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Artist of the Month
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March 2015
Blood Sound
"Nightclub
"
mp3
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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The Deli’s July Album of the Month: Punishment Cookie - Hair Rocket

The Deli’s July Album of the Month: Punishment Cookie - Hair Rocket

The band from the Philly ‘burbs Hair Rocket has taken a Cheap Trick-gone-to-etiquette-school route in their newly released debut LP Punishment Cookie. Out on collective indie label Mountebank Records, the follow-up to 2009’s Novelty EP is an energized collection of greaser punk glam rock power pop. The threesome, whose band is named after the act of launching locks of hair into the sky for a “subversive enlightenment through cathartic art,” has created an album far easier to grasp than their thought-provoking alias. The 11-track recording is downright catchy without compromising the band’s significant sense of distinctiveness. Hair Rocket tactfully lets loose keyed-up rock inspired by the ghosts of 60s mod (as in clap-ridden, Strokes-inspired, pop-hook laden lead single “OK Alright”), 70s punk, 80s pop and 90s cheese…without rubbing your face in it.
 
Opening track “Eyes” takes classically riffed bluesy rock hitting it with heavy low-end blows and gives it a pinch of reggae punk optimism. “Motorcycle” reminisces combat boot punk with a Tokyo Police Club poppiness where harsh, growling vocals and a shrill, distorted electric guitar make for a satisfying hit-worthy track. Yes, Punishment Cookie rocks, but it is also not void of emotion. The song that started Berklee dropout and mastermind Chris Blassucci down this path of enlightenment, “Hair Rocket,” receives a revamping for the album, but still stabs sharply with its hard-earned life lesson from his real life bizarre love triangle (though I admittedly will always favor the original demo version and its strangely sadistic video). “Home” and the early Beatles-esque “Imagining,” which made their debuts on Novelty, also linger with the emotional remnants from that painful but musically productive time period. With Punishment Cookie, Hair Rocket neatly colors outside the lines of indie pop with an eagerly creative but well thought out approach to rocking your socks off. You can purchase the full-length album HERE.
 
You can download the track “Motorcycle” below and come out to their Philly Release Party next Friday, July 8 at Bookspace with Mammal of Paradise, An American Chinese, Meddlesome Bells and Bambara which The Deli will be presenting. - Jules Friedland
 

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