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November 2013
Wooden Shjips
"Back to Land
"
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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.


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The Deli Philly's Featured Artist(s) Poll Winner: Jeremiah Tall

Recently making his presence known in the local area folk scene, Bucks County one-man band Jeremiah Tall truly believes that there is an audience out there for his music. The feeling came to him after attending a William Elliott Whitmore show at Johnny Brenda’s. Well, he’s off on the right foot having had his debut album, Waking, produced by Bill Moriarty as well as winning our Featured Artist(s) Poll. And you won’t have any trouble distinguishing him from other performers on stage with his massive afro and beard and hand-painted John Wayne suitcase converted to a kick drum. You can get to know Jeremiah Tall even more in our interview HERE.

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New Track: "Streetcat Bonfire" - I IM EYE MY

Upon our first listen to "Streetcat Bonfire" by I IM EYE MY, a new project from Al Creedon (Bleeding Rainbow) and Sean Hamilton (Spacin', Acid Kicks), we knew it was something that we could really sink our teeth into. The hypnotic tribal percussions mixed with all the fuzzed-out noise, drone and ominous chants made us immediately press "play" again. You'll be able to find it on their upcoming cassette, 7 Transmissions, is being released by LA-based Not Not Fun, which is due out this spring.

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Weekend Roundup

 Here's a little bit of what's going on around Nashville this pre-de Mayo weekend: 

Friday: 

The End is Nashville's platform for The International Pop Overthrow Festival with Dave Rave, The Scruffs, Walter Egan and the Walternative Band, Wyatt Funderburk and Neilso.  Check out some talented and well-deserving pop bands starting at 7pm; cover is $8. 

Foreverandnever, Red Sun Rising, We are the Finale and The Sweetest Sleep play 12th and Porter, 9pm, $10

Danny Trashville, Anthony Adams and the Nite Owls, Tumbleweed Company and The Joel Meeks Excuse at fooBar, 8pm

Saturday: 

The International Pop Overthrow Festival's Saturday Lineup includes The RA-660, Dark Circles, Richard Dubois, Nine Times Blue, Greg Pope and The Decandence.  

Musician's Corner kicks off with Holly Williams, Jars of Clay, The David Mayfield Parade, Levi Hummon and Joel Levi.  Head down to Centennial Park for the free concert starting at noon. 

Sevier Park Fest goes down in the 12 South area with Brandy Clark, KS Roads, The Midnight Riders, Magnolia Sons, Scale Model, Oh Dang Lo Mein, Zeke Duhon, Deep Fried 5 and Stacey Randol

Bobby Bare Jr. Album Release show at Mercy Lounge with Bobby Bare Sr., Cory Branan and Birdcloud, 9pm, $10.

Sunday: 

The Internatinoal Pop Overthrow Festival continues at The End with The Great Affairs, Joshua Ketchmark, Anchor Thieves, The Alarms and Duette, 7pm, $8.

The Basement's Sunday Post features The Heavy Heavy Hearts, Guthrie Brown and the Family Tree, The Low Down, Them Dirty Roses and The Hunter Tynan Trio, 8pm, no cover. 

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The Deli Philly's May Record of the Month: Pattern is Movement - Pattern is Movment

One of the first questions demanded by Pattern is Movement’s recent self-titled album (via Hometapes) is “why the hell is this the self-titled album?” Such a thing is typically reserved for a group’s freshman effort, and not only is this the band’s fifth album, but they’ve been putting out music since 2004. It’s unorthodox, to say the least. But upon listening to the record, the second since they broke down to a minimalist two-person outfit in 2008, it becomes rather clear; the self-titled is meant to define a band’s sound and create their baseline, and Chris Ward and Andrew Thiboldeaux consider themselves to only just now have reached that point. This is their way of finally defining themselves as a band, and it sounds wild and fantastic.

