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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 Night Club’s narrative with a brief yet textured prelude to “I Don’t Want.” Relatable like an antithesis of The Smith’s “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 1980’s 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 advance 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,” Night Club’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!


Nashville's Torres is now Brooklyn based

Catchy magazine headlines and conversations overheard on the train might lead you to suspect a mass exodus out of NYC, but recently Brooklyn snagged Mackenzie Scott of the songwriting project Torres away from Nashville. For many artists, nostalgia is an easy route, but Torres’ songs rarely allow that kind of distance — there is something dangerous and she’s touching it now, she has a fresh cut and she’s washing it now. Scott will sing a statement with grace and tolerance but repeat the line until it drives her mad enough to shriek it. Torres primarily utilizes guitar and drums with influences of folk, country, and punk, but Scott’s voice is the power capital. In the past Torres has toured with Lady Lamb The Beekeeper, worked with Sharon Van Etten and War on Drugs, released two albums. She recently headlined at Brooklyn Night Bazaar and Bowery Ballroom. This May she will embark on a U.S. and European tour. - Leora Mandel

We added this song to The Deli's playlist of Best NYC songs by emerging NYC artists - check it out!

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The Last Chance Dance is TONIGHT!

Alright ya mooks, our little shindig with Kelly Ruth and friends is TONIGHT! We hope to catch you this evening at Lucky Bamboo (5855 Charlotte Pike, right next to K&S Market), toting a six pack in one hand (remember, it's BYOBeeee!) and a fistful of raffle tickets in the other (we have prizes from Pinewood Social, Sack of Cats, Crema, Lindsay Walker Jewelry and Young Gun Apparel, to name a few.) We have tickets for sale here: http://tickets.soundstampmusic.com/last-chance-dance/, otherwise they will be $10 at the door. There's also the option of paying $20 at the door to take part in a hot pot feast courtesy of our gracious hosts at Lucky Bamboo.  Doors are at 8, then we have Twiggs kicking off the night at 9, followed by Kelly Ruth, Korby Lenker, and Blackfoot Gypsies closing out the night. If you've never had a Blackfoot Gypsy nightcap, it will look a little like this (just, ya know, with a koi pond in the middle of the room. Sidenote, don't molest the koi.):


Adia Victoria Launches National Tour

On Wednesday night The 5 Spot hosted the unrivaled talents of local rising blues star Adia Victoria. With riffs easily reminiscent to the talents of Sister Rosetta Tharpe, Adia evokes a sense of composed nostalgia while simultaneously painting worlds with a vocal mastery akin to Victoria Spivey. Wednesday's show was the unofficial launch of a 20-date tour of the US with Hurray for the Riff Raff. Adia will be starting in Atlanta on March 5 and rounding out her excursion in Dallas, TX on April 1st. Using her fan favorite “Stuck in the South” to round off the evening seemed ironic. Regarding the tour send-off Adia commented, "It's great to see so many people braved the freak blizzard to show us some love. Love is a good note to send-off on." Adia Victoria is going places. -Jordi Saint-Zyr

 

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The Cordovas Release "Prison Guards" EP

Last Tuesday The Cordovas released their new “Prison Guards” EP. Accompanying the album was this simple video of frontman and former Carson Daly bandleader Joe Firstman picking through the title track. It's a gentle song championing the strength of the spirit that remains true to itself, the same uplifting, beautiful stuff that Firstman has proven so adept at casually tossing out. This EP is quite bare-bones compared to previous efforts. It's a departure from the genre-hopping of 2014's "Love Bravely" and the Southern blues of their self-titled debut, placing Firstman's songwriting front and center. The Cordovas mainly stick to their acoustic guitars and keys with some handclaps thrown in, and raise a some goosebumps with a few instances of striking vocal harmonies (check out the end of "Winter Blues.") "Prison Guards" is a straighforward EP of unembellished lyrics with amazing flow and a little bit of soul. Check it out for yourself HERE. -Terra James-Jura

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