Global New Music and Video Reviews - June 2020

Along with the hopeful sentiment among many that we may finally be turning the corner on this measured stasis everyone has been experiencing, comes a new crop of music that deserves to be heard. While the month of June continues to signal that the world is opening up again, the Cromwell periscope focuses once more on new and innovative artists in their respective genres.

The balancing act of humorous lyrics with quality music is a delicate one that hasn't been attempted all that often since the birth of rock and roll in the 1950's. Old timers might remember The Tubes, who's 1975 single “White Punks on Dope” straddled that line perfectly, with a nod backwards towards Frank Zappa (who was also a master of the funny lyrics/awesome music blend). The early 2000's gave us Stephen Lynch who meticulously blended comedy writing with really catchy melodies. Following in this tradition, along comes Ian Lockwood and his brand new EP “Nasty.”

Approaching the art from a number of creative angles, Ian has maintained a presence in stand-up comedy, podcasting as well as being a pop musician. His early influences came equally from the music and comedy scenes, while name-checking The Flight Of The Conchords and Andy Samberg's “Lonely Island” projects as more recent signposts. He eventually made his way to New York to attend (and become an alumni of) NYU Tisch's Experimental Theatre Wing, Second City's Comedy Studies, UCB, and The Annoyance Theatre NY. “Nasty” is his first studio EP.

Opening track (and full feature video) “(I Don't Think This Is) The Club” is a testament to one's solo creativity, as Ian visually crafts a 5 character ensemble using green screen technology. With “the crew” consisting of three female types (sporty-zipup-jacket, open blouse trampy, tiara-wearing-sweater)and one other dude besides Ian (tennis-headband guy), they set out for a night to “forget all the bullshit, the weekend is ours and I ain't gonna go home alone.” Rolling out to what they think is a “Club” has them “stroll right past the tetherballs” (with a humorous “no thanks” punch in) becoming the first clue they've missed their mark. Subsequent mistaken venues in their club-quest unfold (swimming pools, laser light shows, jail, historic locations, special ops missions apparently inspiring people to join the army) like a Saturday Night Live skit. What makes this whole think work, however is the central chorus which is a total catchy ear-worm. Rising melody steps against a funky guitar and keyboard background comes complete with easy-to-learn dance steps. The kind of movements that made former cheerleader Haley Sharpe (the creator of Doja Cat's original "Say So" dance challenge) a “Tik Tok star.” In fact, you can see how Ian's own “dance challenge” has emerged via his Instagram Story of it.

Check out the video here:

Cut two has Ian indulging his inner “gamer” voice on “Horny For Bowser” - that fire-breathing King Koopa turtle-like creature from Super Mario Bros. What becomes apparent with this and all the subsequent songs, is how carefully crafted and thematically on point each set of lyrics are. While, amusing and cleverly rendered, the vocal performance are equally impressive, pairing blue-eyed soul over easy breezy Michael McDonald-style keyboards. An appropriately pixelated lyric video (brought to life by filmmaker @AdamVole) deserves to be checked out here.

Title track “Nasty” zeroes in on the all-too-frequent nature of dating and relationships in this internet-on-smartphone age. Crafting a perfectly bubbly pop song with his musical other-half on this record – Dave Bowers (who produced and played the instruments on this entire record), emphasizes twinkling keyboards and easy dance rhythms. Toxic right from the start, the obsessed controlling lover states: “I'm gonna treat you wrong – gonna lie to your face. I'll separate you from your friends – Family I'll replace.” The real treat, however is the happy-rhythm, catchy sing-along hook that goes “I'll be your one and only. I'll move you out of state. I'll get so mad at you and won't tell you why, cuz I don't communicate.” The capper is a warm, enhanced vocal sheen over the repeated title “Nasty” while cheerful keyboard lines cascade underneath. Completing the picture is a perfectly matched emoji-driven lyric video (that looks exactly like a phone text chat, complete with timestamp, signal bars, wifi and power-remaining images) directed by Thomas Frances and can be experienced here.