To summarize, the most recent development of the band’s sound is a difficult task, since it’s really a great deal more than the sum of its genres and musical elements. It’s definitively indie, but with elements of ambient, folk, experimental math rock and even soul, all blended into its DNA, with just a hint of European sensibility. It’s almost impossible to not draw a comparison to the band Beirut and not just because of how eerily similar the two vocalists sound. Pattern is Movement captures the same sense of almost exuberant melancholy, and even manages to surpass it.

It’s difficult to hear that the band is a two-man outfit without being at least a bit incredulous. The very idea that this group is limited in manpower in any way whatsoever is almost unbelievable; if anything, their most recent album sounds like the culmination of an Arcade Fire-esque indie rock orchestra, with a huge variety of instrumentals weaving in and out of one another seamlessly. Piano, accordion, bass, and a varity of string instruments all make appearances (all played by the singular Andrew Thiboldeaux) draped over Ward’s substantial percussion.

And it’s just as seamless that the band manages to blend highbrow orchestral folk with more accessible elements of indie shoegaze and math rock, creating a sense of real artistic unpredictability, while maintaining a consistent and enjoyable sound - not surprising from a band who once backed Annie Clark, a.k.a. St. Vincent. Pattern is Movement finds the line of balance between weird and familiar, and positively jumps rope with it. The band accomplishes the rare task of managing to sound lofty without ever coming across as pretentious. And special praise needs to be given to Thiboldeaux’s aforementioned vocals; they’re simply haunting. The crooning, Sigur Ros-esque lyrics are the center piece of the album, acting as the anchor for the bands increasingly outlandish instrumentals.

The result is heady, weird and even sexy (but in a confusing, subtle way), but at all times cool. Its soothing and enticing, and at times a bit morose. Pattern is Movement has a way of blending a sense of depth and an accessible tone for an album that begs repeat listens.

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Polyrhythmics: Live From The Banana Stand

Portland’s most beloved underground house venue and record label has released another fantastic live recording to its ever growing collection. Banana Stand Media has been hosting and recording local bands in their basement studio for several years, documenting the continuously evolving landscape of the music scene. The newest addition to the Banana Stand archive of live recordings features the instrumental funk arrangements of the Polyrhythmics.

Polyrhythmics are an insanely talented eight-piece band with a massive sound blending funk, jazz, and soul melodies that are carried out by afro-beat rhythms. Through a main framework of funk, the songs progressively extend as seasoned musicians transition in and out of solos with each other. If you like funk music and long technical arrangements, then this is the Banana Stand album for you. Here’s the breakdown.

It opens with a hard-hitting number set in a mildly high tempo and plays a true representation to what the Polyrythmics do as a band. They are horn heavy but in a subtle way. The trumpet is in front of the music but the trombone keeps it from taking over. This first track, “Labrador” features a long and impressive saxaphone solo that smoothly works it's way back into the rhythm. Changeing the pace slightly, the next song “Le Hustle” is a slower funk groove that is brought alive by a vibrant horn section and prominent bass tone. While it’s well known that songs in any subcategory of funk are heavily bass driven, halfway through the album, the songs reach a high level of bass-driven-ness. Let’s just say that if the bass on "The Octagon" were a chicken wing sauce at Fire On The Mountain, it would rank in at El Jefe. Which is fitting because the final track on the album is called “El Fuego.” There is a definite mariachi influence on this one with bright use of trumpet and a weirdly driving rhythm.

A polyrhythm by definition is more than one rhythm working together within a single beat. It’s a part of music that often gets lost in the art of songwriting when things get too overly simplified. Polyrhythmics have not let go of the little technical things when making their music, and when executed perfectly like on this record, you come away with some of the best genuine art. Not only that, this band, and their time capsuled recording from the Banana Stand will make you move a little to boot. Also check out the video for "Labrador" shot during the set! 

- Colin Hudson

Polyrhythmics - "Labrador" from Banana Stand Media on Vimeo.

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