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April 2014
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.

Go to the old Top 300 charts


scene blog



Q&A with Il Abanico
- by Chrissy Prisco

How did the band start?

We met last year while studying music in Boston. The strange thing is that we are from Colombia, and both of us live 5 blocks from each other in Boston, and also in Bogotá (Colombia). Then, the rest of the band Ale Giuliani (Argentina), Sayuri Shimada (Japan) and Miguel Arroyo (Peru) started to play with us making the band what it is now.

Where did the band name Il Abanico come from?

il = The, in Italian. Abanico = A Spanish fan hand. Sounds good. We didn’t put a lot of thinking into it. I guess we consider ourselves an international band (the band members are from Japan, Peru, Argentina), so the name gives this international vibe clearly.

What are your biggest musical influences?

There are a lot of big influences, but I think the biggest one is ourselves. Each band member inspires the other one to discover new ways of playing and listening to music.

What artists (local, national and/or international) are you currently listening to?

There's a great metal/rock band from Boston called Dirty Tongue. They are  just incredible! Check them out if you are in Boston.

What's the first concert that you ever attended and first album that you ever bought?

Colombian underground bands that nobody knows!

What do you love about Boston's music scene?

That it's fresh. I mean, there's a lot places to play with people willing to listen to something new. I think Boston is tired of the same old thing and every time t
hear a new band with a different vibe, it's well received.

What would you like to see change in the local music scene?

Unity! There are a lot of great bands and musicians, but nobody works to create a scene. The only Boston scene that is really well known internationally is the
Hardcore/Metal one. If there's more unity I think bands could emerge faster.

What are your plans for the upcoming year?

We are touring the US and release our first debut album
What was your most memorable live show?

All of them! But especially the one that we were the opening act for Venezuela disco/funk band Los Amigos Invisibles. It was great! Christian Hinojosa (Clandestino), he was the promoter, making things really professional and cool. Every time we play his parties it's great; he respect bands and their effort!

Is there someone who has helped your band grow through support?

Yes! Our friends and our families. They are there to support us in any decision we make.

Is there a piece of equipment you couldn't live without and why?

DL4 stomp box modeler! We have three of them (two guitars and the singer). It makes our sound! That ambient airy sound is because of that pedal.

Why do you read The Deli?

To discover underground bands. We need to know what are the other bands are doing! For example, competing with us was Tan Vampires! Really great band -- check them out!



il abanico



Il Abanico
Crossing Colors EP

il abanico




Interview with The Milkman's Union

It is a beautiful June evening when I catch up with The Milkman’s Union at Doyle’s in Jamaica Plain for a quick bite before their show at the Midway Café. Henry Jamison (guitar and vocals), Peter McLaughlin (drums) and Alex Hernandez (bass) are in good spirits despite competing with the first night of good weather in weeks, rush-hour traffic on their trip down from Portland, ME and a Bruins play-off game. Between bites of club sandwiches we discuss all things Milkman’s Union.

We talk first about their newest release, the Telos EP, a huge left turn towards a very folky sound. Given its departure from 2009’s full-length, Roads In, I’m curious—is Telos a Henry Jamison solo release, a demo, or just a new direction for The Milkman’s Union? The answer—All three, kind of.

Click here to read the rest of the interview by George Dow.


The Milkman's Union
- by George Dow

It is a beautiful June evening when I catch up with The Milkman’s Union at Doyle’s in Jamaica Plain for a quick bite before their show at the Midway Café. Henry Jamison (guitar and vocals), Peter McLaughlin (drums) and Alex Hernandez (bass) are in good spirits despite competing with the first night of good weather in weeks, rush-hour traffic on their trip down from Portland, ME and a Bruins play-off game. Between bites of club sandwiches we discuss all things Milkman’s Union.

We talk first about their newest release, the Telos EP, a huge left turn towards a very folky sound. Given its departure from 2009’s full-length, Roads In, I’m curious—is Telos a Henry Jamison solo release, a demo, or just a new direction for The Milkman’s Union? The answer—All three, kind of.

Henry jumps in to clarify, “At least four of the five songs will have a studio version. In that sense, it’s a Milkman’s Union record. We felt like we needed something between our last album, which came out in 2009, and now. This is a way for us to create a little island between them. This is kind of like a preview. We like the idea that people can hear the versions on the EP, then come out to a show and hear the fleshed-out version, then later on they’ll be able to hear the studio version. So it’s kind of like they see every step of the process.”

The EP also introduces new vocal styles from Henry. Less Thom Yorke-ish, high range and falsettos, more lows in the style of Johnny Cash. “The songs use a lot more of my range. I moved into some more guttural, Johnny Cash-type things. Then I tried a couple with falsetto, so it’s a much broader spectrum… And I’ve just been singing a lot more,” Henry admits.

Peter jumps in too, “There are some slight effects that we threw in during the mixing process to amplify certain things. Alabaster Box has sort of an old record sound to it—sort of a telephone voice—kind of nasally. Since we’re putting it out there for people to download, we wanted people to know that it’s more than just demos.”