“Meet Me Online” continues the multiple-decades-now relationship we all have with the internet. This time going back to the early aughts for inspiration, a boy-band style song becomes the basis for Ian's wordiest tome on this record. Once again employing a skilled video associate (@matthewliner) to harness classic meme images from that time period – easily recognizable to anyone who spent “too much time on the internet” (even back then) completes this smart lyrical song. The clever twist here is how sweet teen girl looking for a prom date can also be a 4chan chat forum user who has leared (among other things) how to make a bomb. Too good (both song and video) NOT to be seen - check it out here.

Final track “You, Me, and Your Parents” dips into the staccato rock guitar world of (again early 2000's) emo-pop bands like Jimmy Eat World.  A sweet layer of harmonies drop on the big (bombastic) chorus that goes “You and me got nothing to do,we've got nothing to prove to no one.” It's all rebellious teens looking to get out of “this old town” until an unexpected thematic twist turns everything (amusingly) on it's head. Have a listen to what that “twist” is right here.

Stream the full album on Spotify - and follow Ian on his Socials at  Instagram and Twitter

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Always keeping an ear tuned to what newfound fave label Shore Dive Records is presenting is a smart move no matter what you might be currently listening to. Coming through once again with their momentous 50th release has them rolling out the debut EP by Polish emo-dreampop band Waterville.

Their four song EP “Shades And Whispers” creates of sonic world of interpersonal relationships that feature inventiveness through a heightened sense of awareness. Much of that can be attributed to a natural environment of lakes and tranquil locales that serve to inspire them.

Opening track “Shadows” also comes with a beautifully filmed, self-directed music video, capturing the intense feelings presented when paired with its music. Gentle, reverberated guitar picking is soon met with a rumbling bass and tom-tom drum undercurrents, as images of lush woodlands spliced with car-drive-interiors are set against a twilight mood. As a female and her male companion head out into the open space, hypnotic vocals state how “the dark shadows hide us – the dark mists hide us.” An initial emotional peak is reached with the rising, elongated vocal line “where you are” (where the last word is extended) and the two central figures begin to run towards various symbolic challenges. The dock on a serene body of water foreshadows eventual results.

The accompanying instrumental passages combine an air of mystery as well as building tension through those soft arpeggiated guitar chords and deep rumbling percussion. As guitars overlay and gain intensity, the two video figures are now running with purpose up a hill to vocals “the dark shadows hide us.” Once again an emotional peak is reached with crashing cymbals and the “You are, You are – where you are” refrain. Running across and staring out at gorgeous terrain provides an uplifting sense of hope against the more foreboding lyrics. Guitars and bass intertwine in further creative ways while the drumming undercurrent maintains its relentless pace. It all comes to a logical conclusion with the implied metaphor for taking a necessary risk and plunging into the unknown fully achieved.



The EP's second track “I Keep My Eye On You” develops at a slower, more languid pace. Gentle open note guitar figures mark out the progression as poignant female vocals deliver lyrical poetry of affection. A simple deep-thump “heartbeat” approximation is all the percussion necessary as the voice describes how “flowers of love with suddenly grow.” As much of an ode to that “summer” feeling, it's dreamy, gorgeous and utterly romantic.

“Out Of The Window” quickens the pace considerably with arpeggio guitar chords, primary note-only bass and click-clack rimshot percussion. There's a particular charm to hearing vocals delivered in English when it's not the singers primary language. Those words are formed with passion, while the accent adds another level of graceful allure. An unexpected vibraphone (or glockenspiel) sound enters the mix, enhancing lyrics “out of the window I see the rain – see the hail.”

Final cut “Hold Me” continues the moody, open string guitar textures while adding extended ambient tones alongside that. A gentle, delicate rumination that emphasizes singular words and short phrases (“thinking – breathing – beating of my heart”) sung out in an ethereal manner.  The question is asked - “will you trust me when I am wrong? When I go out of my mind?”

Find out how to acquire this music here.

Previous features on Shoredive Records artists on this site can be found here and here.

