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November 2013
Wooden Shjips
"Back to Land

Hailing from San Francisco, psychedelic group Wooden Shjips, has just released their newest album Back to Land. The album brings together a sound crafted from inspirations that range from psychedelic music to classic rock.

The album is an entire trip in itself.  One can hear hints of 80s music, classic rock, and modern garage rock styles in the record, but they always resolve back to their classic psychedelic sound. With tracks like “In The Roses,” which brings a very spacey, low volume vocals, and a lo-fi sound that is not too cheesy or under produced. to “Ghouls,” which is a much faster, much more psychedelic rock sounding song that takes influences from classic rock guitar chords, while still utilizing classic psychedelic synthesizers.

Most songs on the album carry a jam-band sound, without becoming too abstract or getting too carried away. And in some cases, the music is so vast in genre diversity, one is surprised at the resulting sound, such as in the track, “These Shadows”, which starts off with an extremely catchy intro guitar riff and carries a vague David Bowie meets Velvet Underground sound.

“Back to Land” is a great piece of work that utilizes the potential of each member of Wooden Shjips effectively and thoroughly.

Most importantly, “Back to Land” is an experimentation of how far the psychedelic genre can stretch while still successfully staying true to its roots.

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 Lowbred Watts -- Get Home EP

The Lowbred Watts is self-described bluesman, folkster and one-man band Ryan Stapler.  His debut EP, Get Home, is a testament to the DIY aesthetic—recorded in his basement using homemade and patched together gear. It’s a wonder that the music sounds this good.

Get Home combines grimy delta blues and Dylan-esque folk across five songs and never falter for a moment. Whether you’re a blues fan or not (which I’ve never really been) this EP is one to hear. Each track is a heartfelt exploration of one man’s musical passion. It’s impossible not to get sucked into the universe that is Stapler’s basement.

For the complete listening experience picture Stapler, alone. In a cold, damp basement. In the near-pitch-dark. Surrounded by a mad scientist’s inventory of homemade instruments. Singing and playing mostly for himself while recording on an antique cassette player.

--George Dow

Kristen Ford Band Tuesday Night July Residency at Precinct Bar

The Kristen Ford Band has been working hard lately. They just finished tracking for her third record, which is slated for a fall release and will be supported by a 9-week national tour, her kickoff party is Thursday, September 8 at Middle East Upstairs.

This month will celebrate Tuesday! Lots of indie rock, dancing, country, blues and Michael Jackson covers.

Each Tuesday will feature 4 acts:
Tues. 7/19 features Kristen’s new garage rock project, Tilt-A-Whirl, Flightless Buttress' tour-kickoff and Corinna Melanie’s cabaret-pop.

Tues. 7/26 features DJ Phillips touring from Nashville, Goli’s marimba cello duo and Mercedes straight-up soul.

Shadow by kristenford

Precinct Bar
70 Union Square, Somerville
Tickets $7, 21+, 8 pm - 12 am

--Chrissy Prisco

Deli Presents: Il Abanico, Tan Vampires, Pack of Morleys, Melt -- Concert Review 7/14/2011

tan vampires

It was a perfect night for the first in a series of artist showcases that The Deli Magazine is hosting at P.A.’s Lounge in Somerville this summer. Slightly overcast skies, temperatures in the mid-seventies, locals and hipsters manning the stoops and strolling the sidewalks of Union Square. It was quintessential summer in the city.

Click here to read the rest of the review by George Dow.
(All photos courtesy of Alyssa Wayrynen)


Deli Presents: Il Abanico, Tan Vampires, Pack of Morleys, Melt -- Concert Review 7/14/2011
by George Dow, Photos by Alyssa Wayrynen

It was a perfect night for the first in a series of artist showcases that The Deli Magazine is hosting at P.A.’s Lounge in Somerville this summer. Slightly overcast skies, temperatures in the mid-seventies, locals and hipsters manning the stoops and strolling the sidewalks of Union Square. It was quintessential summer in the city.

Melt started the night off with a bang. By far the heaviest band of the night, they brought their hard-edged, goth-tinged assault to the early arrivals at P.A.’s Lounge. They barreled through a full set which raised the bar for the rest of the bands on the bill.


Lead vocalist Lindsey Kyte showed a vocal range born to meet any occasion, easily shifting from sultry to choral to shouty depending on the mood of the song. Her range was amazing, enabling to her hit every note—low, high and everywhere in between.

The mood turned darker when multi-instrumentalist, Mel Fitzhugh set down her bass and picked up the violin. The addition of violin brought out the gothic side of Melt, as well as adding an Eastern European gypsy feel to the set. Throughout the set Melt moved seamlessly from violin to bass, to trumpet and back again.

To sum up Melt’s sound is no simple task. To compare them to Evanesence is fair, given their dark, hard edge and beautiful vocals, but they are much more than a knock-off of a B-level nü-metal band. To compare them to a more palatable version of System of a Down is a stretch because they are certainly not a hardcore metal band. Nonetheless, combine both those touchstones and add a talent for indie-pop hooks and you’ll have something that resembles Melt.

Though their set was dominated by their originals, Melt are also happy to rip it up, interspersing covers into their set. Their full-on rock version of Portishead’s “Glory Box” was an inspired take on the trip-hop original. Late in the set they played a rollicking version of Led Zeppelin’s “Rock-n-Roll” kicked up a notch when Mel replaced the classic Jimmy Page guitar solo with her violin instead of guitar.

A fantastic start to the night.

Up second was Jamaica Plain’s Pack of Morleys.


The Morley’s subscribe to the loud-quiet-loud camp of indie-rock. When in quiet mode they stick to an acoustic-based sound that verges on Americana. When they switch on the loud they bring a healthy dose of art-noise rock to their set.

