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April 2014
Creepoid
"Creepoid
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The perfect solace for winter’s passing, Creepoid’s second full-length self-titled LP combines the zeitgeist of 90's grunge with pristine dissonance and somber lyricism. Released earlier this month by No Idea Records, Creepoid is eerie, melodic and stirring from beginning to end. 

The record’s introductory track “Nauda” opens with a singular note that swells into a melody, aligning itself with the listener in a way that feels confessional yet synonymous. A well-wrought continuation of the earnest diction reminiscent of Horse Heaven, “Nauda” is as bittersweet as its vocals, informed by the paradox of loneliness and longing. Expanding into a cinematically moody soundscape, guitars wail like sirens, beckoning chords to crash and settle into a fading ricochet - a premonition of “Sunday.” Coupled with acoustic strums and crisp vocal croons, a solemn request, “take my light and pull it out,” is beautifully melodic with perfectly placed tambourine that brings to mind the memorable mood concentrated. Exploring the affect and consequence of relational presence and its subsequent absence, the orchestration of “Sunday” renders a relatable narrative evocatively raw and sincere. 

“Yellow Wallpaper” ignites with driving bass and swirling riffs. As if resurrecting the perfection of Jeremy Enigk (ex-Sunny Day Real Estate), a la “Killed By An Angel” meets “Pillars,” the song evokes an eerie all consuming sense of the sublime that centers the track’s duration. Like an extension of Horse Heaven’s “Hollow Doubt,” the contextual weight of “Yellow Wallpaper” is harmonically haunting and intentionally poignant. “Baptism” washes over its listener in waves of riffs and echoed vocals that occupy an emotive territory similar to lesser-known tracks by Sonic Youth, subverted and painted darker by the brooding buzz reminiscent of shoegaze greats like My Bloody Valentine. 

In its decline, “Baptism” casts a feeling of transcendent submersion, befitting its namesake. With a crystallized aggression, “Gout” does the same - urgent and arresting with visceral shouts and screams. “Stay Inside” is considerably more subdued than the album’s preceding tracks but equally mesmerizing, unfolding “Tired Eyes,” a hypnotic chant of a fatigued psychedelic. “Golden String” feels slightly optimistic, while “Acrimony” blossoms then retracts into a reserved yet deliberate ballad that demands its audience’s attention like a gloomy lullaby with teeth. “Vulgar,” warm and sunlit, is lush and arresting, setting the stage for the album’s closer “Old Tree,” a jubilant ending to yet another epic compilation of clairvoyant anthems evoked by Creepoid. - Dianca 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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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!


The Deli's playlist of songs by emerging New England bands is updated!

Check it out HERE - it's basically the best of our New England blog in music! You can always access this playlist by clicking on "LOCAL CHANNEL" on the Navigation bar.

P.S. We couldn't add some bands because we didn't find their music on Soundcloud.


Loupo experiments with the softer side of hip-hop

If your playlist is lacking something a little more relaxed, perfect for hanging with friends or a long drive, we recommend Montpelier’s Loupo. The hip-hop producer crafts beats stuffed with samples and the production tics necessary to make an instrumental track stand out without vocals from a featured artist. On “GottaGo!!” he turns a vocal sample into its own wah-wahing instrument, and on his latest, “GritZZ,” guitar and drum loops cycle as clanking piano keys reverberate into the distance. Of course, Loupo’s experimental creations are ripe for the picking by up-and-coming rappers – take a listen to Notation and Chel Strong’s “To The Sky,” a song released earlier this month that was helmed by the Vermont producer. – Jake Reed

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Nautica releases "winter" EP

Recorded in a Vermont basement in January, Nautica’s winter is a charmingly lo-fi set. The four-track EP begins with the fuzzy opening riff of “All I Can Be,” which works its way into a catchy, distortion-heavy frenzy of a love song. The trio shows off a softer side on “Whatever You Want to Call It, James,” accompanying the song’s chorus with falsetto harmonies – before immediately turning the guitar effect pedals back on. A recent post on the band's Facebook page revealed that plans for a short tour later this month have been scrapped, but you can check out the Burlington up-and-comers at the Elks Lodge in Cambridge, MA, on March 23. – Jake Reed

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Austin 2014 issue (SXSW)
Read it here

 


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New England Music Awards Week: Jatoba

 

New England Music Awards week continues with the three-piece Jatoba, a self-described “groove-grass” band that is nominated for Best in State: Vermont. The group combines traditional bluegrass tempos, bumping bass lines and an onslaught of other instruments including the sitar and the banjo. Jatoba has been on the local circuit since 2008 and released its first album “Death, Fire & Picnic Tables” in 2011. Here is what John Samison, who plays mandolin, acoustic guitar, sitar and mandola in the band, has to say.

To read the interview, click here.

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Winter 2013. NYC Issue #37 (CMJ)
Read it here


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