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A trio of Japanese virtuoso musicians writing and recording under the collective name “mouse on the keys” have just released a four song EP titled “Arche.”  As someone who listens to a lot of jazz piano trios in-between all the rock and pop consumed, an affinity for this record was immediately felt.

The trio deviates slightly from the traditional piano-based jazz-combo of drums, bass guitar and keyboards, creating everything instead with a drummer and TWO keyboard players. All three members are credited with “Programming” and one keyboard player adds synthesizer to their repertoire.

The constant line running through any progressive rock and/or jazz band is the highly evolved skill-level of their drummer. Opening track “Praxis” confirms that once again, not only emphasizing Akira Kawasaki's chops, but doubling-down on him having written the entire piece as well. As suspected there is no loss of bass presence, as synth-keyboardist Daisuke Niitome must surely be laying down a flawless approximation of an upright bass. With light and airy piano chords entering the mix, all three elements move forward with an elegant harmonic awareness. Piano lines carve out melodies while the percussion dances between beat propulsion and accented counterpoint.

Second song “Room” begins with bright piano figures, surely at the hands of it's composer Atsushi Kiyota – before the fully syncopated drumming enters the mix. Waves of piano notes in rolling formations alternate between more firmly struck chords. A solid bass pattern is heard once again (not bad for a band that does not have a bass player), moving the track along through open spaces that emphasize more sparse piano notes and percussive accents. Although a clear structure and melody is felt, an additional sense of improvisational playfulness seem to emerge within frequent open spaces. A rising electric piano melody enters the mix as a late-entry sonic element, leading the track to it's conclusion.

“Emergence” returns once again to the individual compositional prowess of drummer Akira Kawasaki, where shuffling percussion patterns emphasizing jazzy cymbals lay down a backbeat under boldly struck piano chords. A steady flow of rimshot clacks give the beat a lighter touch while piano note explorations build increasingly complex structures. Soon the snare drum is fully engaged as angular piano chords are interspersed between fleet piano forays. While the drumming increases it's levels of intensity, the piano pulls back and plays only the essential block chords structure.

Final track “Anchor” is keyboardist Daisuke Niitome's writing contribution to the EP, and brings aboard saxophonist Kenji Honzawa as an additional sonic element to the piece. Busy arpeggio keyboard notes are tempered by the longer held, stretched-out and softer sax tones running parallel.  A distinctive bass pattern and quiet keyboard pad with intersecting percussion emerge momentarily before the piano explorations resume.  That higher register Soprano sax is given room to open up with it's own improvisational bursts, while the initial progression cycles through again with subtle variations.

You can stream these tracks here - and find out how to acquire it and all of the bands back catalog. Additionally, you'll see an option from their label Topshelf Records offering a subscription plan that delivers all of the labels new releases digitally, as well as their 47 back-catalog items.

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After being introduced to the music of Louisiana-based sound designer Bug Gigabyte and his SINthetik Messiah project back in January via savvy PR Company New Dark Ages, a review of his work (and the public good he supports) featured prominently here on this site at that time.

The artist is now back with a new release “Split Damage,” serving up two tracks that explores and expands on that 90's trip-hop sound that spawned creatives like Portishead and Massive Attack (to name just two).

The first cut “Languish” is a collaboration with vocalist and lyricist Cat Hall, which provides a foil for the primary composer and sonic manipulator to work off of. Those sounds build out of initially sparser notations, before layers of synthesizers create a mysterious landscape as the vocals unfold. Distorted processing adds a cybernetic effect to certain passages, before more clearly heard lines deliver pointed statements like “I want no limit on my sensations.” That begins a call-and-response cycle with the higher register lines echoing the song's title, responding: “languishing without your eyes on me.” While a mechanized forward march churns underneath, an orchestral feel swirls above with the blending of synths and voices in passionate reverie.

Second track “Emotional Therapy” is an over 7 minute tour-de-force featuring a long slow slithery groove. That extended progression serves as a base for the variety of sonic elements dropped in. Busy clattering percussion and throbbing bass pulses share space with hypnotic, repeated vocal samples used more as instrumental components than any kind of narrative. Extended moments of beatless ambiance provide momentary pause before percussive clacks and pitch-altered voices resume the forward momentum. A push-pull sensation is felt through deep bass and alternating rough-edged buzzing, while a distant higher-end voice is dropped in throughout the mix, providing repeated recitations.

