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Artist of the Month
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March 2015
Blood Sound
"Nightclub
"
mp3
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

This is a preview of the new Deli charts - we are working on finalizing them by the end of 2013.


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New Holiday Single from The Hush Now

It's no secret that The Hush Now love the holidays. The Boston-based rock outfit treats its fans to a song for pretty much every major holiday. This season is no exception. Deciding that New Year's was a lonely holiday when it came to songs, they sat down and penned their latest gift to us all: Happy New Year, Dear.

Take a listen to the track below and head over to their Bandcamp to download it for free.

--Chrissy Prisco


28 Degrees Taurus Start 5-night East Coast Tour Tonight with Gospel Gossip (MN)

Tonight kicks off a 5-night east coast tour from local psych/shoegaze band 28 Degrees Taurus. Having recently come back from two midwestern tours (the last of which was with their Midwestern "sister band" Gospel Gossip) this marks the first area performance from 28DT in several months.

Minneapolis' Gospel Gossip will be accompanying the band on this tour. Some folks might remember Gospel Gossip from their last New England appearance in August at Deep Heaven Now. Combining energy, intensity and raw, emotionally-charged vocals from Sarah Nienaber, this band's shoegaze will leave you completely spellbound.

Do yourself a favor and make it to at least one, if not all, of these shows.

Wed, Nov. 30 -- w/ MAAR, Secret LoverRalph's Diner, Worcester MA
Thurs, Dec. 1 -- w/ Guillermo Sexo, Ghost Box Orchestra @ Great Scott, Allston MA
Fri, Dec. 2 -- w/ The New Highway Hymnal, Friendship @ The Ant Cellar, Lowell MA
Sat, Dec. 3 -- w/ Autochrome, ClouderThe Charleston, Brooklyn NY
Sun, Dec. 4 -- w/ The Josh Drews, Washerwoman @ The Velvet Lounge, Washington D.C.

--Chrissy Prisco


The Prefab Messiahs -- Peace Love & Alienation

When I first listened to Peace Love & Alienation, without knowing a thing about The Prefab Messiahs, I thought I had downloaded the wrong album by mistake. This was real garage-pop from the 80’s. After a brief peruse of the internet, I came to the conclusion that these guys are the longest-lived band to last only two years (1981-1983). Three ambitious Clark U. undergrads with barebones rigs, no money, and a lot to say combined punk, surf-rock, and garage-pop to create an unaccredited style of lo-fi pop-rock that is still relevant 30 years later,

Peace Love & Alienation brings together 8 newly remastered tracks, including both tracks produced by Bobb Trimble, that show the versatility Prefab Messiahs had in their heyday. With a strong influence from post-punk innovators “Swell Maps,” Prefab Messiahs coin a sound of their own. It’s as if the Ramones teamed up with Joy Division, took some LSD, listened to The Beach Boys' Pet Sounds, and then decided to write an album. The Album starts off with two of my favorite songs Beyond All That and Cousin Artie. In each of these songs we hear everything from surf-rock guitar licks, analog synth, punk chord progressions, and psychedelic refrains and bridges.

Then comes Prefab Messiahs’ most “famous” song, Desperately Happy. Catchy and fun reverb-soaked vocals over a simple but grooving, slightly out of tune, guitar line make this song an instant classic for any and every Prefab fan. Their creativity is certainly showcased in the next 50-second track, Prefab Dub. What was an eclectic instrumental grooving heady dub song doing in the middle of a post-punk compilation album? I’m not sure, but I listened to this short track three times in a row as any doubts that I had about this band being way ahead of their time vanished.

I suggest all music fans buy or at least check out this album. Especially for all those lo-fi, modern garage-punkers out there (fans of Wavves, Ariel Pink’s Haunted Graffiti, etc.) who might find some satisfaction in listening to the roots, this is a must-have album.

--Michael Giordano


Annalise Emerick -- Starry-Eyed

On her album Starry-Eyed, singer-songwriter Annalise Emerick blends folk music with pop sensibilities as she crafts melodies as pretty as her name. The album follows the story of a young woman who learns to stand her own ground and rely on herself, but without sounding jaded. Emerick opens the album with You Win, a breakup song to her dear Nashville-- the city that became the takeoff point for her career as a singer-songwriter. In the beginning, she admits she was “starry-eyed and full of hope,” but when she gets her heart broken, she knows better than to let others get the best of her.

With its innocent and thoughtful lyricism, Starry-Eyed focuses some of its attention on looking back, like in I Came Around, which analyzes the should-haves of life and love and shows off Emerick’s tough side. But more importantly, the core of the album is about moving forward. Emerick has the soul of a traveller, and she’s not afraid to pick her life up and go when she needs to; She’s a Texan who has settled down in Nashville and Seattle before planting her roots in Boston, at least for the moment.


Annalise Emerick -- A Runner and a Singer

--Sarah Ruggiero


Crashing Cars -- Coming Alive to Fall Asleep

From the first chord to the last swells of feedback, Crashing Cars latest release, Coming Alive to Fall Asleep, is an invigorating ride on a rock rollercoaster. Their sound spans everything from Nirvana and Modest Mouse, to Foo Fighters, At the Drive-In and even subtle hints of Death Cab and Elliott Smith. It also became quite apparent to me that lead vocalist Jon Kohen must be an avid Kurt Cobain fan. At the end of Something to Burn, I’d swear Kohen was channeling Kurt from beyond the grave with an “All Apologies”-esque scream.  I thoroughly enjoyed songs like Empty Seas and My Mind--a track that any fan of Elliott Smith (or just music in general) would be sure to love. The somber cello line really thickens the mix and provides a perfect accompaniment to Kohen’s vocals.

My favorite song would have to be the title track. I loved the slow Modest-Mouse type build-up into an At the Drive-In surge of emotion and power. I found their use of dynamics on this track (and throughout the entire album), to be quite excellent.

Overall, Coming Alive to Fall Asleep is a great album. It was nice to finally hear a band making honest garage rock instead of Micro-Korg driven dance beats. From what I could find online, they have no upcoming dates, but head over to their bandcamp page and give them a listen. You won’t be disappointed.

--Daniel McMahon


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