In addition to the Telos EP, The Milkman’s Union released Texas Hold Me, a single-track collaboration with Lady Lamb the Beekeeper. Peter explains, “She’s been a friend for a little while. We have a mutual friend. On a whim I gave a buddy of mine an extra copy of the record (In Roads) to give to her. She listened to it and three days later I got a call from her. She was playing at Space Gallery in Portland. One of the bands dropped out and she wanted to know if we could fill in.” After that they played some more shows together and got to know each other better. “Then she lived with us for two weeks,” Henry adds. “We trapped her in a room more or less… I mean she was down with it but she’s an elusive character. Her last day there—her last hours in our house. I wrote the lyrics down for her. She did a great job. She’d heard the song before and she knew just what to do.”

One of the more endearing things I discovered while talking to Henry, Peter, and Alex is that they disagree on almost everything. Not in a bitchy, argumentative way—but in the way best friends bicker and disagree more for the sake of a good discourse than anything else. The Milkman’s Union are three guys who have very different thoughts and styles that come together and lend to the tensions necessary in any successful creative relationship. Case in point is our conversation about their next full-length release.

Alex tells me, “The thing is that since the last album, we’re sitting on close to two-and-a-half albums of material.”

Peter jumps in to contradict, “Well… I don’t know about that much.”

Not to be left out, Henry adds, “It’s close to two. Twenty songs, or so.” 

There’s disagreement on the direction of the next record too. Henry tells me, “We’re going to start recording on Monday. Treat it like a nine-to-five type deal. We’re trying to record an EP but it will probably turn into endless sessions, until all of the songs that we’ve written have been recorded.”

Peter adds, “It’s unclear what the next thing will be. We’ve been talking about this EP that we’ve wanted to do for a while, but the songs on that change fairly regularly.”

Henry is quick to contradict, “Oh no… they’re solid now.”

Peter goes on to explain that they’ll wait to see how the recording process goes. Instead of thinking in finite terms, they’ll simply record and see where things go. The results may be a new EP, a new full-length, or both.

Henry explains that as the recording process proceeds, the nature of the songs and how they work together often changes.

It’s obvious that they have no preconceived notions about the end results of the coming sessions. I come away not really knowing what we’ll see next from The Milkman’s Union, but thoroughly enjoying their exchange.

When recording begins, it will be done in their house. “We’ve got a little set up. Pro Tools, a computer rig. We have just enough equipment and different types of microphones that we can do some pretty nice stuff. We have offers to record in nicer facilities, but in the end it’s better for us to be able to do it at home. We’re not fast. We’re not the type of band that can just knock off tracks quick in the studio. We tend to spend way too long on things. It ends up that the home way is the only way for us.”

Alex adds, “It really is amazing what a band like ours is capable of in its own house with a few thousand dollars’ worth of equipment. Twenty years ago you would have had to invest tens of thousands of dollars to have all the capabilities that we have. It still blows my mind.”

Once recording begins the guys expect to spend the summer concentrating on the process—making it what amounts to their full-time job. They’ll be doing little by way of performing over the summer, booking just a few gigs here and there.

The effort that they plan to put into the recording process brings up the subject of day jobs. “Yeah, I work the nine-to-five,” Alex tells me. “I sell pet medications at a marketing firm. They’ve been very supportive but it’s definitely tough. It’s like being married and having a mistress on the side.”

Henry pipes in with a smirk, “Who’s the wife?”

“The nine-to-five,” Alex explains. “When you’re cheating it’s always the mistress that you’re really interested in.”

“But you still love your wife,” Peter adds.

“Well of course. But she has an inkling that something’s up.”

Before the conversation degenerates into complete nonsense we move on to Peter and Henry. Peter works sound at two venues in Portland and Henry pretty much lives the boho life working as a poster boy for one of the clubs, wandering around Portland putting up posters. Both Peter and Alex have designs on following Henry into the world of full-time band work.

With this, we finish the last of our fries and the guys walk next door to get ready for their set.

They take the stage to a small but respectable crowd, the kind that you’d expect on a Tuesday night. What’s most encouraging is that, as one of the opening bands, it’s obvious that most are there for them specifically. Many sing or nod their heads knowingly along with the songs.

The set flows through a wealth of reference points—The Meat Puppets, Radiohead, Lou Reed, Pavement, even some early Cure. I’m struck by these similarities because though Henry admits to being vaguely familiar with all of them he says he never spent much time listening to any of them.

