When the Austin post-rock outfit (now based out of NYC) …And You Will Know Us by the Trail of Dead released their third album, Source Tags & Codes, in 2002, many heralded the band as the next big thing in indie (a Pitchfork 10.0!) and praised the album’s searing sonic riffage, infectious vocal melodies, and affinity for the occasional orchestral flourish. Since the release of Source Tags & Codes, however, the band has had its ups and downs–some lukewarm reviews for later releases, a split with major label Interscope after 2006’s So Divided, the departure of members–yet it has managed to soldier on and continue to produce consistently original music to a passionate fanbase.
Tonight the band will be celebrating the release of their seventh full-length album, Tao of the Dead (released through Superball Music and the band’s own imprint, Richter Scale), at Littlefield in Brooklyn. The show will also feature Brooklyn’s Takka Takka and art on display by band member Conrad Keely, who did the cover artwork for his band’s new record as well as an accompanying graphic novel. The new tracks were recorded in just ten days, and the album is split into two parts in different tunings; the first produced by Chris “Frenchie” Smith (who produced their debut) and the second by Chris Coady (who has worked with Beach House and the Yeah Yeah Yeahs). In an interview with The Deli the band explained: “Our favorite records are ones that can be experienced as a great body of work, and not the disposable, artless idea of recording one or two singles while disregarding the rest of a record. Why not give people a reason to experience an album as a whole?” Tonight would be a good opportunity to catch Trail of Dead’s ferocious live energy in an intimate setting before they hit the road for bigger venues with Surfer Blood in April. In the meantime, you can check out Keely’s trippy, steam-punk influenced artwork at the band’s website –Bill Dvorak
The solo project of Californian Richie James Follin (from The Willowz), Guards is good for the following (and more): some slow dancing, jumping up and down and cleaning the house. There’s a gentlemanly quality to this music: the songs are gentle and inviting, charming and distinguished, yet still absolutely badass. Follin wrote these tracks in New York City. He had the help of friends Caroline Polachek from Chairlift (see embedded song), James Richardson of MGMT, Loren Shane Humphrey of Willowz and sister Madeline Follin of Cults appearing as guests on some of the songs. Guards opened for Beach Fossils and A Place To Bury Strangers at Glasslands on Saturday and will play London and France in mid February. Guards just released a debut 7" and 12". – Read Lauren Piper’s Q&A with RK Follin here.
Christopher Paul Stelling is an anomaly in the NYC indie scene, he is a guitarist who takes his craft to the next level and places a high emphasis on instrumental virtuosity. Playing a unique style of fingerpicking, reminiscent of bluegrass and folk legends from years past, Stelling tells stories of a gypsy musician going from town to town and room to room. Originally hailing from Daytona Beach, he has passed through Boulder, Boston, Orlando, Asheville and everywhere in between. Stelling has recently settled into his new home of Brooklyn, where he is winning a fan base through his captivating solo performances. He is equally comfortable playing larger venues such as Highline Ballroom as he is playing smaller, more intimate settings. – Read Alex Borsody’s interview here.
Hey, do you remember The Bravery? They made "An Honest Mistake" back in 2005. But the New York-based band isn’t erring with their choice of opener for their UK tour. Royal Chains are also NYC locals, so don’t fret that you’ll be missing them open for The Bravery across the pond…they’ll totally be back soon. And when they are? You should be there. As a girl who longs for the shining era of garage rock revival in the early 2000’s (yeah, all those "the" bands), Royal Chains make a return to the genre still feel fresh. Their new single "A Million Fires" captures the distorted guitar and gritty feel of 2003, but mixes it up with better production values and some smooth backing vocals. And some tinkly bells that still manage to rock… just because. Because why? Because who doesn’t love rocking bells, that’s why. The Royal Chains return to the states right after Valentine’s day, which if you ask me, is better than a Whitman’s sampler. – allison levin
Nicole Atkins returns to the New York (and world) music scene with her long-awaited second album "Mondo Amore." Opening track "Vultures" presents a lyrical landscape riddled with fear and loathing. "Cry Cry Cry" emerges with a shuffling drum pattern, gospel backing vocal chorus and clean muscle shoals guitar work. "Hotel Plaster" returns to familiar crooner-core territory, as violins add previously unexpected textures. The slow passionate vocal performance is enhanced by a male voice duet, mixed just under Nicole’s. "You Come To Me" is a straight ahead rocker, snare drum and reverberated guitar driven. Rising piano notes create an upward motion for Nicole’s impressive pipes. "My Baby Don’t Lie" recreates a classic down-home jug-band-on-the-back-porch feel that British blues rockers like Led Zepplin loved to emulate. The record then segues into more familiar sonic territory before returning to the original southern fried vibe. "This Is For Love" uses fiddling violins for maximum background effect, cleverly blending them into a country rock format, but it’s "You Were The Devil" that delivers Nicole’s most sensuous vocal performance on the album: inside a twangy western motif, the subject matter emphasizes the albums overall theme – love, loved – then lost. "War Is Hell" explores this emotional experience further. Nicole’s vocals underscore exactly what she does best – the torch song. "Heavy Boots" effectively uses cathedral organ and piano to dramatically highlight this tale of leaden footwear. "The warriors are waiting outside for you on the street. The hungry virgin eyes with scorpions in their smile. They are no match for me." "The Tower" re-imagines Led Zepplin’s "Dazed & Confused" minus the extended stoner jam (though live her band at points have gone even there) – there is a tasty guitar solo, though. This may also work as a break-up song. Nicole Atkins plays The Bowery Ballroom on February 9. – Dave Cromwell (photo by Lucia Holm)
Blacksburg Virginia’s indie-pop genius Wild Nothing, the dream-rock creation of Jack Tatum, continues the lineage of ambient rock nugget’s tinged with 80’s emotional pop in his follow up EP Golden Haze from late 2010, after a successful debut, Gemini, floated into the ears of shoegaze lovers world-wide last spring.
