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January 2015
The Goodbye Party
"Silver Blues
The Goodbye Party, a.k.a. Michael Cantor (formerly of The Ambulars), has released a new record Silver Blues via Salinas Records. The album finds Cantor largely in control using a vast arsenal of instruments, while also enlisting Joey Doubek (of Pinkwash) for percussive duties on a series of tracks.
“Heavenly Blues” nudges the entrance open to the cathedral of sound. Cantor’s smooth trustworthy vocals deliver a suggestive message amid a chamber of sonic layers, “…you have halos, you have lights, you have ghosts that sing into the night.” There is a well-produced divide, between that enlightening tone fortified by a residual hum, the soft drops and tapping tambourine, and bowed guitar that provides a more ominous dimension.
“Crossed Out” shoves that door further open with its optimistic jangly guitar/rolling percussion and bass, illuminating the scenery - “holes in the windows, where the wind slips through…” There’s a balancing point between the coldness of the lyrics and the resounding warmth of Cantor’s delivery and instrumental accompaniment. Taking foreboding tones of thumping percussion and the stirring rings of guitar, “I’m Not Going to Your Heaven” silver-lines them as the ringing morphs into a pleasant cry while the song winds down with a scratchy conclusion.
In a flash of joy, “Personal Heavens” is jumpstarted with a groove yet despite this, the lyrics reveal a grey point of view - “Homesick for personal heavens and homes you’ll never see again.” Slipping you back into the cathedral in “27 Times,” the finessed layering of backing vocals wrapping around Cantor’s lead shields it from the cold.
“New Decay” has a jaded push behind it, as guitars twist into knots and drums smash a path for Cantor to admit, “I keep breaking what I’ve already fixed/I keep fixing what I’ve already fixed.” Silver Blues closes with the bone chilling solemn string-oriented “White on White” - “the world/burns in the dark/echoed songs, resonations, every night.”
The record sweeps through ones mind in what seems like a moment. However, its melding of darkness and light leaves poignant, beautiful moments that makes Silver Blues worth revisiting frequently. - Michael Colavita

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


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2014 Year End Polls For Emerging Artists: Results Scene by Scene

LATEST NEWS: L.A. READERS' POLL IS ON! - CHICAGO READERS' POLL IS ON! - NYC Alt Folk Open Submissions - NEW ENGLAND READERS' POLL RESULTS! - TORONTO READERS' POLL RESULTS! - NASHVILLE READERS' POLL IS ON! - Los Angeles Open Submissions - NYC Indie Rock Open Submissions - PORTLAND READERS' POLL IS ON! - Nashville Open Submissions - NYC Garage Rock Open Submissions - KC READERS POLL RESULTS - Chicago Open Submissions - Portland Open Submissions - NYC Hip Hop + Other Open Submissions - S.F. BAY AREA READERS' POLL IS ON! - NYC Psych Rock Open Submissions - DC AREA READERS' POLL IS ON! - SF Bay Area Open Submissions - NYC Folk Rock/Americana Open Submissions.

For the full summary click...


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The Deli's SXSW Issue 2014 is online!

Read it digitally here.

P.S. 10k free copies of this issue hit the street of Austin during SXSW Music week!

Empire Machines

Empire Machines is Austin indie that came in fourth in our 2012 Best of Austin reader's poll, and it looks like they're preparing to put a new EP into the world early this year. To get the word out, they've released a fresh-out-of-the-oven single, "The Plan," which has a distinct British-rock sound that we quite dig.

In fact, "The Plan" almost sounds like The Beatles doing Bloc Party, coming in on a big toms beat and then dropping some foggy-night appropriate rhythm guitar as (what I assume is) lead singer Matt Blackwell does his best to convince me that John Lennon had another son who got his voice. It's pure indie rock that actually does focus on the rock part, with distorted guitars featuring prominently, and it's a sign that this band that released their last EP back in 2011 has matured their sound nicely in the in-between years. Look for Empire Machines to put out the full EP soon, and in the meantime, get at a quality Austin indie track (that makes for quite good driving music, if I do say so) with the player below.


Francine Thirteen's Future Soul

Sometimes finding the right track to post takes a good amount of digging. Sometimes, though, you hit play on a track and you know in about five seconds that you've got something good. That's what happened to me last night with Francine Thirteen, an artist we found through the submissions e-mailed to us through our form (use that form y'all!).

If you wanna hear somethin' deep and good, somethin' with soul coming straight out of the future, hit that play button down there yourself. Because "Queen Mary" is a hell of an opening salvo from a new artist that has shot to the top of my personal "to watch" list. It's a track whose pitch-perfect siren vocals will have the hairs on the back of your neck standing up, and whose slow, sliding clap-based beat contrasts with an incessant ticking sound (that may or may not be snares) and the smooth soul of Francine Thirteen's voice to create a perfect balance of tension. It's the buttered coffee of tracks: it gets in your system all soft and warm, and sets you buzzing for hours after imbibing. The few other tracks on Francine Thirteen's Soundcloud show her to be a bit of an experimental artist and a powerful personality, but while that stuff is interesting and shows much promise, that promise is brought to fruition by the more traditional (admittedly not all that traditional, in this case) restrictions of this song. I want a whole album of "Queen Mary"-level tracks, and according to the word on the street, we'll get one soon. Can't wait to hear what this talented lady does next with her sound.




New Poll Coming Soon!

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