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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 


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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!


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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Interview with Megaphone Barons.

Megaphone Barons recently released the album here.us.now, available on iTunes and Spotify. Check out their live album on BandCamp, and read the interview where Hannah Brady asks them about their songwriting process, their appearance on the soundtrack of a bloody low-budget movie, and the schematics for the perfect sandwich. 

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Chain & the Gang release new video Devitalize

 Ian Svenonius (of legendary DC group Nation of Ulyses, amongst others, and author of Supernatural Strategies for making a Rock 'n' Roll Group), and his current band Chain & the Gang have debuted a new video, Devitalize, on the A.V. Club. Devitalize will appear on the new album, Minimum Rock & Roll, to be released on May 6th on Svenonius' label Radical Elite (distributed by Dischord). The video is directed by James Schneider, who is also directing the Punk The Capital documentary.  Check it out below! --Natan Press

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