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Submit to play NYC’s Rooftop Films

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Independent Bands and Artists,

Once again The Deli gives you the opportunity to be selected to play NYC’s Rooftop Films‘ Summer Series 2013, which will run every weekend from May 10 until August, with special events in September.

The event couples films with live music on top of spectacular NYC roofs, and connects artists with audiences so that each event is unique and memorable. The Rooftop Film music programming staff will select some artists from those who applied through The Deli.

If interested submit here.

The Deli’s Staff
thedelimagazine.com

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Weekend releases single from upcoming album “Jinx” + plays Shea Stadium tonight (04.26)

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Former west coast and now Brooklyn based psych rockers Weekend are preparing to release their sophomore album “Jinx,” this summer. In advance of that comes the recently released lead single "Mirror," which hints at sonic explorations different from what was presented on their debut album "Sports." Standout tracks from that initial record like "Coma Summer" emphasized a deep reverberation and warped aesthetic (in both attitude and sound). Their latest track, however presents a cleaner approach with fewer layers, an ethereal synthesizer wash (especially as the track opens) placing emphasis on more clearly audible vocals with echoy guitar lines over a driving bass guitar and drum pattern – although a static-like sound cutting through it reminds us that the band is into atonal noises. The overall pacing, guitar and bass tones and effects – and even the beat of the song actually – are reminiscent of the spartan early 80’s recordings by bands like The Cure (think "A Forrest") and The Smiths (especially in the tonal quality of the lead vocals). With the tease of album track titles "July," "Oubliette," "Celebration, "FL," "Sirens," "Adelaide," "It’s Alright," "Rosaries," "Scream Queen," and "Just Drive" to ponder over, there is much to look forward to as we approach the full release. You can catch them live tonight at Shea Stadium with Slander, Napoleon and Lodro. – Dave Cromwell

We added this song to The Deli’s playlist of Best songs by emerging NYC artists – check it out!

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Waxahatchee plays with The Babies at Glasslands on 04.27

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Waxahatchee is the now Brooklyn based solo project of songwriter Katie Crutchfield, formed after the breakup of punky, Alabama based band P.S. Eliot (another ex-member of that band is now involved in Philly based Swearin’). The project’s sound trades that trio’s aggressiveness for a more thoughtful and folky approach, without giving up entirely the occasional distorted guitar burst. The single from the album ("Coast to Coast," streaming below) is a more uptempo number that takes us back to the glorious days of the (poppier) riot grrl period – think a fuzzier Juliana Hatfield or Liz Phair. Pitchfork gave the album its Best New Music blessing, which is still pretty much a career building event, and probably the main reason why you want to go see Waxahatchee live this Saturday 04.27 at Glasslands when she will be opening for The Babies.

We added this song to The Deli’s playlist of Best songs by emerging NYC artists – check it out!

NYC

Ludwig Persik releases new single via White Iris

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We fell in love with Ludwig Persik‘s psychedelic gems the very first day we heard his music – that’s why his debut EP was our Record of the Month back in October 2012. The young man is currently working on a full length, while releasing the single "No Go" – streaming below – on White Iris Records (home to Best Coast and Fool’s Gold amongst others).

We added this song to The Deli’s playlist of Best songs by emerging NYC artists – check it out!

NYC

Heliotropes release free Mp3 from “A Constant Sea,” out in June

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The fine ladies in Brooklyn’s Heliotropes continue to carve out a niche in the psych rock genre with their penchant for doom heavy grooves. The band has just released the first single “Psalms,” which will be included on their debut album “A Constant Sea” set for release on June 18 via Manimal Vinyl records. “Psalms” thunders along a buzzing, rough-hewn guitar riff that dominated so much of the psychedelic hard rock in the early 1970’s. With a slithering groove paired alongside smooth seductive vocals, the band hits us with a quickened tempo change for good measure. The lyrics trend towards philosophical questions like “Do you feel that love is real?” and “am I really born to die?” A wickedly nasty guitar solo gives you the answer. Upcoming shows include their Album Release Party at Glasslands on June 18th and The 4Knots Fest on June 29th. – Dave Cromwell