Give a listen and find out how to acquire those two tracks here.

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Deli Magazine Print Issue No. 46 - Acid Dad Cover Feature

The 46th Print Issue of The Deli Magazine is out and available to be read now in the Spring/Summer of 2016.

It was my pleasure to have written the cover feature on this year’s Overall Best Of Poll Winners – Acid Dad.

Additionally, inside a number of Dave Cromwell composed features can be found, referencing more detailed writing previously appearing on the magazines website and/or specifically written for this issue.

As is so often the case with print (and web) journalism, space limitations and word counts will condense features that might otherwise benefit from a more in-depth profile.  Here then is an expanded feature on The Incredible Trip Of Acid Dad, which includes a fuller interview and more detailed analysis of their music.

The true definition of a band is the collective vision each member shares. In the case of rising psych-punk rockers Acid Dad, their 22 month journey from humble beginnings to current cross-country touring act is nothing less than remarkable.

With three distinct personalities forming the bands core philosophy, it all came together in August 2014 when complimentary singer/guitarists Danny Gomez and Vaughn Hunt joined up with promotionally savvy drummer Kevin Walker. Bassist Sean Fahey came on board as the final piece six months ago, solidifying them as a quartet.

After putting out a few one off singles, the band released their debut EP, “Let’s Plan A Robbery,” on February 26th, 2016. The four tracks were self-recorded in upstate New York from December 2015 through January 2016 with Vaughn and Danny handling lead vocals on every other track.

On the heels of that release Acid Dad went on the road for two months, undertaking their first major tour that initially took them through the Southeast States before heading over to Texas and a week of SXSW showcases. Following that they continued on through the Mountain States, Pacific Northwest, Southern California and the Southwest before hitting significant Midwestern and Pennsylvania venues, ultimately making their way back to New York.

Although the ‘psych-punk’ tag is something of the bands own making they would like to avoid simple categorization. “We love a lot of different music,” Vaughn explains. “From the CGBG scene with Richard Hell, to Iggy Pop to the Replacements, punk music is a backbone to my songwriting that I can't seem to escape. And the same time we love the melodic beauty and simplicity of Neopsych from the 90's like The Brainjonestown Masacre and Mazzy Star,” the Tennessee native continued.

It’s soon discovered how much enthusiasm each member share when it comes to their collective influences. “The 50’s set the basis for what followed with the distinctive appropriation of blues, country and even jazz music to create a sound that was later adopted by groups that ranged from The Stones to The Velvets to The 13th Floor Elevators,” says Danny. “It’s very interesting to see how these bands while still sounding similar in theory, created their own unique sound. I think that’s what it comes down to for music with me, grabbing all these varied appropriations of the oversaturated rock n roll formula and pushing this energy back out as sincerely as possible to create a distinct, personal experience,” he concludes.

Their current EP “Let’s Plan A Robbery” is intriguing not only for the music, but boasts cover sleeve artwork based on the cult classic film “Repo Man.” While each member are huge film buffs (with Kevin getting the nod as the biggest), Vaughn explains the reason they chose this image for the record. “I first heard about the movie seeing references to it on t-shirts at Trash and Vaudeville. It's about a young punk kid whose parents are hippie Christian loving pots heads that don't really care all that much about him. He meets up with this repo man crew who take him under his wing and teach him how to break into cars, rip people off, fight gangs and how in the end be the perfect repo man and be a part of the hustle. However there is this crazy psychedelic side plot involving a stolen radioactive alien from Roswell New Mexico. There are a lot of acid references and psychedelic monologues that flow in out of the movie. It really fit the whole Psych-punk notion. The scene on the cover of the EP is when the punk kids rob the liquor store. My favorite line in the whole movie is said right before they rob the store "Let's do some crimes". Our songs on the EP are all about the hustle, so we named it "Let's Plan a Robbery."

