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Blood Sound
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

Welcome to the new Deli Charts, organized by genre and scene.

To rank the artists with the star system go to the Top 50.


scene blog

Check out “Valley Of Fire” - the brimming, moody rocker with a heavy dose of distortion from Residuels, which debuted on the SXSW schedule website. It’s the type of tune that amps you up to make a move. The quartet is among a large group of locals headed down to Austin later this month. Residuels will serve as the opener for The Sonics on Sunday, April 12 at the TLA.

March 05, 2015

STS, a.k.a. Sugar Tongue Slim, just premiered a new track entitled "Black UFO." On this single, he takes a ride with fellow Philly emcees Peedi Crakk and Truck North, and steering the mothership is the Atlanta transplant's right-hand man DJ Bear-One. You can stream and download it for free below.

March 05, 2015

Though Creepoid is currently setting up shop in Savannah, GA, there ties still remain strong here in Philly. We're always interested to hear new material from the grungy psych-rock four-piece and former Deli Philly Best Emerging Artist Year End Poll Winner. The band just shared the first single, "American Smile," from its forthcoming full-length album entitled Cemetery Highrise Slum, and also announced that the LP is slated for release on June 23 via Collect Records. It was produced and mixed by Peter Mavrogeorgis (The National, Sharon Van Etten, etc.). Creepoid is presently on tour out west with A Place To Bury Strangers, and will be heading across the pond for the first time this spring as a group to do a run of shows in the UK with Pity Sex.

March 05, 2015

Drummer/producer NAH has a new track called "a man that says no," off his latest release Nobody Cares What Happens, No One's Interested (Ranch Records). Combining skilled kit work with electronic samples, the sound sculptor continues to push the bondaries of hip hop and prove why he deserves our attention. NAH is a rare gem and a good example of what interesting hybrids you'll find coming out of Philly's underground.

March 04, 2015

It kind of makes perfect sense that Son Little, a.k.a. Aaron Livingston, is headlining Communion night at MilkBoy Philly this evening. The son of a preacher, you can hear the influences of gospel choirs and sermons that might have filled his Sundays as a child. Livingston will take his place at the pulpit tonight where he’ll be joined throughout the evening by local singer-songwriter Aaron Parnell Brown, Brooklyn synth-popsters SKYES, the UK’s Bobby Long, and Brayton Bowman. MilkBoy Philly, 1100 Chestnut St., $13, 7pm, 21+ - H.M. Kauffman

March 04, 2015

"It's 2045, as the Earth is overcome with waste and pollution, it becomes less inhabitable for the human race. You find yourself in your spacecraft heading towards galactic realms, in search of life... this plays on your stereo." That's the scenario created by producer Ill Clinton for his latest LP Vapor Cave. Step into the future.

March 04, 2015

Which of these local acts should be The Deli Philly's featured artist(s)?

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