DeliMag Spring Print Issue #38 + Features: Whiskey Bitches, Like Herding Cats, Winkie

The Deli Magazine has now published its Spring 2014 Print Issue (No. 38), which includes an in-depth feature interview, as well as other significant reviews written by yours truly. Additional noteworthy writing published on the Deli Mag site included here as well.

Since forming at the beginning of 2013, Bushwick Brooklyn-based Whiskey Bitches have released a mini 2 track EP titled “Wasted” and played numerous local area shows. While their music has a distinct punk rock element to it, a closer listen reveals more than the simple song structures that genre usually provides. There is a noticeable amount of strong rhythmic punctuation and angular changes throughout those two tracks, as well as additional songs heard in the live environment. The two initial tracks were recorded under the guidance of much heralded studio wizard Jeff Berner. Founding members Madge and Kate Black have solidified their current lineup with Eli Lopez on drums, and plan to release new material in the coming months.

The band states that the coolest random press they got was when a Scottish podcast aired them after their Deli poll win.

Read the full interview and the entire Deli Spring Issue No. 38 Print Issue Here

The interview can also be found at The Del Mag Website Here

and a blog about it Here

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Recent Deli Mag Artist of The Month Winners Like Herding Cats

An alternative electronic project created by producer/songwriter Dom P releases music under the amusingly clever name Like Herding Cats. Their self-titled debut EP was released at the end of last year, presenting a uniquely creative sequence of tracks. “Lift” moves at an easy breezy pace, dropping in the kind of minor chord changes popularized by bands like The Cure. While the percussion points towards early New Wave era drum-machine simplicity, the overall spaciousness to the track makes it work to their advantage. Vocals are presented in a deep baritone, evoking Peter Murphy’s work with both Bauhaus and his subsequent solo work. “Touch” pairs warm synth patterns with mechanical cymbals and tinkling descending keyboard lines. The mood is gentle and dreamy, like early Depeche Mode, or even Martin Gore’s solo work. “Rich Girls” builds around a calypso rhythm, putting emphasis on guitar and bright percussive fills most associated with that genre of music. Though a specific date has not been revealed yet, the band states that a live showcase is coming soon here in NYC, and to stay tuned for details

Like Herding Cats on The Deli Mag by Dave Cromwell

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Gothic doom rock is alive and well in New York City. The latest entry into this forever popular genre comes from the band Winkie, who have just released their first video (“Illuminated”). The track is off of their full-length album “One Day We Pretended To Be Ghosts." Filmed by friends of theirs from the band Prima Primo (who recently performed at New Museum in New York), the video features alternating images of muted primary colors (red and blue) to stark black and white. Painted fingernails hold keyboards, while dark, murky images detail hands on guitars. The song itself features female vocals over a descending bass progression with thumping tom toms and clacking rimshot percussion. Sonically reminiscent of The Cure’s darkest period (the “Pornography” era), understanding the lyrics appear less important. This particular track is more about texture and mood. There are plans to release a video for another track (“Arrows") later this month.

Winkie on The Deli Mag by Dave Cromwell

You can also hear and view the video for "Illuminated" on their official site Here

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New York City’s Stargazy have released their second EP "The Fashion" on May 27, and currently preview two tracks from that record on Soundcloud. “Golden Hour” soars with utopian nostalgia, creating a sonic dreamscape that deftly fuses 80’s era romanticism with the 90’s penchant for reverberated shimmer. A modernized hybrid sound that takes the drama of Tears For Fears and incorporates elements more associated with a band like Galaxie 500. “The Fashion” builds around quickly strummed acoustic guitar, adding layers of extended electric notes and soaring passionate vocals. Scathing lyrics accuse how “you got the soul to be what's in fashion, but your soul's for sale.” Their recent shows at Baby's All Right and Rough Trade Nyc continue to draw attention to their unique sound.



Stargazy on The Deli Mag by Dave Cromwell

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Also featured in the Deli Spring Issue No. 38 Print Issue

Golden Animals on The Deli Mag by Dave Cromwell

and

Life Size Maps on The Deli Mag by Dave Cromwell

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Features: Life Size Maps, Dead Heart Bloom, Berlin, Field Mouse

There is a heroic nature to Mike McKeever’s musical project Life Size Maps.   Following in the digital footprints marked out by Kurt Feldman’s Depreciation Guild and additional game/sound practicioners Anamanaguchi, McKeever employs similar song design concepts.

“This Same House,” the band’s latest single release shimmers with a celestial background pulse as cleanly defined vocals overlay forceful guitar washes and precise synthesizer hooks. Lyrically, the story is one of trying to keep focused on what you really want to do, while the endless all night party swirls around you.

 

A number of surprising changes masterfully embedded in this just over three minute songs shows intelligence and dare we say it, prog rock leanings. Life Size Maps continue to showcase this sound, frequently playing out live in venues all over the New York area.