That sentiment is apparent when you dig deeper into the lyrical content of those recorded tracks. The Vaughn penned “Don’t Get Taken” builds around a jagged guitar hook as it cautions on the need to “get out” before getting trapped in a “tricky game” and “master scheme” set by outside forces. Danny’s first contribution “Fool’s Gold” showcases the bands early 60’s vibe with background vocals creating a soothing falsetto bed of “oooooh yeah, yeahs.” Emotionally charged lyrics of a complicated relationship come wrapped in a tone reminiscent of a young Mick Jagger or Van Morrison. Quicker paced “Digger (Gotta Get That Money)” emphasizes Vaughn’s yelped vocal phrasing with a more electrified acid rock guitar sound. EP closer “Shoot You Down” finds Danny leading a dreamy, measured paced Stone Roses homage.



However, when played in the live environment, these songs take on a less serious, more party-like atmosphere. Their recent homecoming show at Le Poisson Rouge had them playing front of a wildly enthusiastic, frequently slam dancing crowd.

In addition to his duties as the bands drummer, Kevin exhibits the qualities of a tireless entrepreneur. Already working as show booker for a popular Brooklyn night spot, his reach now expands from NY to LA with his own startup company. “I really admire Louis C.K. on a business and artistic level,” Kevin states. “In addition to breaking with established conventions within comedy he has managed to rethink the entire business model of marketing and distributing entertainment. He maintains complete artist control and freedom to experiment. To me, Louie is the David Bowie of comedy.”

As to other influences that inspire them, bassist Sean weighs in, “my girlfriend is a performance artist and I go to everything she's in or invites me to. I'm definitely very inspired but what she does and brings me to. I’d like to think of us as performance artists but we’re still calculating our show. Bands like the Replacements and the Grateful Dead had that stuff calculated. I definitely consider them both performance artists, but more so with The Replacements because you never really knew what you were going get. They sold out the Beacon Theater in ‘87 and completely bombed, but everyone had a great time anyway.”

With all four members decidedly in their prime going-to-college years, it appears only Danny is determined to get his degree. Natural businessman Kevin surprises stating “if I finish school, my major will focus on a medley of history, English, philosophy and film studies. I dig the liberal arts education idea.” While Sean claims “I’d rather push a broom,” Vaughn offers that “I take every day as it comes. Right now, I don't have time for school.”

Digging deeper into what makes the band ‘tick’ – I asked a number of direct questions. They follow below here, with each member’s unique insights.

Q: It’s been said you’ve created your own genre for your music which you call psychpunk. That is, a hybrid sound that pairs the riff based structures of psych with the quickly strummed guitar chords and quick tempo changes of punk often within the same song. A lot of this structure can be heard on your latest EP. Do you think there is still room to evolve this concept further? Where do you think you can take it?

Vaughn: When we all sit down together to write, this organic mosh of different tastes and sounds gets woven into our songs. I wouldn't say we have created our own genre, but write music around our current influences. Recently, I think we are moving away from "psych punk" and more into classic rock and roll and grunge. On the road we have been listening to a lot of Rolling Stones, Nirvana, Fugazi, The Replacements and Black Sabbath. We are headed in a direction that is more heavy and little more classic. We will see after we finish writing the album if we still believe that we are psych punk.

 Danny: The music we’ve made has naturally been composed of these oxymorons. As we continue to write more and more songs you start seeing not only the development of these sounds, but they start to become much more honed in. We’re really looking forward to getting to sit down with all these songs and see them evolve into a cohesive body of work that utilizes all these different elements to complement the songs.

 Sean: PsychPunk is a better way of saying rock which can mean so many things. Nickelback is a rock band and we are going to stay as far away from them as possible. I’ve already got my restraining order in place.

Q: What movie, past or current could you see any of your music in? 

 Vaughn: We wrote a couple new songs on the road. There is this one new one which, I can see it fitting in the cocaine binge scene at a casino where everyone is killing it in the game, but also like running from the cops or something.

