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Rumspringa is back! Free download too!

A Deli favorite, Rumspringa, is back in action, recently releasing their LP, Sway, on Cantora Records as a four piece. After spending two years as a duo, friends Joey Stevens and Itaru De La Vega parted ways in early 2009. In a search to make Rumspringa better, faster, and stronger Stevens pulled in drummer Andrew Parker, Cecilia Della Peruti on guitar, and Ricardo Robles on Bass.

The sexy bastard child of 70s psychedelica and 60s British rock, Rumspringa has a bright future to look forward to as a four piece. In honor of their new LP, the band has made the song "Queer Eyed Boy" available for your listening pleasure.

Watch out for an album review once we get our hands on Sway.

Download "Queer Eyed Boy"
Sway on iTunes

-Angelo Lorenzo

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Q&A: Stomacher


It has been a while since The Deli SF has done an interview so, in an effort to bring you something a little different this week, The Deli sat down with Jerrod from Stomacher to discuss their development as a band, the state of the music industry and their plans for the coming year.

Deli: So this may be old news for you and your fans but I (and perhaps many Deli readers) are somewhat in the dark about this: What inspired the name change from In Reverent Fear to Stomacher and does Stomacher have some special meaning or does i just sound interesting?

We were tired of it. Stomacher was the name of our last album. It does everything a name should; its snappy and is easy to use in design

Deli: I seem to recall seeing somewhere that In Reverent Fear dabbled more in the metal end of things. Is that the case, and if so was there an active push towards this newer sound or did it just evolve naturally?

Natural. We were 16 year old kids freaking out on coca cola and girls. we wanted to be freaking out constantly, thus metal. We got older, wanted to refine our music and make something good for once.

Deli: Can you describe in your own words what Stomacher's sound is, and what your goals are for the type of music you're looking to create?

We like to create moods and force those moods into good songs. We tend to feel best in the dark haze we conjure up.

Deli: What does Stomacher's typical process for songwriting look like? Is it an organic evolution with songs growing out of sessions as a group or do members arrive with songs written in search of composition?

It works in several ways. Sometimes tunes are brought in, sometimes they are born out of playing together. Sometimes made in the studio, sometimes live. There is no way that works best for us. Sentimental Education was made virtually every way a song could be made. It was tedious shit. It made us completely crazy and made the group tense constantly. We don’t want to do that again.

Deli: As the paths to success rapidly change in this evolving modern music industry,being an independent artist can be trying. There was a time relentless touring in pursuit of a record contract was perceived as the easy avenue to notoriety, but in this time of responsible rock stars with firm day jobs and increasingly irrelevant record labels those waters seem muddier then ever. What do you define as success for your band in today's industry? What do you see as the best possible strategy to obtain that?

We have no fucking clue. To be honest, it never really feels like we get anywhere. We want to be playing music constantly, but don’t want to trash the integrity of the group to do so. As much as we love straight pop music, we don’t gravitate towards it naturally. We want to make sure that what we are doing means something to the five of us first. That seems to help me sleep at night at least.

Deli: I've observed that in the past few years there has been a change in audience attitudes. It seems more and more people only show up for the band they know,neglecting the others and forsaking the opportunity to discover something new. Is this something you've noticed as well and if so what do you think has caused this and how do you try to get audiences to stay for your set?

I think we all have resigned ourselves to the fact that people could give a shit about the live experience nowadays. Especially in a music scene where the live experience is secondary. I couldnt say what the cause is; maybe bad live bands souring everyone on seeing something live. Who knows. For me, its because its too fucking loud. I can’t have a chat without screaming. As far as keeping people around during our sets who have not come to see us, we just try to present the music and hope for the best. I don’t expect people to stay. Everyone is trying to get laid and that is probably more important in the scheme of things.

Deli: Getting back to your specifics, 2010 saw you with a gig in Noise Pop and several other prominent shows around town. Is there much slated for the remaining portion of the year and what are you plans and hopes for the coming one?

The rest of the year is up in the air. I get married in October, so I’m out of the country until the beginning of November. I think we are looking to do some gigs in December, and maybe release some singles. We want to do another record next year and quickly. The hope is to record that shit live and be a little more reckless. It gets me off to play in a room with these guys, so I’m ready for that. We’ve also thrown around heading overseas, so we will see.

 

-Ada Lann

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Salem

Salem released their debut album King Night through I Am Sound on September 28th. The trio consists of John Holland, Heather Marlatt, and Jack Donoghue, and they have been receiving a lot of positive buzz for this release. Their sound is all at once gritty and forceful and atmospherically beautiful. The album is densely layered, menacing, and oddly peaceful. This strange contrast is felt in the haunting video for the track "Asia". You can also find a free remix of "Asia" by oOoOOO here.

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Enjoy The Food Trust’s Night Market w/Attia Taylor Oct. 7!

After the miserable weather last week postponing The Food Trust’s inaugural Night Market, tonight’s pleasant weather forecast should be bringing out plenty of folks for the rain date of this highly anticipated event. I know that I’ll be there scarfing down all the delicious, eclectic food to my hearts content while grooving out to Attia Taylor’s infectious experimental pop. The Deli’s former Featured Artist of the Month and Girls Rock Philly grad has been building quite a buzz lately, and we’re lovin’ every minute of it! Night Market, East Passyunk and Tasker, 6pm - 10pm/Music @ 7pm, Free, All Ages - H.M. Kauffman
 

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Hot Guts Oozing Out at DDG Oct. 7

Since the summer release of their split 7” with Pop. 1280, Hot Guts’ garage-core brand of dark pop has kept listeners smitten with distortion and moody vocals while remaining hard at work on their forthcoming LP. Yes, we find the band moving in a new direction, and we still likey. No strangers to Danger Danger, Hot Guts makes the most of elongated intros, drums, and melodic riffs on tracks like “Did you not go to the dance alone?” which buzzes, hums and clicks towards an eventually sped up end. Done so with tempered deliberateness, Hot Guts’ mid-song shreds are fittingly paired with reverb that fades to atmospheric and subtle sounds. “Da’rat Hessla” is equal parts eerie and dancey, sounding like a fuzzed out familiar of dark wave chants like “Back In Flesh” or a Depeche Mode/Bauhaus hybrid. Sounds awesome, right? Danger Danger Gallery. 5013 Baltimore Ave., $5-10, All Ages - Dianca Potts
 
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