The surprise of the night were the Tan Vampires.

Tan Vampires

Lead singer, Jake Mehrmann looks like Scream-era David Arquette, complete with jet black moustache. Contrary to his look, he sounds like a cross between Radiohead’s Thom Yorke, James Blake and that guy from Mumford and Sons. They also brought the only beard-core of the night. With keyboardist Mike Effenberger and drummer Jim Rudolph sporting immaculate, chest-length mountain-man beards.

But enough of the fashion commentary—Tan Vampires killed their set. Their vintage keyboards and electronic loops lent a jam-band quality to noisy rock sound. Most of the guys in the band kept very serious, no nonsense game faces on throughout the set but they managed to introduce a measure of fun as they stretched some of their tunes out beyond their three minute origins.

The standout was their closing song which degenerated into a mess of improvisation and electronic noise. As far as I was concerned they could have continued that meltdown for a couple more hours.

When headliners, Il Abanico took the stage near midnight P.A.’s Lounge was filling up. Some arriving late specifically to see the band, others spilling in randomly from the street in search of one final drink before last call. Regardless of their reason for watching the entire house was immediately enthralled with Il Abanico.

Il Abanico

No one would have ever guessed that this was their third set of the day, following earlier appearances in Kendall Square and at the ICA. This Boston-based band has a truly worldly approach. Band leaders Juliana and Nicolas are both from Columbia and met while attending Berklee. They fill out their touring band with a mini-United Nations hailing from Japan, Peru and Venezuela. 

Juliana’s Björk-like vocals are supported by instrumentation that at once gives nods to Stereolab, bossa nova and traditional indie-rock. Having played together for little more than 9 months, Il Abanico are a testament to the talents of their individual players. They sound as though they’ve been playing together for many years. Watching the bare-footed Juliana grip the carpeted stage with her toes as she sang left me feeling as though she were literally using it as an instrument.

I was struck that in a city with a music scene comprised of thousands of bands, Il Abanico are one to watch—destined for national and international exposure.

Watch for details on the next two shows in “The Deli Presents…” series at P.A.’s Lounge one August 10th and 24th.






The Demographic -- Verse Chorus Curse

One big FU to the prevailing trend of gazey, synth covered, vocal-distorted indie music, the Verse Chorus Curse EP by The Demographic is rock served raw. In seven songs, most of which clock in under two minutes, the duo from Northampton MA callously gallop through early 80’s hardcore, Pixies-type angular guitar rock, and the kind of over-driven blues-attacks that White Stripes make at their edgiest. Heady band comparisons for sure, but the simplicity and directness of The Demographic really harkens back to landmarks in the post-punk milieu rather than posting incremental progress away from those purest forms. Every song is solid. Even if you don’t identify with punk rock per say, this is one of those local bands to be excited about just for their musical energy alone.

--Alexander Pinto

Kid Chocolate -- Gold Star Winner

Providence, RI's Kid Chocolate is one of the many current bands that cop a 1960’s surf-rock vibe. Like many of their peers in that genre, Kid Chocolate is pretty darn good. They have all the hallmarks down pat: surf guitar, obviously, but of a style that prefers sharp and jangly to soft and fuzzy. All-male vocals that are less surreal than Ariel Pink and less androgynous than Girls, but share that generalized sound, with lots of backing singers chiming in with those old-school melodies. They don’t hesitate to go into full-on “Ventures” mode once and awhile.

At the same time, they shouldn’t be pegged as a retro act. They do lash out of vintage tropes enough to be an unmistakably “now” band. Their song structures often stray from the simple verse-chorus-verse setup that drove the music that inspired them; and their sound itself has its deviant moments, as they occasionally rock out in a way only a post-punk (or even post-grunge) band could. And some songs are not surf-y at all: Better on the Coast is a straight rocker with enough of a catchiness-factor to have “Big Indie Hit” potential, and Silver Tongue sounds quite a bit like aughts-era British rock (remember The Coral?).

It would be difficult to fault Kid Chocolate for much musically. For a first LP from a young band it is fantastic: they are great musicians who have a lot of experience playing together, and they have started to form a sound to call their own, but the operative word there is “started”. On Gold Star Winner there are only glimmers of the kind of emotional foundation that is the key to turning well-crafted sounds into something that transcends—something that is immediately arresting and that stays with the listener for a long time. With the chops they’ve displayed on these songs, Kid Chocolate has the potential to take the stuff that glimmers from this album, and create material that shines from start to finish.

--Alexander Pinto

The Deli Launches Seattle Branch

Ladies and Gentlemen,

We are proud to introduce you to our latest creature: The Deli Seattle! It was just about time!!!

The Deli's Staff

Brown Bird Announce New Album: Salt For Salt; Release the Single "Fingers to the Bone"

Salt for Salt the latest full-length from Providence, RI's Brown Bird is being released October 18th, 2011 on Supply & Demand Music (Dark Dark Dark, Vandaveer).

Recorded live to tape in Pawtucket, RI, Salt for Salt is the first album by Brown Bird to capture the intense energy of the duo's live show, surging in waves that often swell into high-spirited,
 foot-stomping madness.

Paring down from five musicians on their last album to the duo of David Lamb and MorganEve Swain on Salt For Salt resulted in some necessary instrument changes. Swain, a lifelong violinist, spends most of the album on cello and double bass, instruments she picked up in the past two years. Lamb has a kick drum and woodblock/tambourine rigged to a second pedal in front of him, using his whole body and voice to carry the rhythm and melody simultaneously.

Brown BIrd have released the first single from the album, Fingers to the Bone, which you can listen to below:

Brown Bird - Fingers to the Bone

Brown Bird is playing at the Newport Folk Festival on Sunday, July, 31 at 11:30am on the Harbor Stage.

--Chrissy Prisco



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