Mp3: Heliotropes Psalms

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Dark Electro duo Weeknight opens for Besnard Lakes at Bowery on 05.03

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Weeknight is the next in a long line of male/female duo acts that sound a little like an electro version of the Raveonettes or Beach House. Hell, this stuff is practically in the wallpaper of the Glasslands Gallery in Williamsburg these days. Moody and lust-filled, Weeknight’s debut EP is so deeply rooted in good taste that you really don’t mind Warhol’s glowing banana becoming a sound of ubiquity. Catch Weeknight at the Bowery Ballroom on May 3rd opening for The Besnard Lakes. – Brian Chidester

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Old School Soul with a Rock edge: Mad for Justice plays RBar on 05.02

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Bassist Billy Asai and guitarist Phil Reeves have played together in various NYC bands for awhile now, but they seem destined for a new funk frontier since joining up with singer Justice L. in 2011. In their group Mad for Justice, the NY quartet brings out the jams, stacking R&B on top of hard rock in crowd favorite ‘Prove My Love.’ Watch their recent performance at the Delancey, and you’ll see how the band proves old school soul is new again.

Stay tuned for the release of their crowd-funded debut EP set to come out early May, and catch the band at RBar on Thursday, May 2nd. – Mike Levine (@Goldnuggets)

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Album review: Soft Reeds – Blank City

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(Photo by Todd Zimmer)

When you go out and see live music, preferably a lot of live music (as you all should, y’know), you occasionally find yourself witnessing a performance that gives you the sense of something really big on the horizon. When Soft Reeds played the 2012 Middle of the Map Festival, I happened to be front and center for their set at recordBar. They ran through several songs that evening that I hadn’t heard before, and frontman/guitarist Ben Grimes said they were tracks from their still-being-written next album. Since then I’ve been telling anyone who would listen that, based on the five tunes they performed, their follow-up to 2010’s Soft Reeds Are Bastards was going to be a monster. One year later, the band has released its second full-length album, Blank City—and it would seem as if I got this one right.
 
The core four from their Bastards album—Grimes, percussionist Josh Wiedenfeld, multi-instrumental man John Mitchell, and funk mistress Beckie Trost on bass—were joined soon after by Jeffrey Harvey, whose keyboards and backing vocals added that extra bit of something that helped to pull the rest of the band into a more cohesive unit. Blank City comes in at a taut 31 minutes over its eleven-track playlist, and very few moments will leave the listener with the desire to sit still. “Pregnant Actress” is a case in point, as Trost’s effortless groove lays the foundation for what could pass for a lost classic from the heyday of Studio 54. The influence of Berlin-era Bowie can be found throughout the album, with “Nothing Changes” particularly showcasing angular, jagged guitar riffage—it’ll cut up some eardrums, without question. Grimes’ vocals are once again at their machine-gun-staccato best, which serves to augment the edgy arrangements that make Blank City a splendiferous indie-dance-floor classic in the making. 
 
Not every track follows the same game plan of getting people on their feet—not that there’s anything wrong with that. The opener, “17,” is a brief aside to a Moroccan marketplace where spices and savory goods are openly displayed for all to enjoy. “Hospitality” is an unexpected course-change that shows Soft Reeds can do more than just attack: they can musically woo as well, and who doesn’t like a little musical wooing now and then? And the album’s closer, “A Hysterical Woman,” once again proffers the Middle Eastern vibe of the opener, but instead of an open market you’re in a trendy hookah bar, zoning out on the smoke and the rhythm and Mitchell’s snake-like sax work.
 