Hearing songs from the Telos EP mixed alongside those from In Roads makes me excited for what’s to come from The Milkman’s Union. These deeper, live versions of the songs from the EP shed their folkier trappings in favor of their indie rock leanings. Their set leaves me and all everyone else in attendance looking forward to their next release.


milkman's union



MMU Telos




Brian Sances -- Here Today

So, it's Summer. Beach trips, sunsets, long days -- minigolf and ice cream. Maybe it’s time to listen to someone who knows a thing or two about the ideal summer spot: a guy from Sandwich MA (i.e. Cape Cod). True to his roots, Brian Sances is a one man band -- multi-instrumentalist and producer in one -- who produces well-rounded and mature songs about the Cape, summer, love, and happiness. It sounds trite to say that any musician covers a lot of genres, but Sances really does, with some songs coming off bluesy, others folky, others reggae-tinged, others alt-rock ballads, and at least one G. Love-style beach-fire hip-hoppish track in the mix. He's a damned good guitarist, versatile too, and his songwriting evinces a consistent outlook that is at once ecstatic about the world around and wistfully introspective. If mellow, easy tunes are what make you tick, don't take a trip south on rt. 28 without Here Today. --Alexander Pinto

Benefit for George Welch @ Precinct Tonight -- feat. Slowdim, Fuxa Natra, Hunnie Bunnies

Tonight stop by Precinct in Somerville to check out some awesome local bands and support one of our local musicians. The show is a benefit to raise funds for George Welch (Amoroso) who was involved in a bike accident a couple months ago.

Show begins at 8:30, admission is $7.

Hunnie Bunnies
You & Your Pointy Ears
Electric Homework (NH)

--Chrissy Prisco

Boy Without God -- "God Bless the Hunger" out today

God Bless The Hunger, the new release out today from NYC via Boston songwriter Gabriel Birnbaum under his Boy Without God alter-ego, combines forceful pop songwriting in the singer-songwriter tradition with extended forms, complex orchestration, and the wilder side of jazz and improvised music. The result is a major work: an album that fuses its own set of unusual influences into a powerful whole. It's a record with musical depth and emotional impact, both relevant and timeless.

God Bless The Hunger  was recorded to tape at The Soul Shop, an all-analog studio, in an old piano repair facility in Medford, Massachusetts, with the help of a dozen other musicians (including members of Boston luminaries Debo Band, Hallelujah the Hills, Sleepy Very Sleepy, and Faces On Film, a group of like-minded musicians who have clustered around the studio).

Boy Without God - Slow Life from Boy Without God on Vimeo.

--Chrissy Prisco



B.O.M.B Fest re-cap Sunday May 29th

- by Meghan Chiampa
Photos by Robinson Hill

We didn't get into a hotel until 4am. Not because of Rock and Roll reasons, we just didn't make reservations and every hotel around the area was booked. Sunday at the B.O.M.B fest was WAY more happenin' than Saturday, not talent-wise, there were just a lot more people there. The two best local acts we saw on Sunday were back-to-back: Cosmic Dust Bunnies followed by The Backyard Commitee. T

he Cosimic Dust Bunnies live up to their name. Spacey and other-worldly with a gentle jam-band-esque demenor. The Backyard Commitee (New Haven, CT) is more roots heavy rock with a blues attitude. They were widly buzzed about. Here's some shots of The Backyard Commitee.

I missed a lot of acts I really wanted to see because of the very early scheduling. David Wax Musuem and Dirty Dishes were both scheduled before 2pm on Saturday and because of traffic we missed 'em.

I have to give a shout-out to a Philly based band called Man Man who are huge fans of the Deli(s). Here's a couple shots of those crazy guys. Thanks for the mini-Budwiesers.


Anyway, here's a list of 5 local bands/artists you should check out from the Conneticut area that the Deli really dug at BOMB fest.

Cosmic Dust Bunnies
Ovlov (below in the garden shots)
The Frank Critelli Band
Fake Babies
Emjae (below in daytime shots)


Let's hear it for the sound guys.


And most of all thanks to you all! 


We thank you too! Had a blast at B.O.M.B fest! 







June 2011
Do Not Forsake Me Oh My Darling
"Questions Are a Burden to Others
Do Not Forsake Me Oh My Darling are a concept band based on a 60’s British TV show, The Prisoner, (an episode of which frames, and shares its title, with each of their songs) and they have already produced one very excellent short film/music video. The six short tracks on their recent EP release, Questions Are a Burden to Others (the second installment of three planned EPs in the The Prisoner project) reveal that they have decided to stick with the sound of the first EP. Which, in the most concise assessment possible, is like mid-nineties PJ Harvey. Think a stripped down version of To Bring You My Love (and if you can't imagine that because you haven't heard that album, it is dark, dense, grinding, and guttural. And awesome.) Michael Epstein's bass effectively becomes a guitar when distorted heavily -- but when it's play-acting as guitar, of course, there's no low bass underneath to fill out the sound -- so the sound really is very bare-bones, for better or worse. In my opinion, the structures of the songs are so open that, if done judiciously, some additional sonic depth would not be a detriment to the "austerity" of the overall effect -- but then again, we're talking about a concept band here, not just your regular rock and roll outfit. So my critical ear may just be trying to make it something it's not. Perhaps the most striking feature of DNFMOMD is Sophia Cacciola's voice. Like Harvey's, it's extremely low, thick, and at once versatile range-wise: she hits her high notes, but in doing does not break out of the layered, treacly thickness that envelops each of her intonations. And the obvious pronouncement of Sophia's lovely voice in the mix, made possible by the spare instrumentation behind it, really lets her shine. It's the haunting vocals that really have me coming back for more, and makes me want to see them live. --Alexander Pinto


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