This is a preview of the new Deli charts - we are working on finalizing them by the end of 2013.

Go to the old Top 300 charts


Standing on the Corner

The 7 Best Electronic Records of 2017 by Emerging NYC Artists

With an appreciation for the jubilance of pop music and the willingness to explore new sounds that NYC is known for, in 2014 the city’s electronic musicians created music that could soundtrack all-night dance parties or pensive nights alone. Beshken captured that contrast best on For Time Is The Longest Distance Between Two People. The album migrates between spacious, simmering instrumental sections and buoyant, pulsing rave-ups. Overcoats played more heavily on thumping, dance-floor anthems with their debut album YOUNG, but lyrically the duo looked further than the party scene. Overcoats’ portrait of inner emotional struggles rivals the tact of many veteran pop songwriters. The electronic genre also took influence from the indie rock world. Guerilla Toss, featured on our cover this past fall, released GT Ultra, a mish-mash of post-punk, psychedelia, and electronica that’s near impossible to accurately categorize. Covering stuttering electronica in a dream pop-inspired haze, Blood CulturesHappy Birthday balanced the danceable with the moody. Perhaps not quite fitting into the electronic realm, Sneaks made a post-punky sophomore album using almost only a drum machine, bass guitar, and vocals to craft the expertly concise and individual It’s a Myth. To be fair, that album came out before Sneak’s Eva Moolchan moved to NYC, but since the band’s relocation we’ve proudly embraced them as our own. Belonging to the Electronic realm are also two NYC records we recently blogged about: Torres' dark and mysterious Three Futures and Standing on the Corner's avant-hip hop masterpiece, and recent Deli NYC Record of the Month, Red Burns. - Cameron Carr

Record of the Month: Standing on the Corner - Red Burns

It’s hard to place a firm finger on Standing on the Corner’s latest album, a 60 minute, two-track release entitled Red Burns, but the record - which opens with warm crackling, synth-y harp strums, and omnipotent narration treated with the kind of vocal distortion that sounds as if your cassette’s brown tapes have melted - is wildly innovative, and strangely mesmerizing. The project, headed by Gio Escobar and Jasper Marsalis, a Crown Heights based duo armed with a jazz background and an interest in rap and electronica, is a response to recent political and nationwide events, chronicling them with the distinctive viewpoint of those facing direct oppression, but expressing them through a medium that is widely freeform and experimental. (Olivia Sisinni)


- news for musician and music pros -