Artist of the Month

deli cover



November 2015
Alex G
"Beach Music
Amid increasingly high/steep expectations, Alex Giannascoli, a.k.a. Alex G, released his latest full-length album Beach Music via Domino. After a jarring, noise-laden percussive “Intro,” “Bug” crawls under your skin and skillfully into your head as its crisp guitar lays the foundation for the song’s mesmerizing tone, stripping down temporarily instrumentally - “and when you go there/you stay there/bug in the crosshair/you stay there.” A momentary electric guitar swell marks the return to movement.
The scratch of acoustic guitar chord changes, and a gloomy organ develops the rained-in, haunting sound of “Thorns.” Conversely, to the weathered weary sound of its predecessor, “Kicker” immediately jumps into action as advancing percussion/guitar dictates a forward blitz of lyrically rhymed oppositions - “White bird in a black cloud… big fight for a small right.” Wrapping tightly woven imagery into a steady downhill stomper, the track sits smooth, whilst retaining a gritty after bite.
“Salt” returns to that head-in-the-clouds, daydreaming ethereal bedroom vibe. Soaked in keys and accented by electronic percussion, the scene is set. “Into my big cloud, I’m flying all the time.” As he watches, opposing deep and child-esque soft vocals stir in a chanting manner, Alex questioningly reemerges - “Did you hear what I said? I’ve got salt in my head,” resolving his issue in a calm yet despairing manner. “Today I washed my hands, I want to be alone, I want to fry.” “Brite Boy” lifts with light-as-a-feather percussion, and its innocent beach-strolling instrumentation is underscored by a playful call-and-return vocal dialogue. Ushered in by the tandem of dashing trumpet and dreary keys, the artist tears himself open, and is left emotionally exposed. “Crying I’m running in love/losing in love/scratching in love/wired in love.”
Alex G continues to evolve, creating songs that aren’t afraid to expose life’s knack for pulling one individual simultaneously in multiple directions. That’s why Beach Music thrives in its ability to paint grey clouds within a sunny landscape or a ray of light bursting through a downpour. His honest, hypnotic melodies and its murkiness pull you in. - Michael Colavita

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




Prayers for Atheists on Hardcore and Politics
by George Dow

I met up with Alan Hague and Jared Paul of the Providence-based hardcore punk band Prayers for Atheists (PFA) for a Thai dinner on a warm, late-summer evening. The restaurant was about the size of my closet so when we sat at the tiny table we knocked knees at the tiny table and struggled not to distract the seven year-old girl and her family eating at the next table over.

Our hour-long conversation meandered from the history of hardcore punk to political activism to pop music. We started with their recent tour.

Alan explained, “The full tour was between 6 and 7 weeks. Before we left we did a little run of upstate New York, then hit Boston. There was a weekend run in Portland as well. During the three weeks between the mini tour and the national tour it was all getting ready for tour and working the web store. It was just a constant hustle. It feels like we’ve been on tour since May. We’ve just gotten back and we’re just now getting full night’s sleeps. It was pretty go-go-go the whole time.”

This was PFA’s fourth national tour in two years. According to Jared, “We’re up somewhere between 170 and 190 shows from July of 2009 until now.” PFA is a pretty well-oiled DIY punk-rock machine.

I’m curious to learn more about PFA’s influences. I hear lots of classic eighties and nineties hardcore— the stuff I grew up on. Alan jumps in first with an encyclopedic knowledge of the history of punk and hardcore.

“For me personally—not trying to sound like a snob—U.S. Hardcore from like 79 to 83, that’s my favorite period. The Bad Brains and Misfits started getting super-fast. You had Black Flag and The Dead Kennedys. It’s like the golden era. But even after that there are bands that I love. But (in the nineties) hardcore started getting formulaic. And I’m into all kinds of music. It’s not just punk.”

