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April 2014
Creepoid
"Creepoid
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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.


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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!


Possibly the last show at The Dunes, featuring Pree, Native America, and the Sea Life.

Some sad news today: The Dunes might be closing. I'm pretty frustrated about it, but I think it's best to celebrate all the things the folks at The Dunes have done for music in this town and help them continue their effort in future endeavors. DC music has seen a resurgence lately; the community has grown and become more of a scene in no small part due to places like The Dunes and the people who work there, and that won’t end with a small setback like this. I strongly encourage everyone to go to what may be the final show at The Dunes tomorrow, April 23rd, when DC bands Pree and The Sea Life, join Native America (from New Orleans), and give a great space a great send-off. --Natan Press
Edit: Please read Alex Tebeleff's piece about The Dunes and the need for more space for music in DC, over at Brightest Young Things.


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Interview with Avers: DC Area Deli's Band of the Month.

Richmond's Avers won our Band of the Month Poll for the first half of April, and it's no surprise. Their debut album, Empty Light will be officially released on April 22nd (this Tuesday!), and it's a fantastic kaleidoscope of sound, light and psychedelia. The lead single, title track "Empty Light," is a gorgeous summer morning (something we've all been waiting for for far too long), and Avers' rocking live shows, skillfully played electric guitars, tasteful pedal-work, and pounding drums, have amped a growing fan base that's become impatient to take home a piece of the band. They're everything you want out of hard-rocking and hard working indie-rock. I spoke with Adrian Olsen about the band's formation, the Richmond scene, and the future, and you can read the interview here.

Avers is going on a short tour in support of the release, starting with a show on Wednesday, April 23rd, at the Black Cat backstage (with The Jackfields and The Beanstalk Library). 

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American Television's "Sorry Sara"

American Television recently released the first song off of their Sorry Sara EP, titled ‘Sorry Sara’. ‘Sorry Sara’ opens with a resonating guitar chord laying calmly below complementing fast-paced chord progressions. The lyrics figuratively scream "zero fucks given". Lead vocalist Steve Rovery is simultaneously apologizing to Sara for keeping her awake as shit hits the fan, and apologizing for the less exciting nights which presumably allows her to slip into the internal hell that a quiet night can bring. You can catch them celebrating(?) Easter on April 19th at Mackey's American Pub in Manassas. --Hannah Brady

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The Boundary Stones

Complete with entertaining, repetitive lyrics and a banjo, The Boundary Stones are truly strange, and I love it. Writing an explanation for the lyrics in their self-titled album is impossible; “jellyfish in a black hole” is repeated 12 times in under two and a half minutes in their appropriately titled song, Jellyfish In A Black Hole. Weird kid folk is officially a thing, and The Boundary Stones made it happen. Their album is available on Bandcamp and you can see them live at The Lab's Fest Too on June 26. --Hannah Brady

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BRNDA Record Release!!

It's probably the most anticipated release in DC in 2014. At least it's the release I've been anticipating with the most impatience. BRNDA has, until now, only given us a few hints of how fun and interesting they are, a short glimpse of how delightful their sound is. The few tracks released earlier this year sounded strange and familiar, jarring and accessible. It's a bird! It's a plane! It's Fred Schneider singing anti-folk songs with Sebadoh! No. It's BRNDA. And now, finally, they have released their debut album, brenda. Do you see what they did there? If you aren't at the record release show, like, right now (at Rock and Roll Hotel with The Sea Life and The Walking Sticks) to pick up the album, they'll be back soon with more after a short tour (that I can't find exact details about at this point, but their website suggests I'm not lying, and it includes an instore performance at Crooked Beat Records, with Mobius Strip, on April 15th). Enjoy. --Natan Press

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Stream Canker Blossom's new Gooner.

I Hate Everyone is officially the perfect song to hate everyone to. Think of The Descendants with female vocals, and you've got Canker Blossom. Baltimore-based pop-punk band Canker Blossom brings the punk back into “pop-punk” scene. Strong female vocals run the band’s new album, Gooner, smashing their way over the fast-paced guitar riffs that punks worldwide have always loved. --Hannah Brady

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Drop Electric record BSide session at Mobtown Studios

 DC favorite Drop Electric have just released a BSide Session at Baltimore's Mobtown Studios. BSide Sessions are a unique way to connect bands to their fans. The band spends a day in the studio, recording two songs and a 10 minute video. Mobtown has provided both live tracks for download (featuring songs off Drop Electric's upcoming album) and the short documentary about the band. Check out the video below. --Natan Press

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