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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

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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!


Show Alert: Nice Guys EP Release, 2/12

There’s something oddly comforting about dirty guitars, fast drums and shouting, which probably points to some hidden emotional issues on my part, but whatever--that’s why punk music was invented. Chips in the Moonlight, the newest release from Nice Guys, has everything you could want in lo-fi punk recordings--distorted, almost tortured guitars and vocals that sound like they’re being pushed through a PA on the brink of explosion.
 

If you dig these tunes as much as I do, go see Nice Guys release this EP at Club Bohemia (Cantab Lounge, downstairs) in Central Sq., Cambridge, MA tomorrow night. $8, 21+, doors at 8PM, presented by Illegally Blind. More details about the show can be found here.

-Dan McMahon (@dmcmhn)

 

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Sweet Jesus Release You Destroy Yourself

You Destroy Yourself, the first full-length record from Sweet Jesus, was released on February 3 and from the sounds of their first single, this record is ready to punch you straight in the mouth. “The Light of Sun” has great intensity--I particularly liked the intro to the song--drums alone, followed by vocals and drums, then the whole band bursts-in with violent power chords and heavy bass--what’s not to like about that?

You Destroy Yourself was released through Atomic Action Records. For more information about the record, check out Atomic Action’s Facebook page. For more info about Sweet Jesus, click here.

-Dan McMahon (@dmcmhn)

Photo credit: Reid Haithcock

 

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California X: Nights in the Dark

Usually when I hear the words “Western Massachusetts”, I think of an imaginary land populated by a few hippies and raging-drunk college students. After hearing California X’s new record, Nights in the Dark, I’ll be holding Western MA in much higher regard from now on. Super-tight riffs, crunchy guitars--these guys pull off a great metal/punk sound that’s versatile enough to appeal to punks, metal-heads and laid-back rockers alike. My favorite track is "Hadley, MA," with is slow, churning riffs and Pavement-esque feel. This song captures the band’s grit, but with added hints of lo-fi pop-punk that I find really appealing.

For more info on California X (and to see a list of their upcoming 2015 tour dates), check out their Facebook page.

-Dan McMahon (@dmcmhn)

  

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Winter 2015. NYC Issue #41
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