performance–intense energy, appreciation for performing and incredible talent. As they were setting-up, I was perplexed as to what they might sound like. They brought two keyboards, drums, a stand-up bass, acoustic guitar, lap steel, banjo, trumpet and a trombone to the stage–quite an eclectic combination. Oh, and did I mention that they all dressed in white and had one member doing interpretive tap dancing to the music? They reminded me of some strange Jefferson Starship-meets-Ployphonic Spree hybrid, but with an even more unqiue sound.

I’m still struggling to process/describe what it is exactly that I saw last night, but their sound was something akin to a soul/folk/jazz amalgamation that absolutely blew my mind. They are currently on tour with CYHSY, so if you find that they are coming to a city near you, I implore you: go see this band. They will be well-worth your time.  

Their next gig is tonight at the Bowery Ballroom in NYC, followed by Metro Gallery in Baltimore. Check their Facebook for more information.

 

-Dan McMahon (@dmcmhn)

 

Philadelphia

Show Recap: Screaming Females, Waxahatchee, Tenement & Trophy Wife at the First Unitarian Church

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Don Giovanni Records fall tour, which slated Screaming Females, Waxahatchee and Tenement together, made its final stop at First Unitarian Church Sunday night. The tenacious twosome of Katy Otto and Diane Foglizzo, a.k.a. Trophy Wife, kicked off the show with a quick intense set demonstrating the duo’s raw power while setting the bar for the rest of evening. Amos Pitsch-fronted Wisconsin punk outfit Tenement were next. The set included moments of guitar flourishes and Pitsch glistened with effort; however, the set seemed to flash with the blink of an eye.
 
Hometown favorite Waxahatchee, a.k.a. Katie Crutchfield, wasted little time putting the crowd underneath her thumb with songs primarily from her latest critically acclaimed LP Cerulean Salt, a steady combination of emotive intimacy and controlled aggression. The delicate nature of “Bathtub” transitioned into the energetic pop vibe of “Coast to Coast” with its bursting percussion, and then Waxahatchee displayed a different side with the darkened edge of “Misery Over Dispute.” The subdued “Lively” preceded a fitting cover of “Make Your Own Kind of Music,” which was written by Barry Mann and Cynthia Weil and made famous by Cass Elliot. Closing with “Peace and Quiet,” Waxahatchee delivered a multifaceted set, pulling the audience in close as Crutchfield held them with every word.
 
Screaming Females had the final word on this night. The trio led by blistering guitarist/singer Marissa Paternoster enthralled the audience with a litany of in-synch heavy grooves with thick smashing drums and impassioned vocals, piling riff after riff on Ugly staples such as “Leave It All Up to Me” and “It All Means Nothing,” demonstrating her chops through a series of finely executed solos. The crowd bounced along to “Sheep,” and fell in line on “Baby Jesus.” By the time the band appropriately closed out the show/tour with an explosive take on “Expire,” there was no doubt the audience had digested the message loud and clear. (Photos by Rachel Barrish) – Michael Colavita
 
Portland

Just Lions EP Release at Mississippi Studios 10.2

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With rain pounding outside I have begun to comprise my October playlist. In Halloween mode I came across a new track by local trio, Just Lions, called "Monsters". The track pounds open with tried and true rock-and-roll, hand-claps and Chandler Strutz’s warm vocals. Each of the four tracks on their new EP, Paper Cage showcase varying approaches that Just Lions take to stylize their sound of rock, pop and a little jazz. The title track has fat riffs that break into power-cowbell (showcasing the quick wrist of Andrew Shepard) and violin while "Othello" slows down into a dark, triple harmonized and bass heavy progression (Brady Strutz) ending in guitar solowork that elevates the song to end where spacy, digital electronics are autonomous with jazz brass. The lyrics are full of trepidation yet guitar fingerwork and unexpected bops are uplifting despite monsters of fear and regret. Catch the release party for Paper Cage with New Move and Bombs Into You! at Mississippi Studios on Oct 2nd. Get there early to grab a free, one-of-a-kind handmade copy of the EP (first 50 humans). – Brandy Crowe

Nashville

Tipper Whore at Exit/In 10.2

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A name like Tipper Whore brings with it an expectation to be equally as awesome and irreverent. Do they deliver? If one is a fan of snotty punk rock, lipstick, and whiskey in their Froot Loops, then yes. If not, well, cross-stitching can be fun too. Probably not as fun as the Exit/In this Wednesday, where they join Electric Six and Jerusalem for an evening of belligerent entertainment. Prep for the event by hitting the booze in the AM and listening to “Day Drunk.” –Terra James-Jura

Chicago

Michael Jaroski

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Even The Monkeys is the new album from singer/songwriter Michael Jaroski. It is a beautiful self-released collection of driven by equal parts melodies and lyrics. I don’t know anything about Michael, but this album makes me want to find out more.