 Danny: Ideally in something like Trainspotting, but it’s probably more in the vein of something ridiculous like Dazed and Confused. Kevin: Yeah Danny is on to something here. Shout out to Richard Linklater.

 Sean: We are all pretty into the idea of syncing our music to nascar races so I would say Talladega Nights: The Ballad of Ricky Bobby.

 Vaughn: *praise hands emoji* to what Sean said!

 Kevin: I’ve always been into French new wave (Goddard, Truffaut) , Italian neo realism (De Sico) and early 70s American film (Scrosse, Copolla, Kubrick, etc).

Q: Do you feel that the rock music made in the 1960’s is still the basis everything that’s followed? Especially guitar bands. Are there any other era’s that stand out for you as a cut above the others?

Kevin: A band like the Elevators definitely created a paradigmatic shift in rock music, basically laying the groundwork for psychedelia. It’s crazy how little it’s changed in 50 years. I think, rockwise, some of the most intriguing sonic innovations occurred in the postpunk era. That’s when rock music was really stripped down to it’s bare essentials, leaving all of the 70s excess behind. I’m talking about bands like The Cure, Cocteau Twins, Modern English, For Against, on and on…

 Sean: I think the 60’s is when rock bands really blew up and became something for kids to do in their free time. Sears Roebuck started selling these cheap but now classic Silvertone and Harmony guitars and it made it a lot easier for anyone to start a band. The roots of Big Star run deep with that kind of upbringing in rock n roll. They would have these $60 guitars and learned how to play a lot of the British Invasion shit which goes back to early blues from the beginning up through the current time. One of my all-time favorite guitar players is Willie Nelson and he learned from gypsy jazz from the 40’s, specifically Django Reinhardt and mixed that in with country legends like Ray Price and Hank Williams. Rock n roll is prehistoric in my mind.

 I agree with Danny. The blues in the 50’s started to become popularized by artists like Chuck Berry and Muddy Waters which heavily influenced rock legends like The Rolling Stones and Led Zeppelin. From then, those bands influence the next generation. It's cyclical.

Q: What has been some of the best and worst experiences on the road so far?

Danny: Touring with our brothers from Louisville White Reaper. We just got to kick it every night and had a blast jumping around from town to town. Worst experience (in the best way) was in the middle of nowhere South Carolina sitting through a mailman’s 16 song opening set, while he ran around the stage with only two green feathers covering his penis. I think the most ridiculous part of it was when he covered “The Passenger” and then screamed right after “Fuck you Iggy Pop! I just did that better than you…” was a very strange night filled with beer and electronic darts.

 Kevin: My most memorable night was in Portland and involved psilocybin mushrooms, the drummer from the Dandy Warhols, and a stripper. Portland is rad. Can’t say any more.

 Sean: I think I met my future self somewhere in Tennessee. He was a landscaper with a 16 track that wouldn't leave me alone. He was pretty tight. Worst moment was throwing up on a drive thru attendant after getting piss drunk on jäger because I thought someone jacked some of my gear. I found my gear later though so whatever.

 Vaughn: This tour has been really pain free. I guess the worst experience so far is that our van security alarm broke at the very start of the tour. Every time we unlock the van or open the door, the alarm goes off and we have to manually disarm it, which takes about a minute of the alarm blaring. It's kinda hilarious.

Q: Do you still consider yourself a Brooklyn band, and is that still home to you? I heard some member might be considering a move to LA. Is that the recipe for success? Begin in Brooklyn and then get bigger in LA?

Vaughn: We all met in NY, but we are working really hard right now to break through on a national level. I don't wanna be labeled as a band from a certain area. I just wanna be known for the music we produce. The reason we would move to LA is because of a cheaper living situation. We have a bunch of family and friends who just moved out there as well. Our dream is to to have the whole band live together and have a studio in that same place.