"Golden Haze" kicks off the album as if it were just continuing where Gemini left off. Bright peaks of keys are layered over delicate loops of Cure-like guitar melodies while Tatum croons "Wild heart, surrender to me. What does it take to be like you?" Good god, if only John Cusack could’ve blasted this from his boombox outside the window….
"Your Rabbit Feet" channels Slowdive and dare I say early Sonic Youth in probably the poppiest depressing gem of a tune I’ve heard in years. Tatum chants, "What do you want to know? I’ll tell you anything," as guitars rise and feedback is a blurry weep of noise in the distant background echoing into keys that bring the unique pop sensibility back in a completely brilliant way.
Every track on this stellar EP melts into each other creating a soundtrack of hit after hit. Not just one or a few tracks stand-out; they all do.
Check out the fan made video for "Asleep" off the Golden Haze EP below. Wild Nothing will be performing live at the Rock & Roll Hotel on Feb. 12. –Dawn
Ariel Panero was a Brooklyn based musician, DIY promoter and band manager who died in December 2010. His friends and ex band mates are organizing a series of shows in his memory. Tonight’s bill is particularly interesting, featuring a slew of great local artists we covered several times – we’ll list them here in some sort of "poppy to noisy" order: Class Actress, Darlings, Tony Castles, Snakes Say Hiss, Grooms, and Skeleton$. A band called Powers is also playing, but we can’t find a website for them. We gave the picture to electro rockers Snakes Say Hiss because we haven’t covered them in ages.
Thursday, February 10th, The Union Street Preservation Society are playing at Sullivan Hall. They are an emerging Americana string band from Brooklyn, mixing folk with bluegrass and blues with early jazz. Their music is full of spirited harmonies, fresh new melodies and an authentic energy. The members of the Union Street Preservation Society have distinctive histories–bassist Jason Bertrone studied jazz at Hampshire College, pianist/multi-instrumentalist Sara Bouchard is classically trained with two of her own albums, guitarist David Lieberman studied cognitive science at Yale, violinist Harrison Hollingsworth is the youngest musician at the New York City Ballet, and legendary guitarist/banjoist Alex Borsody runs two companies and helps The Deli in various way (writing, programming, even mag distribution – hurray for him!).
Joining the Union Street Preservation Society on February 10th will be headliners Greensky Bluegrass and Cornmeal. The show is 18+ and the doors open at 7pm. Tickets are $10 advance (and can be purchased here) and $12 the day of. – Leah Tribbett
Brooklyn artist Abby (born Abby Payne) is a whirlwind of talent. Her melodic, textured arrangements perfectly suit her voice (soft and yet full of raw emotion), rendering her songs interesting and emotional at once. "All These Years" is a strikingly beautiful dreamy folk pop track reminiscent of early Suzanne Vega, while "The Prophet" ventures into foot stomping territories. "Try Try Try" is likely to induce smiles and head bobs, the catchy beats and inspired lyrics making this one of Abby’s best. Both her EPs, the 4-song "In A Pretty Box" and the 5- song "Sasquatch" are available on iTunes. And on Friday, February 11th Abby is playing at Williamsburg venue Spike Hill. The show is 21+, the cover is only $6 and she has the stage from 9:00-10:00. – Leah Tribbett
NJ based Com Truise (aka producer and designer Seth Haley) suffers of "synth obsession". He is also the creator of an experimental and bottom heavy style he calls "mid-fi synth-wave, slow-motion funk" reminiscent of Boards of Canada and early Kraftwerk. Haley’s been making music on the side for roughly a decade – going through pseudonyms like toothbrushes (Sarin Sunday, SYSTM, Airliner)-first as a DJ, and currently, as an excavator of softer, window-fogging synth-wave. The Cyanide Sisters EP, Com Truise’s first official release, was first available as a free download through AMdiscs in June of 2010; Ghostly’s remastered and extended reissue nearly doubles its tracklist. There’s also a full-length on the horizon, and a string of remixes for Neon Indian and Twin Shadow already in the can.