Jared on the other hand took a more circuitous route to the hardcore scene. “Al is right. We have a lot of the same influences. The first time I heard Gorilla Biscuits I was so pumped. Al got into punk rock at a much young age than I did. I grew up in a pretty hip-hop-centric circle. I heard Public Enemy at the bus stop in seventh grade and it pretty much changed the way I looked at life. Most of my friends are hip-hop kids. Somewhere during high school my friend threw me this mix tape that had The Dead Kennedys and Minor Threat on it. Then he gave me more. He gave me Bad Religion and Operation Ivy. I was like where did this stuff come from? This was made for me. How did this stuff even exist and I didn’t know about it? And that led me to everything— a thorough reexamination of The Clash, Black Flag, Bad Brains, Seven Seconds… everything. At that point you just want to get your hands on everything. And there are so many. It’s crazy to think now, looking back. There are a lot of great bands now but there’s never been the concentration of acts that were that good.”

When you listen to a PFA record you hear a certain groove. The songs have soul that set them apart from the masses of generic hardcore. Jared’s hip-hop background is infused in their music without turning into a cheap Rage Against The Machine knock-off.

Jared wastes no time at all jumping on that thought, “We could have made that album pretty easily. Our label probably would have liked it better if we had. I think Alan could write a whole album of guitar-driven hip-hop beats. I think we could do that well and at some point we may do a hip-hop EP— maybe a short, politically-driven rap album. But right now Alan’s in a groove—he can write anything. He can right stuff that’s bouncy and fun but still tough. He can write straight-up hardcore, melodic hardcore, whatever. There’s nothing that he’s ever sent me that I can’t write to,” he says with genuine admiration. “And when we play out live, it’s not just screaming. It’s not a ten-song set of blowing your throat out. We get to do a lot of different styles and it makes for a fun set. The crowds have reacted very well. We’re one of the few bands that we know of that can play at a hardcore show, a punk rock show or a hip-hop show.”

Alan recognizes the need to mix things up to keep the music fresh and interesting, “Life is not about just one thing. The world is so diverse and if you’re going to reflect that in your music you can’t do just one thing. And I was that kid—the orthodox punk. If a song was longer than a minute and a half I wouldn’t hear it. Singing? I wouldn’t have any of that. But the truth is, after a while things just get monotonous if you hear the same riff and you’ve been hearing it for thirty years now. You have to do something different.”

It only takes one listen to a PFA record to hear that they are an extremely politically minded band. Jared and Alan wear their genuine concern for the state of the United States, and the world in general, on their sleeves and yearn for ways to open people’s eyes to the atrocities that surround them.

“We’re coming into (our music) really to change the way things are done. I was a social worker for a long time. When I found out that the world was on fire I couldn’t figure out why no one had ever told me about a factory farm. Why no one had told me about the prison industrial complex. Why these things weren’t being talked about. Then I followed all that down the rabbit hole and it all just gets bigger and bigger, worse and worse,” Jared explains. “Since then, direct action and research has been a primary focus of my life.”

“I have the luxury of belief. I really do believe that we’re going to change things. I think capitalism will end. I think that excess and war will end at some point. I don’t think it’s going to happen in my lifetime but I feel obligated to work for it, make it come faster,” he continues. “Music is where the young kids are at. It’s going to reach a larger audience than poetry does. We just want to get out there. Right now it’s cool to be apathetic in a way that it never was before. Apathy is like, ‘Everything is fucked, forget it’. The prevailing attitude is—‘there’s nothing I can do, I don’t have the time.’ So if we can do something to make it cool for the youth to do something—to take part in a flash occupation of our House of Representative’s chambers and shut it down. We’ve done that. We shut down the chambers and got thrown out and it got a whole bunch of press. We want to make that stuff cool. We want to make going out and standing in a picket line with the Verizon workers cool. It’s fun. In additional to being right it’s also fun to go out and raise a little bit for a good cause.”

Alan shares how PFA is bringing their vision not only to their music but also to their shows. “We find that people are very much willing to talk with us. They love to talk about politics after a show and not just in a general sense. People are looking for practical ways to implement what they already know. It’s been fantastic. We find that people are super receptive.”

