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Blood Sound
"Nightclub
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Blood Sound’s post-punk tracks are informed by an audible nostalgia for the dance floors and goth clubs of the latter ‘80s. Their latest LP Nightclub is a hybrid of dark wave and dream pop. Marrying synth-drenched harmonies with emotively vibrant lyricism, the subtle romantics of the band’s debut full-length fit seamlessly with the buzzing percussive backbeats of earlier cuts by Cold Cave (circa Love Comes Close) or The Cure’s “Primary” stripped bare to its core.
 
“TV Synth 1” sets the tone for Nightclub’s narrative with a brief yet textured prelude to “I Don’t Want.” Relatable like an antithesis of The Smiths’ “There Is A Light That Never Goes Out,” Blood Sound’s “I Don’t Want” personifies the complexities of yearning, desire, and loneliness. As frontman Chris Jordan croons “I don’t want the city’s lights to go down/I don’t want to find home,” guitar riffs magnify the weight of his words without casting them melodramatic. The track is a fitting anthem for the passing of youth, failed love, and transition.
 
The buzzing start of “L.A. Punk” explores that thin line between authenticity and commoditization, the song’s instrumentation paying homage in its own way to the early underground and its subsequent subcultures. As if channeling a sedated rendition of Peter Murphy’s tone and diction, “L.A. Punk” is as memorable as it is brooding. “Acid Summer” gives an inward glimpse at the intimate nature of grief, mortality, and memory. When Jordan sings, “The 1980s died that day,” the listener feels it in their gut. It’s undeniable. The connection between what is experienced and how that experience is remembered is amplified by the track’s thumping tempo.
 
“Empty” plays out like the perfect soundtrack to an inevitable breakup, coupling affection with exhaustion, with the synth framing the heart-wrenching truth of lines like “I was too in love to say/that your story was a bore/Now I gave up on bad dreams and endings/beginnings and beginnings.” It offers a viable catharsis for jilted lovers with a penchant for fuzzed-out refrains.
 
“TV Synth 2” precedes the lyrically minimal yet heavy “Embrace” which serves as Nightclub’s melodic memento mori. “Almost” is subdued yet gripping, slowing the momentum of the record in advanced of “TV Synth 3,” which unfolds like a VHS fever dream. “Fake Blood” is evocative, with reverb and a pulsating backbeat that swells as the song progresses. Arguably the darkest track on the album, Jordan’s diction is hypnotic, “Kill your dreams and wait for/the fake blood to pour out.”
 
Ending with the well-placed “Catacombs,” Nightclub’s final track encapsulates the thrill of beginnings and the way one remembers them. Set to a beat reminiscent of Joy Division’s quintessential single “Love Will Tear Us Apart,” “Catacombs,” much like the songs that precede it, is reason alone to return to Nightclub. - Dianca London Potts

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scene blog

I love how when you close the big doors of Boot & Saddle, it can turn into a sweet listening room. There are very few places in Philly (if any) that can do that. Tonight will be a good oppurtunity for you to take in the cosmic sounds of Mary Lattimore & Jeff Zeigler. The duo's harp and synth interplay truly deserves your undivided attention. They'll be supporting good pal and NYC guitar maestro Steve Gunn. This will be a good warm-up for the gang because they'll be taking their acts on the road together to Europe during the months of May and June. Also along for the journey this evening will be multi-instrumentalist Nathan Bowles (Black Twig Pickers). Boot & Saddle, 1131 S. Broad St., 8pm, $12, 21+ - H.M. Kauffman

March 31, 2015
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It seems like Rob Garcia and Sarah Everton have put Bleeding Rainbow to rest (at least for now). The duo has teamed up with Paul Brinkley on a new project called Telepathic. You can stream and purchase their debut six-song EP Powers of Ten (below), which will also be available on limited cassettes. The album was recorded/self-released by the band, and mixed by Kyle Gilbride (Swearin', Waxahatchee, Radiator Hospital, etc.). You can catch Telepathic performing live on Saturday, April 25 at Everybody Hits.

March 31, 2015
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Local powerpop quartet The Weaks premiered a new single, "Frances Quinlan Will Have Her Revenge on Philadelphia," a play on Nirvana's "Frances Farmer Will Have Her Revenge on Seattle" and homage to good friend and Hop Along frontwoman, via Impose Magazine. The track is off the group's forthcoming album Bad Year (Lame-O Records). The Weaks will be spending most of April on the road (some of which will be opening for Brand New) with a homecoming record release show on Monday, April 27 at PhilaMOCA. (Photo by Jessica Flynn)

March 31, 2015
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Daytrotter just shared their session with Chris Forsyth & The Solar Motel Band. You can stream and download the recording for free (w/membership) HERE. Enjoy the afternoon jams! (Illustration by Johnnie Cluney)

March 30, 2015
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Krust Toons: "What's Music?" by Teddy Hazard - please feel free to drop him a line at teddandthehazards@gmail.com if you dig or have any funny ideas. You can also check out more of his illustrations HERE.

March 30, 2015
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Waxahatchee’s new album Ivy Tripp, which will be released Tuesday, April 7 on Merge Records, is currently available for streaming via NPR’s First Listen. The Katie Crutchfield project continues to sonicly evolve, addressing a range of ongoing observations through engaging, private snapshot narratives that embody youthful adults that are growing restless. Steady on your feet, yet still searching. Waxahatchee is set to headline a show at Union Transfer on April 8 that also includes The Goodbye Party, Girlpool, and DJs Jenn & Liz Pelly.

March 30, 2015
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