Sounding unlike any new band you’ll hear all year, The Stepkids capture all the glitter and gold of classic seventies funk, R&B and soul music with such expertise that their recently released self-titled debut album could convince as a rediscovered lost recording from that era. Channeling the spirit of Earth Wind & Fire, Sly Stone, Todd Rundgren and dozens of others, but with their own personalities stamped all over their work, the Connecticut/NYC-based three piece could very well be considered a 21st century successor to those great artists. The band will be headlining The Deli’s CMJ show at Pianos on Thursday 10.20, sharing the stage with other rising NYC artists like Caveman, Zambri, Ill Fits and Forest Fire. The full schedule of the Deli CMJ shows will be announced later this week.

At Saturday, October 1’s late night show, Bright Light Social Hour and Black Taxi (in the picture) brought Mercury Lounge down with an fantastic show. Austin’s BLSH, who whipped the crowd into a sweaty dancing frenzy with their infectious grooves, more than warmed up the audience in preparation for Black Taxi. It was the perfect way to celebrate the band’s new single, "Tightrope” (check out the track below), which they performed among other already addictive new tracks, amplifying the anticipation of their sophomore album, "We Don”t Know Any Better," scheduled for release in early 2012, and fan favorites, “Love Song For a Ghost,” “Shoeshine,” and “It’s a Ball.” During the closer, “Up Here for Thinking (Down there for Dancing),” the band welcomed the audience to join them for an on stage dance finale, ending the show on the highest of notes. Don’t miss Black Taxi as they traverse the east coast and perform thrice for CMJ at The Studio at Webster Hall, Bowery Electric, and Mercury Lounge on Octoer 18, 20, and 22, respectively. –Meijin Bruttomesso

Local scene update:

A couple of members of the late Baltimore band, You, Me, and Everyone We Know, have apparently remembered that rock and roll is awesome and started a new indie-pop project, The Little Indians. You’ll hear the echoes of YMAEWK in this band, but the sound is definitely different.

I actually don’t like the label "indie-pop" for The Little Indians. I mean, it’s completely, irrevocably appropriate, but they seem to err on the side of rock and roll more than the electronic dance hall side of indie-pop. It’s maybe more indie/pop than indie-pop. Does that even make sense? I highly doubt it, so allow me to provide a brief illustration. Imagine that Her Space Holiday and Matt and Kim and Chairlift all got together and gang banged your favorite pop-punk bands from when you were 14, producing a child whose cries all resound as catchy, melodic hooks. And further imagine that child grew up appreciating the classic American sounds of the 50’s and 60’s, incorporating those soulful melodies with optimistic, feel good lyrics. (This metaphor has gone on far too long already. I’ll stop now before it gets really bad.)

At least, that’s what their first single, "What Makes You Grin" seems to sound like. It also sounds like there are plenty more releases coming soon, so keep your ears to the ground! In the meantime, check out "What Makes You Grin" and judge the band for yourself. Like what you hear? Leave some love in the comments.

–Jarrett

Although Grant Olsen wrote all the songs, calling Gold Leaves a solo project is a misnomer.  Olsen had a great deal of help making The Ornament, which is out now on Hardly Art. Jason Quever of Papercuts was by his side through most of the recording process, serving as co-producer, engineer, and multi-instrumentalist. Quever helped guide editorial choices, keeping scratch vocals when Olsen wanted to go back into the vocal booth and try again, and laid down the four-in-the-morning cello part that haunts "Hanging Window." With a résumé that encompasses tutelage under Motown veterans and credits with Beach House and Brightblack Morning Light, Ben McConnell was an ideal percussionist to anchor Olsen’s amorphous musical ideas. Thao Ngyuen (Thao and the Get Down Stay Down, Thao & Mirah), Amy Blaschke, and members of the Moondoggies all contributed backing vocals. 

With its roller rink organ and rumbling timpani, the title tune is propelled forward by the sort of ambitious yet calculated D.I.Y. production associated with legendary ’60s British pop producer Joe Meek. From opener "The Silver Lining," with its sense of a life teeming with possibility (and a deft lyrical borrow from Steinbeck and some 11th century poetry), to the rising strings and keyboards of the dramatic finale "Futures," The Ornament sounds full but never overstuffed. This is a record full of judicious choices.