Soft Reeds put down their sounds in the studios of Element Recording, whose owner, Joel Nanos, says of Blank City: “Truly one of the best albums to have graced this place.” Whether it was the surroundings, the move from a four-piece to a five-piece band, the cohesion of creativity and ability intersecting at just the right time, or a combination of all of the above, there is no doubt that the thoughts I had regarding this album a year ago have been validated. This is more than an improvement or a natural progression from their previous work; this is a band hitting on all cylinders, and they know it. The confidence, the tightness, the swagger … they’re all there. In abundance.
 
They may not be bastards anymore—but they’re hardly soft, either.
 
Soft Reeds will be celebrating the release of Blank City in Kansas City this Friday, April 26 at The Riot Room with special guests Be/Non and Rev Gusto. Facebook event page. Ticket link. And next Friday, May 3, the band will venture out to Lawrence with The Caves and Schwervon! to release the album at Replay Lounge. Facebook event page. You can purchase Blank City on iTunes and/or pre-order the vinyl with immediate digital download at The Record Machine Store.

–Michael Byars

Michael Byars is a self-confessed music junkie, used to drink Mountain Dew as if his life depended on it, has a second career in England as a juggling busker waiting for him if he wants, and once nearly made a purple-haired record store employee shoot tofu out of her nose. How many of you can say THAT, bitchez? 

(Video from I Heart Local Music)

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Album review: Fourth of July – Empty Moon

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(Photo by Todd Zimmer)
 
There is no time to breathe. No time to think. No time to even formulate a thought. There is no count in. Nothing. The sad, sorry songs from Fourth of July hit you like a bag of bricks, and now you’re forced to pay attention. Press play on Empty Moon and the baritone voice of singer Brendan Hangauer is the first thing to hit your ears. “Honey / is it hard to make friends / the way your emotions bend / and almost break?”
 
That first line is a decently accurate depiction of Empty Moon. A tangled, conglomerated mess of emotions; bitter songs with a tinge of hate and remorse fill out the full flavor of Fourth of July.  Subtle hints of longing and love lost finish off the lyrical taste. As stated in the band’s Facebook profile, Fourth of July is “having fun to sad music.” I couldn’t have said it better.
 
The majority of Empty Moon, as with the band’s previous two efforts, maintain a poppy, indie folk sound. Through Fourth of July On the Plains (2007), Before Our Hearts Explode! (2010), and now Empty Moon, the band has not changed their style. It’s good to know exactly what you are getting into when a band releases new works.
 
The difference in this album is the sheer rawness of the lyrical content. Previously mentioned is the band’s knack for formulating sad songs. This album takes a much more hateful tone; more of a big middle finger to one’s emotions as opposed to a snarky rude comment featured in the albums before.
 
Every song on Empty Moon can stand alone and hold its own as a potential single. But there are several songs that really resonate long after the album is done playing. “Drinking Binge” takes on the tale of, well, binge drinking, with arguably the fastest-paced tempo on the album.  “Eskimo Brothers” explores the seemingly shitty life of small-town dating. How a girl goes from guy to guy and eventually you’re just waiting your turn—there’s nothing else to do. Finishing off Empty Moon is perhaps the group’s most heartbreaking song, “Berlin.” The track takes a very angry, bitter tone as Hangauer serenades the memory of a former love.
 
Accompanying this album, on the High Dive Records Bandcamp page, is the Empty Moon Demos (below). All the same eight tracks dumbed down to strictly Hangauer and his guitar. In this demos album, Hangauer sounds more sorrowful and his voice is raspier. This is a haunting and distraught album that lies in the shadow of the musically-upbeat Empty Moon. These demos almost sound more appropriate than the actual album, having that melancholy ambiance.
 
This Lawrence band has made us wait for three years for Empty Moon, and it was well worth that wait. Exploding with such force and emotion, Fourth of July’s latest effort is really a great listen when you’re feeling blue.
 
Empty Moon was released on April 9 on High Dive Records. This Friday, April 26, Fourth of July will be doing an in-store performance at Love Garden Sounds with 1,000,000 Light Years at 7:00 pm. Vocalist Brendan Hangauer will be exhibiting his art there for Final Fridays Lawrence. Facebook event page.
 
