THE DELI

New York native Davey Jones started Lost Boy ? as a bedroom pop project in 2008, but soon found a rotating cast of musicians interested in playing his music, which, however, never completely gave up its original, stripped down DIY sound, equally influenced by early Ween and Pavement. The band just announced the release their sophomore full length Goose Wazoo on September 9th via Little Dickman and State Capital Records. The record is presented as a concept album (accompanied by a comic strip) centered around the quirky idea of a detective in the shape of a blob named Goose Wazoo. The lead single and title track paints a picture of the main character in a fun and light hearted way by employing the use of jangly harmonies and catchy, cheerful vocal hooks. The group uses their fuzzy lo-fi pop and excitable drumming to craft the eccentric narrative of the song. Lost Boy ? has a string of local shows coming up in August leading to the record release show on September 10th at Shea Stadium. Strearming below also second single It Before. – John Honan

Over the years metal and its sub genres have progressed and increased in complexity thanks to the inspiration from bands such as The Dillinger Escape Plan, Napalm Death, Deathspell Omega, and Meshuggah. New York’s Imperial Triumphant draw on the experimentation of these artists for inspiration to blend black metal with classical, death metal, and psychedelic influences. Their latest full length Abyssal Gods is a dark and innovative album that uses well-crafted compositions to take the metal sound in new directions. The record’s message focuses on the eventual extinction of mankind, which is rather appropriate, since the album’s eerie mood would be the perfect soundtrack to the apocalypse. The group’s drummer Alex Cohen wields a manic and diverse style of playing, due to his background in jazz, that is the backbone of their sound. In the record, Imperial Triumphant fearlessly pushes the envelop in every song with carefully crafted guitar tones, uniquely arranged piano pieces, complex tempo alternations, angular sections borrowed from math rock, and overall outstanding production values – this is a brutal record that’s actually easy on the ears. Those enjoyng this kind of music shouldn’t miss their show at Trans Pecos on August 19th! – John Honan

Where in 2011, DIY noise pop polymorphs Batwings Catwings debuted with the angularities of Peacock Collection, it’s now 2016 and My Chemical Romance is reuniting. Smashmouth is considered a radio classic hit. You can share a song by New Found Glory without getting shamed. As for BWCWs, they now channel the sincerity of skatepunk with a new bassist: Cindy Sukrattanawong (Littlest Sister, Dustin and the Explosions) replaces Joshua Crampton in the quintet led by Clay Johnson. Their new EP "Coast to Coast" shares five earnest remarks toned with emo pop’s histrionic melodicism and textured in gain—dissonance and feedback cameo in songs like "Totally Outrageous" and "1000 Volts". 

Batwings Catwings performs at [redacted]’s mixtape release show on the 12th with Justus Profitt, Love Nothing and Forget It.. Listen to the atavistic title track of their newest EP "Coast to Coast". – Ryan Mo

At the end of last year, Brooklyn’s Fern Mayo released their studio debut, followed last month with EP Hex Signs. The three track release maintains their angular brand of indie pop, labelled by the band as “skronk pop” and “dust punk”. Opener “Pinesol” features off-kilter instrumentation, and a urgent, tense rhythm section, as frontwoman Katie Capri sings about lost love and the numbness that comes with it. On the song “New Ketamine” (streaming) Capri examines and challenges the need to cling on to traditions even when they’re destructive. The tight and anxious guitars and drums on the track seem to reflect the suffocating nature of traditions. Fern Mayo will be playing Shea Stadium on August 10th and Le Poisson Rouge on the 25th. – John Honan

In their new single "Split for the Coast," New York’s Little Racer gives a recipe to pick ourselves up during tough times, with a surf inspired track filled with unpredictable bursts of energy and sudden, soft bossanova-ish breaks (the exotic inclinations are confirmed in b-side track The Town). To let go of all your worries, be sure to check them out at Le Poisson Rouge on August 20th. 

It’s been ten years since Adam Hervey founded the DIY venue Pehrspace, and a demolition notice from the property owners signaled imminent shutdown. But on July 30th and 31st, we weren’t there to say goodbye.

In its last 36 hours, space was as busy as it was on busy days. People came in and people hung out—as small groups of friends and budding scenes, but importantly as supporters of the space that always supported them. A day and a half was divvied up among longtime curators like Michael Vidal and KCHUNG Radio, who staged their final sets at 325 Glendale. From outside the plaza looked stripped, was stripped—inside a small team of volunteers led by Pauline Lay kept a tight schedule, even so far as to offer free earplugs and food while supplies held out. Like the twilight improvisations of Slow Rose and ensemble collaborations conceived by Aaron M. Olson (L.A. Takedown), Pehrspace brought individuals together, empowered them to create and appreciate. In its last 36 hours, the performers, curators, volunteers and audience were as we always were. And in the back of all our minds, though uncertain of the future, we eagerly anticipate the chalkboard set times to the next show.

Pehrspace continues to seek donations to successfully relocate; as of writing their GoFundMe currently rests just under $9,000. Listen to select performances from the 36-Hour Pehrathon at Cohen’s So Cal Rock Shows Bandcamp. – Ryan Mo