Artist of the Month

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May 2015
The Weaks
"Bad Year
On the heels of last year’s, debut EP The World Is A Terrible Place & I Hate Myself And Want To Die, The Weaks, led by a pair of former Dangerous Ponies Chris Baglivo and Evan Bernard, have released their full-length debut Bad Year via Lame-O Records.
The record wastes little time jumpstarting into the aptly titled “Kick It,” with its bass-thudding lines rolling into catchy, emotive power-pop mode, cleansed with a bit of synth before unleashing one of the album’s many blasts of guitar solos. “Nevermind” (an homage to Nirvana) reflectively takes the positive spin on a failed relationship, streamlining percolating instrumentation with stable yet aching vocals. The album’s title-track cracks through melancholy with a lyrical disposition harnessing polished twin guitar licks between trudging percussion-led transitions, destined for fiery flashes of solo prowess. With an aggressive, smashing instrumental storm, “Black Box” takes the ball and runs with its relatable crushing narrative, hooking you in as a silky synth slips in amid the treacherous landscape. 
“Dysania” is the cup of coffee that pushes the covers off. With its guitar-led jog, loosening into a bass-charging surge, it quickly reaches maximum speed. Tongue-in-cheek earnest yet humorous lyrical tones – “Too much blood for just two hands/and there’s so much shit we’re gonna need two vans” – set the mood whilst sprinkling in clean flares of guitar, maintaining that downhill thrust. The song contextually blends a pent up instrumental energy and memorable vocals to create a natural anthem feel. Turning a leaf, “I Don’t Wanna Be An Anarchist (Anymore)” melds percussion and synth, delivering a sincere yearning for change with that heart-throbbing, interwoven bass-drum combo, adding a real inside-looking-out perspective. 
Strumming acoustic guitar and a spacey synth serve as foils in “Welcome To Earth,” zooming in and then peering out in a battle of loneliness and self-exploration, once again enjoying a creative out there spin on a common searching topic. The closing track is another nod & wink to Nirvana and Hop Along frontwoman, “Francis Quinlan Will Have Her Revenge On Philadelphia,” embracing a snarky attitude with matching (rough around the edges) momentum-gathering guitar meets an avalanche of backend, delivering a mixed emotion-filled message “Who’s going to pull your weight if I leave you behind... Please stay with me. 
Bad Year embraces its Weezer power-pop influences, allowing listeners to join in on the emotionally personal ups and downs, while still coming away refreshed. It’s another great find for rising Philly indie label, Lame-O Records. - 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


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National Site

Read The Deli's Best of NYC Issue 2015 online!

Deli readers and magazine eaters,

The issue #42 of The Deli NYC is out digitally - it's the Best of NYC 2015!


The Deli's Staff


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!


At The Delancey on Tuesday 10.18 we'll have a truly fantastic bill with 9 NYC based electro-pop bands - and it's going to be free!. 21+ - $8.
Full listings of the Deli's CMJ shows here. See below for the Dream Pop and Alt Rock stages that same night in the same venue (downstairs).

P.S. If you are into Pedal Effects, don't miss The Deli's STOMP BOX EXHIBIT at CMJ on Friday and Saturday!!!


7.00 - The Casualty Process

7.40 - Illuminator
8.20 - Tiny Victor ies
9.00 - Mitten
9.40 - Computer Magic

10.20 - Psychobuildings

11.00 - Pretty Good Dance Moves

11.40 - Caged Animals

12.20 - Slam Donahue


Cultfever releases new single "Youth" + plays Northside at Union Pool on 06.11

The brainchild of Tamara Jafar and Joe Durniak, Cultfever is a catchy NYC electro-rock duo we've been following for some time. They have just released this new single entitled "Youth," and took the opportunity to announce their participation in the Northside Fest with a show at Union Pool on June 11.


Woods, Real Estate grip audience at Revolution Hall

Last Thursday night the new venue Revolution Hall saw a mini Woodsist reunion.  The label’s founding band, Brooklyn-based Woods, opened for old label-mates and New Jersey natives Real Estate.

What you need to know about Revolution Hall:  It’s a concert venue equipped with two bars inside of a converted Portland public high school that was closed in the 80s.  The auditorium may be renovated, but the feel of walking past hallway lockers and over linoleum floors sets you in a weird mood because you’re half expecting to attend a mandatory “dangers of drinking and driving” assembly but the guy in front of you is carrying a beer.  The theater is full of seats, so depending on what kind of concert-goer you are this is a big plus or a major drawback.

The first time I saw Woods play was in my first year of college in tan ambiguous room in the student union.  Their music then was the kind of layered noise I imagined would make a great soundtrack for watching crystals grow at hyper speed.  This was four years ago.  Since then, the band’s sound has progressed to being a bit more polished, though their talent to make a catchy melody was apparent in their first album.  What they have now seems to be a fine-tuned balance between their spooky muddy psych jams and blissful folk-pop melodies.  With their hypnotic instrumentals they’d lead us into a dark wood and just before we lost it they’d shift back to a sunny digestible song steeped in lead singer Jeremy Earl’s sweet and familiar falsetto.  That line between lo-fi hysteria and upbeat exuberance is where Woods has pitched their tent.  

What they brought to this performance that surprised me was a nod to funk.  Earl stomped lithely on a wah wah pedal and flashed sly smiles across the stage.  These brief indulgences in 70s funk rock proved to be a solid meeting place for Woods’ two sounds.  It also exposed the kind of rambling classic rock jams that erupts in certain recordings of Neil Young or George Harrison from that time.  Aside from their digressions into instrumental jams, Woods seemed to exclusively stick to material from their latest albums. Perhaps this is because many of the original members are no longer part of the group, or perhaps they are tired of playing their popular older songs like “Rain On” and want us to progress with them.

The audience was with them.

In contrast, Real Estate opened with a song from their first album, “Suburban Dogs,” a song that captured New Jersey so adequately for me the first time I heard it that I henceforth refer people to the band to understand the attitudes of my home state.  Aside from their nostalgic lyrics tying people to places, their summery electric guitars carry most of what their words mean to express.  They seem to be about narrating those moments in life that are hard to name, the ones that happen in transit between events and are often overlooked.  Their songs draw from the potential in those transitional spaces as moments for reflection and observation.  These are soft moments.  

The softness was present in Matt Mondanile’s sweet electric strums and the half-parted smile on his face.  Mondanile’s guitar drives the songs as much as lead singer Martin Courtney’s voice does.  The two of them are often in conversation with one another, speaking eloquently about the nighttime walk to a friend’s house or the idle drives that any teen can relate to.  They played songs from their three LPs, moving between them seamlessly.  Like Woods, their music has progressed in a way that encompasses a tighter grasp on the perfect indie pop melody, but it also shows a stronger sense of longing for those early days.  They are the perfect band for your backyard barbeque, but they played well inside, their jangling guitars slowly washing over the stage like honey dropped in tea.

Their show was layered and rhythmically tight like their recorded music, with the added bonus of playful shenanigans that I imagine comes with many weeks on tour.  Before they returned to stage for the encore, they gave roundabout introductions that were both goofy and endearing.  

They finished the set with the song “Beach Comber”, the first on their first album, bringing us full circle in their nostalgic journey.

-Hilary Devaney




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