 

–Steven Ervay 

 

Steven Ervay is super rad. 

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Album review: Cowboy Indian Bear – Live Old, Die Young

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(Photo by Todd Zimmer) 

Cowboy Indian Bear’s newest record Live Old, Die Young is a mystical and massive full-length, 12-track LP. Spending the last couple of years crafting their sound, these boys and girl have grown into an entity all their own. Live Old, Die Young is one of the best records to come out of the Kansas City/Lawrence music scene since the release of Two Conversations by The Appleseed Cast. Cowboy Indian Bear has put together an album that is eclectic, dynamic, and enjoyable from start to finish. The only problem I have with this record is that my drive to work isn’t any longer and it’s impossible to listen to 42 minutes of amazing songs on a 20-minute drive. Here’s my song-by-song breakdown of Live Old, Die Young. Enjoy!
 
“Washing” starts out the LP with slow, smooth waltz instrumentation that provides an excellent backbone for the four-part harmonies that carry this dreamy tune. Featuring an interesting stand-up bass and vocal break, this song keeps the same pace throughout. It’s a gentle song that isn’t overwhelming upon first listen and showcases many of the features that make Cowboy Indian Bear an enjoyable and unique band.
 
“Does Anybody See You Out” kicks in with a groove of multiple percussive instruments, a pick up from the opening track. At six minutes and twelve seconds, this is the longest track of the album. Its dreamy reverb-slathered guitars and keys coast with ease over the tight, intricate rhythm. Its catchy hook, subtle vocal effects, and all around progressiveness make this one of my favorite songs on the album.
 
Lyrically, “Barcelona” is my favorite on the record. The song shows the amazing imagery and storytelling abilities this band is capable of. The pace of the album begins to pick up after this epic tale about the beaches of Barcelona and digging up graves.
 
CJ Calhoun starts out “Seventeen” with a soulful acapella serenade. Katlyn Conroy’s voice sweeps in beautifully along side heavy driving bass, keys, and drums, and you immediately feel the power of this song. There is an anxious drum roll hiding in the mix that sounds almost like a helicopter taking off and it builds in a wonderful way. Conroy’s vocals outweigh the boys towards the end of this song right before it breaks into a dreamy feel-good noodle break. The song ends as simply as it starts.
 
Not breaking the two-minute mark, “Live Old, Die Old” is a trippy interlude track comprised of every instrument, including vocals, reversed. Though I tried, my stash of jazz cigarettes couldn’t help me translate what is being said/sung. Reminiscent of Minus The Bear’s “Highly Refined Pirates,” this interlude fits well where it is and shakes the record up a bit before heading into different musical direction.
 
The first line from “I Could Believe in Anything” grabbed me immediately with the sincere and certain tone of Calhoun’s voice backed by a super groovy bass riff and electronic drums. This short, harmonized chant and percussion-driven track might not be a standard “Radio Single” but it’s definitely no filler song either. It’s the kind of song that is best listened to at a packed Cowboy Indian Bear show after everyone has had a little too much to drink.
 
If track seven, “I Want a Stranger’s Heart,” isn’t the intro song for the next James Bond movie, someone in Hollywood is screwing up. Badly. It’s slow, sexy, reverb-drenched, and adds a magic touch to Live Old, Die Young. The smoothness of this song carries it until it takes a loopy experimental turn. I’m a sucker for reversed vocals and guitars, and these guys do it well. I’m not advocating this, but I’m sure they are saying something cool if you play the record backwards (but don’t blame me if you scratch up that pretty white vinyl).
 
“Cloth into Clothing” is a poppy, percussive song that showcases the beautiful voices of Conroy and Calhoun very well. This track is mixed in a way that will make you feel like you are alone in large empty room (possibly an abandoned church) listening to Cowboy Indian Bear jam. The raw, roomy drums really stand out, thanks to the nimble hands of Beau Bruns.
 
