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Artist of the Month
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March 2015
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

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


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Leather

New Leather Album Available for Streaming & Purchase

Good morning! Did today's snow and chill snap you out of your springtime daydream? Well, throw your middle fingers to the air, and bash the hell outta something to the soundtrack of Leather's lupine new record Easy! The band quietly dropped the nine-track album last week, and the release once again loudly demonstrates why the hardcore four-piece is the real deal from Philly with no need (or desire) for hype. (And Noisey's Dan Ozzi definitely slept on these guys for his half-assed piece about the Philly punk scene.)

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Leather & Residuels Opening for The Oblivians & The Strapping Fieldhands at Underground Arts Oct. 4

Hardcore outfit Leather understands the power of ferocity playing with a raw undeterred one speed-fits all determination that will shake the pillars of Underground Arts tonight and smack you in the face. The unfiltered garage reverb loaded alliance of Moon Women frontman Justin Pittney and Creepoid drummer Pat Troxell known as Residuels will also be on display creating a carnal retro feeling sound filled with raunchy guitar licks a steady-driving backbeat and guttural vocals. They will be setting the stage for the re-formed garage-punk trio The Oblivians and the forefathers of Philly indie rock The Strapping Fieldhands. Underground Arts, 1200 Callowhill St., 8pm, $15, 21+ - Michael Colavita
 

Leather Debuting New Material at KFN Jan. 25

Leather is currently working on a new full-length record that will feature artwork from Philly photographer Matthew Gallagher, whose work you may have come across through releases from the band Nothing. The hardcore four-piece will be debuting material from their forthcoming album tonight at Kung Fu Necktie, and they’ll also be hosting rising Cali rapper and former Leather bandmate Antwon. Opening the evening will be Heathen Reign, which is fronted by Creepoid’s Pat Troxell. Kung Fu Necktie, 1250 N. Front St., 10pm, $10, 21+ - Alexis V.

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Leather Opening for Double Negative at Vox Populi Aug. 31

Leather may only have a handful of punishing-yet-complex recordings to their name, but there's absolutely nothing ephemeral about them and the reputation they've crafted. This Philly band's muscle-bound, crazed-circle-pit-inducing hardcore has been hailed as the heir to the throne left vacant by the Cro-Mags, and they've kept themselves uppermost in the minds of hardcore enthusiasts by staying aloof: tantalizingly doling out as few solid hints about their upcoming album as possible without their more frantic fans beating a path to their door. They're showing up tonight to the sweaty lair in the summertime that is Vox Populi with Raleigh tour-mates Double Negative, who bring with them an unparalleled pedigree (members have played in Erectus Monotone and Polvo), and Long Island's Brain Slug. With a forecast of high temperatures, savage loudness and apeshit windmilling, this show is going to be painful in all the right ways. Vox Populi, 319 N. 11th St. - 3rd Floor, 8pm, $6 - $8, All Ages - Alyssa Greenberg

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