“Now with four national tours behind us it’s been great to see some of the same kids coming out over and over again. They say, ‘We’ve been following you guys online.’ They’re excited about a particular article or something we’ve posted. People are generally open to these types of ideas. We talk a lot more about economics and politics. Much more than people would generally give young folks credit for. That’s been fantastic to see.”

Jared tells me how the PFA tour machine is bringing political activism directly to their fans. “We reach out to as many community action groups as we can in every city that we go to. The doors are open for tabling, for flyering, for speaking from the stage at every show we do. We make room for them to gather email addresses, room for their petitions, to use what we’re doing to assist. Because at the end of the day there’s no PFA show that shouldn’t double as direct action. We want motherfuckers to have to walk through the gauntlet just to get into the show. We want twenty groups on each side.”

“And we’re not trying to tell someone to be socialist, or be anarchist, or to necessarily fight for this cause or that. We just want people to understand that it is as bad as you think. The world is on fire. No one can be a twenty-four hour a day super-activist but we have to do something. Everybody has to take whatever it is that they’re most passionate about and get in the game. We’re careful not to try and foist any of our beliefs on people but (direct) where to go to get information about these things and where other people who also believe in what they believe are already organizing so they can get in where they fit in.”

In the time since we got together, the Occupy movement has continued to gain momentum across the country and has become a direct action vehicle for every cause under the sun. When I checked in for an update, it was no surprise to learn that Alan and Jared have been working the trenches of Occupy Providence (OP). “Jared and I have been involved since the first planning meetings. OP met every day to discuss the logistics of actually occupying a place (we voted on Burnside Park) and to establish different working groups to handle the particulars of various areas of an occupation (planning protests, rallies, medical, sanitation, media, community outreach, etc.).”

“The occupation began October 15th and was kicked off by a 1,500-person strong, unpermitted march throughout downtown Providence with stops at Textron, the Department of Education building, and the State House. I ended up giving an impromptu speech about attacks on public-sector workers at the State House—a subject dear to me, as I was a Rhode Island state worker for a little over 4 years”

“Since then, things have been going great. We've had several successful actions since the 15th—to defend public education; a big march and rally in conjunction with Jobs With Justice—250 marched through Providence on a miserably cold, rainy night. We had a great action recently wherein over 100 of us marched to the Bank of America branch on Atwells Ave. where we encouraged a dozen people to go

“There's been a tremendous amount of support from the RI community at large, too; folks dropping off tons of donations—food, blankets, tents, gasoline, etc. - which has been nothing but humbling. We've also gotten nothing but positive press coverage so far, which has been huge.”

“So, in short, it's been pretty amazing. Finally, we're putting into practice all of our ideas and prior experience with politics and organizing. The Occupy movement in general is the most important democratic movement this country's seen in quite some time. Here's hoping it continues to grow from her— an American Autumn to match the Arab Spring!” 




Prayers for Ath4eists



Prayers for Atheists
New Hymns for an Old War





The Cold Beat -- Get Safe

Tucked in-between the ads on Craigslist for “busty” photo models and pleas from recent Berklee grads looking to teach people the skills they spent all of their busking money on, I was surprised to find the gem that is The Cold Beat. After listening to this album, I’m pretty sure the 90s was the best (and most influential) decade ever. I mean, most good bands that I hear nowadays have a clear 90s-rock influence, and The Cold Beat is no exception. Get Safe is a brilliant mix of punk and 90s pop/rock that can get anyone up and dancing.

The third track, Snake Oil, is reminiscent of Against Me! with its guitar and vocal build-up into a full-on punk rock ruckus. I thought that the use of gang vocals throughout the album (especially on The Ditch) added a nice depth to the tracks and round-out the punk rock feel of the record. The gang vocals work extremely well on I’ll Follow—I felt like I was out at a party with my friends and singing along with the band.

Hints of a prog-rock/spacey influence can also be heard on tracks like On The Way Down—think Foo Fighters, if Dave Grohl played solos on the moon.

Overall, I’m exceedingly pleased that my sifting through craigslist ads actually paid off for once. Get Safe is chock full of driving guitar riffs and raucous vocals; it’s the kind of music you listen to when you want to have a good time. So, if you like having a good time (and who doesn’t), head on over to their Bandcamp and have a listen. Oh, and if anyone is curious, I did not get that photo modeling gig.