Life Size Maps on The Deli Mag by Dave Cromwell

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A series of recent EP releases by Dead Heart Bloom sees the New York City band connecting on an expanded sonic level.

 
The results present the best kind of recording collaboration between the songwriter/performers and producer, allowing the musicians to stretch out creatively, while establishing a shimmering ambiance around it all.

The most recent release “So It Goes” leads off with the track “Broken Babylon” (available as a free download on their bandcamp page deadheartbloom - broken-babylon ) and moves with a pace and sensation of flowing waves.
 


 Deliberate snare drum roll punctuation echo the style of Colm Ó Cíosóig in My Bloody Valentine, while guitars ultimately launch off into the stratosphere like a NASA space shot. Although the dense layers of keyboards and effects-heavy vocals fill the entire sonic field, every bit is audible and never feels crowded. Rubbery bass lines are centrally positioned in the mix, making for a pure headphone/headtrip listing experience. The band is currently on tour, playing select shows around the east coast.

Dead Heart Bloom on The Deli Mag by Dave Cromwell

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Getting the opportunity to speak to an iconic figure from your past is always a treat.  It really is one of the biggest perks of being a music writer. The musicians who’ve made indelible impressions on one’s coming-of-age youth always hold a certain magical leverage.  One such artist who clearly falls in this select group is 80’s MTV darling Terri Nunn of the band Berlin. 

For the uninitiated, Berlin was one of the biggest bands in the world throughout the 1980’s. Forming in Los Angeles, they burst into music fan’s consciousness in 1982 with their platinum-selling debut EP “Pleasure Victim.” The lead single from that album “Sex (I’m A)” was in constant rotation on MTV (back when that channel was also in its infancy, and only showed music videos).

Follow-up singles “The Metro” and “Masquerade” from that album solidified them in the minds and hearts of fans worldwide who were tuned in to this new wave of electronic dance-rock music. Terri and Berlin hit No. 1 worldwide in 1986 with the Giorgio Moroder written and produced “Take My Breath Away,” which won the Academy Award and Golden Globe for Best Original Song.

Now after releasing their seventh studio album “Animal” this past September, Berlin is embarking on an east coast tour that starts in Asbury Park, NJ on April 30. Additional shows in Philadelphia and Hanover, MD are on the tour, with their major New York City show on May 3rd at The Cutting Room.

In anticipation of these eastern tour dates, Terri spoke with me about the history of her band, as well as the new album. She describes the new album as one that incorporates modern electronic dance music (EDM) while retaining the groundbreaking synth-electro-pop sounds and vocal qualities that initially defined Berlin. The title track was the first song co-writer and producer Derek Cannavo composed, and after listening back to it Terri states “we knew this partnership was meant to be.” The accompanying video depicts Terri in a club setting, engaging in flirtatious behavior that celebrates sensual animal sexuality. “I originally wanted as many different looking people in the video as possible,” Nunn said. “My director Chad Michael Ward helped me bring this vision to life. The youngest in the video is 19, and the oldest is 76,” she continued.



Speaking about some of her more memorable times in New York City, she recalls that “playing a show with The Thompson Twins at Radio City Music Hall was a great moment.” The New York connection remains strong on the current album as mix masters John Alicastro and Mike Lauri added their magic touch to many of the tracks. When asked if she came to New York to complete this work, she laughed and said “we did everything via email. This is the modern way now.”

Berlin’s first album in eight years, “Animal” features 12 tracks, including a wonderfully updated cover of the Jefferson Airplane classic “Somebody To Love.” This should come as no surprise to anyone who knows Terri’s history, as she has referenced that band’s legendary frontwoman Grace Slick as her single most important inspiration to become a singer.

Check out Berlin’s latest album here as well as all their upcoming tour dates.

A previously published version of this Berlin feature can be found Here at MySocialList.

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Brooklyn dreampoppers Field Mouse prepare their first full length album “Hold Still Life” via Topshelf records. Scheduled for release on July 22, the album was co-produced by the creative forces of singer/lyricist/guitarist Rachel Browne and producer/guitarist Andrew Futral.

Splitting recording time between two noteworthy Brooklyn studios (Seaside Lounge and Let Em In) in late 2013, the mixing was handled by Kyle Gilbride (Swearin' Waxahatchee, Upset). The new tracks stay true to the band’s original dreamy guitar style while adding sonic elements like synthesizers to the mix. Heartfelt pathos can be frequently found through the combination of sweet vocal melodies and introspective lyrics. “Asteroid,” laments that “it’s a shame” how often we just “walk away” from each other. Deeper cuts like “Horizon City” shows the band expanding on preconceived notions of their overall sound, simultaneously touching on both prog and punk elements. “Bright Lights” ostensibly incorporates bittersweet feelings of longing, joy and sadness, all at the same time.  Until those tracks are released, check out the video of Field Mouse's single from one year ago, entitled "Tomorrow is Yesterday."



The band will be playing at Cameo Gallery in Brooklyn on May 26.

Field Mouse on The Deli Mag by Dave Cromwell

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