 Danny: I think we’re more of an NYC rock n roll band than just Brooklyn band to be honest. We don’t want to just label ourselves choosing preference with Brooklyn just cause we live here. The city and music will always hold a very special place for us. The reason I moved to the city originally was because of its rock n roll lineage, everything from Lou to Richard Hell and Thurston Moore have created a certain atmosphere that is so entrancing and alluring. The great thing about music is how it can be done anywhere and seeing how that environment influences the music created. Who knows where we’ll be in the next few years, but I’m excited to see the music that comes out of it.

 Sean: I never tell people we are a “Brooklyn” band. Anytime anyone asks where we are from I say New York City because fuck it we are right? For the most part practice and record in our secret bat cave upstate. I also live in fucking Queens now.

Q: Are there any comedy, film or business innovators who’ve made a mark on society that you particularly admire? If so, briefly explain why.

Danny: I like movies that take place in very quotidian conditions, easily relatable yet showcasing our natural human concerns. There’s a film from 1969, I wanna say, by French director Eric Rohmer called “Ma Nuit Chez Maud” or “My Night At Maud’s” that is part of his movie series Six Moral Tales . The movie just revolves around a man who is invited over to dinner by a modest libertine called Maud and their sexual tension throughout the night as they discuss themes of morality, religion, atheism, and love. It’s just a really good example of how conversation can be extended throughout a film to become the main character and the link between these two strangers. 

Kevin: Louie C.K. truly represents an artist who does whatever the fuck he wants and, after 30+ years of doing it, is finally seeing great success. For his show ‘Louie’ he somehow managed to cut a deal with FX (the network who releases the show) for a flat budget per episode wherein they don't get to even see it before it goes on air. He maintains complete artist control and freedom to experiment. He also avoids the Live Nation conglomerate for ticketing his live appearances. In addition to price gouging and insane hidden fees, Live Nation / Ticketmaster leads to massive scalping wherein tickets sell out for a show within an hour of being released and proceed to make their way online at exponentially higher prices. Louie avoids venues that have exclusive contracts with Live Nation and makes each patron buy directly from his website and register it under their respective name. No reselling as you need an ID to entire with your assigned ticket. That's how a live show can cost $30 instead of $300. He also released his entirely self-produced, self-written, self-starring new show “Horace and Pete” in a similar fashion through his website. To me, Louie is the David Bowie of Comedy.

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Q: Are there any cover songs you would like to do?

Vaughn: We don't like covering music live really, unless we are fucking around. I believe that if do a cover, it's gotta be different and it has to be better.

 Kevin: Steve Miller Band?…( Jokes)

 Sean: Danny always mic checks ‘Road Runner’ by the Modern Lovers. We are slowly learning that. Both of us are huge Jonathan Richman fans.

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Q: Outside of making music, what else might interest or excite you? Do you have any favorite authors or a book you would like to recommend?

Vaughn: Besides music, I love art. Living in NYC we have access to some of the best art museums. So on my days off ill go to the either the MET or Moma and post up on bench in front of a Monet or a Rembrandt and write in my journal.

 Danny: Baudelaire, “The Flowers of Evil”

 Kevin: Check out Dan Fante (John Fante’s son). He’s got a great booked out called “86’d”. I love gritty, street level, druggy writing. Everything that Dostoevsky laid the groundwork for… Miller, Bukowski, Vonnegut, Salinger, etc etc

Q: What was your favorite act at SXSW this year?

Vaughn: Iggy Pop, DZ Deathrays, Music Band

 Danny: Iggy Pop! Our buddies Sunflower Bean as well. Sean saw Kevin Morby and said it was awesome, bummed I missed it.

 Kevin: I enjoyed Sextile at the Part Time Punks showcase at Barracuda

 Sean: Kevin Morby!!! I love that man. Definitely made me stream a few tears here and there while riding in the van too. His band is killer. His guitar player looks like Joni Mitchell and absolutely slays. Also Iggy Pop. It's hard to see shit when you're psychpunking out if you know what I mean. Also my god Sunflower Bean. (Nick if you are reading this, please give me guitar lessons I’ll pay you in Grateful Dead live tapes).

Q: Was playing the Rachael Ray RR Feedback show as exciting as it looked? What was your takeaway from all that?