Although Grant Olsen wrote all the songs, calling Gold Leaves a solo project is a misnomer.  Olsen had a great deal of help making The Ornament, which is out now on Hardly Art. Jason Quever of Papercuts was by his side through most of the recording process, serving as co-producer, engineer, and multi-instrumentalist. Quever helped guide editorial choices, keeping scratch vocals when Olsen wanted to go back into the vocal booth and try again, and laid down the four-in-the-morning cello part that haunts "Hanging Window." With a résumé that encompasses tutelage under Motown veterans and credits with Beach House and Brightblack Morning Light, Ben McConnell was an ideal percussionist to anchor Olsen’s amorphous musical ideas. Thao Ngyuen (Thao and the Get Down Stay Down, Thao & Mirah), Amy Blaschke, and members of the Moondoggies all contributed backing vocals. 

With its roller rink organ and rumbling timpani, the title tune is propelled forward by the sort of ambitious yet calculated D.I.Y. production associated with legendary ’60s British pop producer Joe Meek. From opener "The Silver Lining," with its sense of a life teeming with possibility (and a deft lyrical borrow from Steinbeck and some 11th century poetry), to the rising strings and keyboards of the dramatic finale "Futures," The Ornament sounds full but never overstuffed. This is a record full of judicious choices.

Whimsical and playful, with a touch of angst and a heavy dose of emotion, Sydney Wayser’s music sings like lullabies throughout the contemporary folk scene of New York City. The young singer-songwriter’s sweet, engaging voice can be likened to Feist or Regina Spektor’s, filling up songs that conjure up images of a sunny day in Paris. Her second full-length album, The Colorful, is a lush mix of melodies and chords that intricately tell stories of her youth and experience. Sydney will be headlining The Deli’s CMJ Roots Stage on 10.19 with Lucius, My Cousin the Emperor, Ursa Minor & more artists. Full lineup to be announced soon.

Volatile Brooklyn trio Methodist displays a penchant for angst-ridden punk rock with edgy indie rock inclinations on their eponymous six-track excursion. Demonstrating an abundance of stinging riffs whose healthy balance of vitriolic virtue and jagged melody allows the deft rhythm section the freedom to flavor up their aggressive attack as they see fit, the hard hitting demeanor and general sense of disdain this act exhibits propels a musical journey reminiscent of acts such as Black Flag, Fugazi, and The Bronx. Methodist doles out serious punk rock attitude with electrifying immediacy and wiry fury spearheading their cerebrally minded attack. www.myspace.com/methodist –Mike SOS

After three years of constant touring, lineup changes and hardships, NYC-based band Big Tree is celebrating a new beginning with their aptly named album "This New Year." The band will be performing their new material on a series of fall tour dates including a stop at their alma mater, Sarah Lawrence, on 10/7 and a performance at Brooklyn’s Union Hall on 10/8. – Amanda Dissinger

This Fall by BigTree

This album is noisy — these guys sampled The Flaming Lips and lean toward Flying Lotus in sonic convolution just to give you a clue. Two of the three rappers in Blue Belt aren’t particularly innovative, but they make up for their lack of prowess with character, weirdness, and occasional dash of good-natured insight. All in all, it’s an unexpected mix of styles blending street-rap with nerd-rap over electro-clash beats. Listening to this CD may have given me A.D.D. (Wow! My hands are PALE!). Anyway, it’s a funny album, and it’s considerably more innovative than most of the “tv-dinner” rap being cooked up these days. They were obviously very high when they made it, so you might want to roll something up before you check it out. – BrokeMC

NYC via New Jersey singer songwriter Fleet Walker’s debut release, "Morning Void” was noticed by TheCoolTV, a music channel which will be airing his “Faro” music video on televisions in over 50 million homes nationwide. – (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 and APS Mastering.

Calling upon an era when pop songs and hooks had a secret cleverness about them, Hooray for Earth‘s “True Loves” incorporates a few tricks from 1980’s synth pop/new-wave playbook, while still sounding totally current. The hooks are molasses-y sweet and emotionally charged enough to make the cut of a John Hughes film ("Baby’s Day Out" notwithstanding), but can still throw their weight around on a playlist next to MGMT, Animal Collective, LCD Soundsystem or Passion Pit. Currently touring with Cymbal Eat Guitars in support of their sophomore album "True Loves" , the band will be abck in NYC with a show at the Bowery Ballroom on 10.27. – Read Chuck Davis interview with the band here.