“Let it Down” is by far the shining star off this album. The lyrics are beautifully depressing and float dreamily over massive tom fills and melodic guitars and keys. Though the lyrics may give off the impression of giving in to sadness, the music is hopeful and uplifting.
 
I’m not certain, but it sounds to me that “Live Old, Die Old (I)” could be a trippy sped-up/reversed remix of “Let It Down.” It’s a nifty little addition to this record and I imagine offers an opportunity for members to tune or switch their instruments in a live setting. This track shows that they had some solid time to have fun in the recording studio.
 
Track eleven, “Jennifer, is a solemn song that captures the essence of a broken heart. In typical Cowboy Indian Bear fashion, this slow-building song adds a multitude of large percussion and perfect harmonies. Sonically, “Jennifer” strays from the standard intro/verse/chorus/verse/chorus/bridge/chorus/outro formula. Though it might not be one of my favorite songs off the record, it definitely fits the vibe and tone of this record.
 
According to the Hebrew Bible, Methuselah is purported to be the oldest person to ever live, thus making the title of the final track “Your Favorite Son, Methuselah” ever so fitting. The lyrical phrase “I’ve got an edge / I could be your scythe” creates the imagery of Calhoun bargaining with the Grim Reaper to let him live on as an asset. The upbeat nature of the song helps round the album out in a way that makes it nearly impossible to not listen to the album all the way through again.
 
Live Old, Die Young is a professional and beautiful record. Cowboy Indian Bear has worked hard crafting this gem and it shows.
 
This week only, you can listen to Live Old, Die Young at the link here. You can purchase it on iTunes and/or get the vinyl with an immediate digital download on The Record Machine store. Cowboy Indian Bear will be celebrating the KC release tomorrow, April 25 at Davey’s Uptown, with Palace and Heartfelt Anarchy. Facebook event page. Then they embark on a two-week tour (details below). The Lawrence release party will conclude the tour on Friday, May 10 at the Lawrence Arts Center with Spirit is the Spirit. Also, visit www.cowboyindianbear.com for more information about their tour schedule, merchandise, and all things CIB.
 
 
–-Eric Fain
 

By day, Eric Fain sells used books to pay the bills. Most nights you can catch him at any given KC/Lawrence venue supporting and promoting local music. He is currently the most tattooed and hairy member of the Kansas City rock band, Clairaudients. 

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We Were Pirates Score Doc Film “Dear Mr. Watterson”

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What began originally as an offer to provide music for a documentary about an influence from childhood (Calvin & Hobbes) eventually turned into We Were Pirates‘ full length score for Dear Mr. Watterson. Mike Boggs of WWP originally contacted the film’s director, Joel Schroeder, about allowing the documentary to use some of his music. Over two years later, Schroeder reached out to Boggs about making the score for the entire film.

To be completely honest, I absolutely love this score. It is a vivid tapestry of piano riffs, jazzy percussion, and delightful melodies that remind me of the first time I heard Vince Guaraldi’s score for Charlie Brown.

The soundtrack is available for purchase from iTunes now, and is also available for streaming from SoundCloud (But seriously, you should really buy it). –Karl Dobias

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Brooklyn “slackgazers”: Haybaby plays Death By Audio on 05.16

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Haybaby is a Brooklyn based group of best friends and poised musicians who create an endearing and intriguing style of psych and anti-folk inspired rock they call "slackgaze" – thumbs up for the neologism. Leslie Hong, Sam Yield and Zach Ellis were performing and recording in other bands and solo projects before they fatefully joined together to eventually decide to slackgaze in the same band. With influences pointing to The Breeders and The Brian Jonestown Massacre, seasoned with your fair dose of quite/loud/quiet moments, Haybaby’s music also borrows some of the lo-fi bands’ signature semi-randomness. Simple and at times humorous, the band’s lyrics, together with their easy going attitude, make their recordings and live shows fun and a pleasure to witness. Don’t miss their upcoming show at Death By Audio on May 16. – je