--Daniel McMahon

Blossoming Mums -- Up All Night

Up All Night, the four-song EP from Blossoming Mums, weaves in ethereal melodies with plucky strings to create a pretty and wandering ambience. Blossoming Mums play a mix of lo-fi dream pop and shoegaze, but there is little information on them to be found; the only detail given on their last.fm page states that they are from a small town in Western Mass. The lyrics of Autumn Birthday help to substantiate this: “It’s Autumn in Massachusetts / I’m at the bottom of Massachusetts / the leaves are changing in Massachusetts.” However, most other clues regarding the band members are left a mystery for now.

Cloudy Soft introduces the EP with the rise and fall of layered, airy voices spurred on by the shaking of a maraca. The gentle guitars and lilting style of My Room make it seem like the kind of song that would bridge the gap between drowsy eyelids and a peaceful sleep; an indie lullaby. The whole album, actually, seems like the music to play in a dimly lit room filled with paisley throw pillows and the scent of patchouli. Weekly Wonders, the longest and last track of the set, clocks in at just three minutes and begins with folky vibes and a chorus of voices that border on other-worldly. The instrumentation speeds up toward the latter half before tapering off in its conclusion.

Up All Night paces itself at a drawl and creates a calming mood with its set of soundscapes. The lyrics often meander into indecipherable territory, but the overall aura is perhaps more important than the details.

--Sarah Ruggiero

The Suitcase Junket -- Knock it Down

While the Boston area is a well-known hub of all things sonic, the surrounding sections of Massachusetts are more prone to slow times and allowing all that is weird to gestate and thrive. Up route 9 from the capital can be found a town called Amherst, home to one half rural escapism and one half college party capital of the Commonwealth. This small town has produced its share of recognizable bands, including scremo pioneers Orchid, hardcore heroes Deep Wound, and of course alternative royalty The Pixies. Now, coming from the weird and wild west is one-man-band The Suitcase Junket, Matt Lorenz’s country/noise infused push into the Bay State music scene.

The latest release from Lorenz’s project is a ten song full length entitled Knock it Down, a quick, haunting, experimental jaunt through folk song structure, feedback gimmicks, slide guitar and dirty south distortion. In a schizophrenic cacophony, the songs trade between slow and somber folk to Muddy Water distortion latent blues. The album's subject matter is lonely and medicated with hints of grungy undertones. Bone is a stand out single that pulls from the Nick Cave school of folk rock. Knock it Down is defiantly good company for misery and should be checked out for a mood music collection.

--Anthony Geehan

Adventure Set -- Centuries to Go

Prior to their November 2011 EP release, Adventure Set haven’t felt a pulse since the mid 1980s. In their heyday as contenders in Boston’s altrock scene, the band reached second place in the WBCN Rock and Roll Rumble, an annual battle of the bands hosted by the renowned and now-defunct radio station. Soon followed a hiatus in which the members pursued careers and other musical endeavors.

The 5-song EP Centuries to Go draws heavily from the New Wave vein-- it’s in Ken Scales’ beguiling, looming vocals and Mark Pothier’s arty lyrics-- as if Scales and Pothier weren’t quite finished with whatever business they left behind in the eighties. Saying that they are stuck in the past would be inaccurate. The songs from Centuries to Go are more precise and keyboard-driven than their older material. Stereo Hands opens the album in an upbeat and eerie way with hints of David Bowie peeking his way through Scale’s vocals as he sings about the limitations in using technology to communicate. Fueled by synths and an energetic catchiness, Paler Faces is the most dynamic track of the five, making the most out of both the electronic and pop aspects of Adventure Set’s style.

The EP’s biggest upset is that it takes almost no risks as each song follows the formula until it reaches the average four-minute mark just as expectedly as the last one. It would be great to hear Scales and Pothier take their material a step further and see what else can be explored with their jaunty New Wave-flavored pop.

--Sarah Ruggiero


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