Kevin: Haha. It was a great show. Good crowd, nice stage, we played with our friends “Daddy Issues” from Nashville.   Sean may or may not have knocked over Rachael Ray herself.

Sean: Definitely gave her a little nudge with my case. Sorry Rach we love you!!!!!

Acid Dad will perform a showcase during The Northside Festival on June 9 at Brooklyn Bowl.

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Other significant Print Issue No. 46 Features

Inverted funk rock rhythms and classic shredding guitar are the hallmarks of Brooklyn’s Hundred Hounds.

On featured track “The Ranger,” the eternal quest to find life’s true meaning is the central focus. “I don’t feel so lonely when I open a book,” depicts coping mechanisms when human contact fails. The spirit of Jeff Beck shines through however, blending blues and soul with dexterous guitar leads.

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60’s garage rock stands front and center on Low Doses “In Love Again.” Bright guitar, driving bass and straightforward drums sets the stage for love’s risk taking.

Vocalist Ryan Masterson sings how “to fall in love, babe it’s such a thrill. However “the flame goes out and you get your fill.” Head bobbing rock n’ roll centering around the hook “if I could, you know I would stop thinking about you.”

Low Doses on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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Brooklyn’s Infinity Girl released their debut full length album “Harm” last year via TopShelfRecords. Poppier tracks like “Young” showed the band tightening up the looser jammy sound previously explored on their 2012 EP “Just Like Lovers.”

That track in particular comes on at a quicker pace, but lyrical verses are clearer, allowing for snippets of vocal hooks to take a deeper hold. Nods to My Bloody Valentine’s “Loveless” era can still be found in the metallic pitch-bended welded shearing sound that emerge within the mix. The pop elements owe more to the development of a song structure with a lighter overall feel. More than a few modern era “gaze” bands have successfully blended romantic compositions and teen angst lyrics with harsher guitar sounds, and Infinity Girl appear to be mastering this style as well. However, dense layers still emerge within that particular track, keeping the essential feel more dreamgaze than twee.


The band’s previous EP release “Just Like Lovers” touched on the most influential 90’s dreamgaze sources with elements of that era’s pioneers Ride (powerful drumming), Slowdive (dreamy guitar washes) MBV (pitch bends) and JAMC (catchy guitar hook) all seamlessly woven in that added their own take on a continually evolving sound, giving credence to the “infinite” possibilities their name suggests.

Opening track “Untitled (July)” delivers a warm, floating sensation. Lyrics submerged just under the recognition line means you are forced to feel what is being offered. All semblance of relatable storytelling has been removed. A full minute of ambient coda emphasizes compositional intent.

“Taking Nothing” accentuates the essential 90’s gazer elements, while “Read YR Mind” builds around a singular guitar riff before the cathedral ambience reemerges. An interesting hybrid of blurred vocals, looser drumming and single note guitar lines (complete with yet-another ambient coda) sees this track placing closer to Sonic Youth. “Summer Gold” carries a triumphant air through a rolling snare drum rhythm and ascending progression. That rising impression is creatively juxtaposed against a descending ending melody line. EP closer “Not My Hang” initially keeps things sparse instrumentally, whereby actual lyric fragments can be deciphered, while ultimately going big and jammy.

If Sonic Youth’s eventual dissolution ultimately saw their principal frontman and long-time drummer join forces with My Bloody Valentine’s bassist to further explore this hybrid sound, so too have Infinity Girl.

Infinity Girl on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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Four dudes in a guitar band traveling in a van around the country will give you songs like “Blacktop Lanes.” Jesus Jim exhibit the looseness popularized by The Replacements while maintaining slanted rhythms more associated with Sonic Youth.

“I know your standing on the line” may be one definitive statement amid the jumble of voices, the rhythmic pulse driving it along provides the true reason to ride along.

Listen to Jesus Jim on their Bandcamp.

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The entire 46th Print Issue of The Deli Magazine can be read in full online here.

Physical copies will be available all popular New York Metropolitan area venues - beginning at The Northside Fest and continuing throughout the Summer.

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