At the bottom of this blog entry you can find the final chart of our Best of NYC Emerging Artists 2010 poll. Congrats to Twin Shadow, who won the poll and will therefore grace the cover of the Spring issue of The Deli!
All the artists in this list will get some kind of print coverage in that same issue (if we can fit them!), and we’ll book as many as we can for our Best of NYC 2011 Fest (here’s the poster from last year’s edition).
When you think eighties, you think big hair. You think dance tracks, sequins and hot pants. Eighties music doesn’t ooze with emotionality, and when it does, it usually comes off as borderline cheesy. Yet for Twin Shadow’s full length debut, Forget, George Lewis Jr. takes the eighties sound and makes it emotional, sans cheesiness. This is quite a feat: it requires careful production, sincerely-felt lyrics, and beautifully, yet subtly, fueled instrumentals. Twin Shadow succeeds quite nicely on all three counts. With savvy production work by Grizzly Bear’s Chris Taylor, dark and complex lyrical language (“you hold the line, a bullet soul/it’s just that sometimes, time’s so slow”), and casual-smooth interludes of a piano, some strings, and other delicate synth work, Lewis captures what nostalgic music is all about. The track list is tight, infused with fluidity and synchronicity, and produces a sound we have likely heard before. Yet at the same time, while Lewis’ music comes off as familiar, the moments of innocence, shimmer and feeling layered within bring about something new, fresh and all around awesome. – Read Alexandra Vann’s Q&A with George Lewis Jr.from last year here.
Our Deli Summer 2009 cover band won’t please those who love music that conveys delicate emotions and a sparse sound, nor the traditional alt rockers and their epic needs. Buke and Gass is a band that lives in a parallel musical world, where originality, for once, is not a wasted word. The duo builds their own instrument and pedals and master them to perfection, creating a huge wall of wonderful distorted sound that can’t be compared to any band we are aware of. Arone Dyer’s vocals are amongst the most powerful and versatile in the NYC scene, ranging from PJ Harveyish full aggression to the Bjorky "I’m-a-helpless-baby" kinda thing (she is also cute by the way). The songs are complex but not inaccessible, full of memorable melodies and intricate rhythms that have the power to get even lazy NYC legs to jump manically. Their debut album Riposte (Brassland) came out in 2009 and will be remembered for generations – notwithstanding what Pitchfork says. – Read a Delicious Audio interview with Buke and Gass here.
f I ever meet the two guys in Brooklyn’s Games I’ll tell them one thing, and one thing only: quit playin’ games with my heart. And then I’d pause and say, "with my heart… my heart." Maybe this gets my heart all mixed up because these beats are so instantly likeable and, dare I say, danceable. That always throws my heart for loops and bleeps and clicks.
This fantastically catchy electro duo is longtime pals, Joel Ford (also in Tigercity) and Daniel Lopatin (who does Oneohtrix Point Never). Here’s one thing you need to know about Games: samples. Here’s another you need to know: synths. Here’s one final thing you need to know: these two like to get DOWN… they like to get DOWNTOWN like Julie BROWN.
If you want some funk in your stuff, I suggest going out and seeing Games do their button pushing, lever pulling, mixtape making thing. I want to see Games play on a stage with Javelin and Gold Panda. Just so I can walk up to them afterwards and tell them my heart can’t take all the games, Games. My head says no, but my hips say DANCE. – Oh My Rockness
Shoegazer/Ambient Queens, NY duo For Every Story Untold demonstrate the wherewithal to compose hauntingly beautiful music as indicated on the tandem’s four-song EP HIDEOUT. With discernible influence coming from the likes of Portishead and Cocteau Twins, this group provides a lush background of cymbal crashes and whispering synths while an ethereal female vocal delicately weaves in and out of the multi-layered instrumental presentation (“From Under Paris”). Commandeering a balance between serenity and majesty, For Every Story Untold successfully fuses heart-wrenching shoegaze properties with ambient alternative rock to create a captivating strand of music with a cosmically enhanced cinematic scope perfect for escaping the world by (“Hideout”). -Mike SOS
When the Austin post-rock outfit (now based out of NYC) …And You Will Know Us by the Trail of Dead released their third album, Source Tags & Codes, in 2002, many heralded the band as the next big thing in indie (a Pitchfork 10.0!) and praised the album’s searing sonic riffage, infectious vocal melodies, and affinity for the occasional orchestral flourish. Since the release of Source Tags & Codes, however, the band has had its ups and downs–some lukewarm reviews for later releases, a split with major label Interscope after 2006’s So Divided, the departure of members–yet it has managed to soldier on and continue to produce consistently original music to a passionate fanbase.
