Download - The Deli

the deli
the magazine about the emerging nyc bands
Lucius
live at Cameo, may 26
the Deli’s nyC b.e.a.f.!
[best of emerging artists fest]
Williamsburg, may 23-26
FREE in NYC Issue #30 Volume #2 Spring 2012
$2 in the USA www.thedelimagazine.com
J.Viewz Zambri Skaters spirit family reunion
Tall Tall Trees apollo run Stephie Coplan
Field Mouse the men Caveman Monogold
a$aP rocky Devin the Denzels Lissy Trullie
Ski Lodge laDy lamb the beekeeper Cuddle Magic
Friends
Best NYC
EmErging Artists 2012
oF
Widowspeak

at Touro College
hands-on training:
• at pro Touro tools College
• hands-on reason training:
• • ableton pro tools live
• • recording
reason
• • mixing ableton live
• • midi recording & more
• mixing
877-DMX-1210
• midi & more
www.dmx.touro.edu
877-DMX-1210
www.dmx.touro.edu
Join the DIGITAL MEDIA ARTS PROGRAM
Start Your Career in Music and Audio Production!
Start Your Career in Music and Audio Production!
New York School of Career and Applied Studies
33 West 23rd Street, New York, NY 10010 NYSCASa division of Touro College

©2012 PreSonus Audio
Electronics, Inc., all rights
reserved. Studio One is a
trademark of PreSonus
Software Ltd. Pro Tools is
a registered trademark of
Avid. Logic is a registered
trademark of Apple, Inc. All
other trademarks, registered
trademarks, and figments
of our imagination are the
property of their respective
companies.
“
reSonus has achieved an enormous
amount in developing this new
version, and it’s now a very serious
competitor to the likes of Cubase,
Logic, Sonar, Pro Tools and Reaper.
P
Sound on Sound Magazine • December 2011
Built-in Melodyne pitch correction and over 100 more
powerful enhancements. Sixty-four-bit audio engine.
Intuitive one-window interface with drag-and drop
everything including access to thousands of Exchange
community resources without ever leaving the program.
Integrated Mastering Suite and instant web upload.
Stop fighting masses of menus that get in the way
of inspiration and creativity. Crossgrade to Studio One
Professional. Visit your PreSonus dealer today or download
a free trial copy from our website.
”
www.presonus.com / S1

the deli
the everything magazine about about the the emerging nyc music nyc scene bands
Issue #30 Volume #2 Spring 2012
Note from the Editor
Dear readers,
Another year goes by, and another, new generation of
musicians is in to change the face of the NYC scene.
Every spring, The Deli highlights the most promising local
emerging talent in the “Best of NYC” issue that you are now
reading. In this issue you may find the next Vampire Weekend,
Pains of Being Pure at Heart, or Here We Go Magic, three of
many artists who were featured in past “Best of NYC”
editions well before they became commercially successful.
Because of the sheer amount of names, we tried to make
things easier for our readers by organizing things by genre
(which is another entire challenge, requiring some kind of
painful compromises). Hope this will help you navigate
through the issue.
And don’t forget that even the most sophisticated poll cannot
tell the whole story of the NYC emerging bands – for that you
need to head to our website: nyc.thedelimagazine.com.
-Paolo De Gregorio
the deli masthead
Editor in ChiEf: Paolo De Gregorio
foundEr: Charles Newman
ExECutivE Editor: Quang D. Tran
SEnior Editor: Ed Gross
Art dirECtor: Kaz Yabe (www.kazyabe.com)
SEnior dESignEr: Ursula Viglietta (www.ursulaviglietta.com)
CovEr Photo: Shervin Lainez (www.shervinfoto.com)
grAPhiC ASSiStAnt: Kelly McDonough
WEb dEvEloPErS: Mark Lewis, Alex Borsody
StAff WritErS: Bill Dvorak, Nancy Chow, Mike SOS,
Dean Van Nguyen, Meijin Bruttomesso, Dave Cromwell,
Ben Krieger, Mike Levine
in-houSE Contributing WritErS: Charlie Davis, Simon Heggie,
Christina Morelli, BrokeMC, allison levin, Ed Guardaro,
Amanda F. Dissinger, Chelsea Eriksen, Annamarya Scaccia,
Tuesday Phillips, Christine Cauthen, Molly Horan,
Corinne Bagish, Devon Antonetti, Jen Mergott
thE KitChEn: Janice Brown, Howard J. Stock, Shane O’Connor,
Ben Wigler, Matt Rocker, David Weiss, Justin Colletti, Gus Green
intErn: Mijhal Poler
PubliShErS: The Deli Magazine LLC / Mother West, NYC
The Deli Magazine is a trademark of The Deli Magazine, LLC, Brooklyn &
Mother West, NYC. All contents ©2012 The Deli Magazine. All rights reserved.
delicious-audio.com
ReCoRdiNg adviCe
& guitaR pedal
Reviews
• Home vs. Studio
• Choosing a Recording Studio
• Recording Drums According to
4 NYC Top Producers
• Do You Need Mastering?
the deli_4 Spring 2012
the Deli’s nyC b.e.a.f.!
1. Caveman
2. Lucius
3. Widowspeak
4. Friends
5. Monogold
6. Ski Lodge
7. Big Wilson River
8. Ava Luna
9. The Denzels
10. Apollo Run
11. Kung Fu Crimewave
12. Tall Tall Trees
13. Ambassadors
14. Fort Lean
15. ARMS
16. Grassfight
17. Body Language
18. Stephie Coplan
& The Pedestrians
19. Starlight Girls
20. Hurrah! A Bolt of Light!
21. Black Taxi
22. A$AP Rocky
23. The Can’t Tells
24. Yellow Ostrich
25. Spirit Family Reunion
26. The Men
27. ZAMBRI
28. Devin
29. North Highlands
30. SKATERS
31. Hidden Fees
32. Illumntr
nyc.thedelimagazine.com
Read ouR
NYC blog
& submit YouR
musiC foR Review
• Keep updated with the newest
emerging NYC indie artists.
• Use our free DiY Live Listings and
Open Blog to promote your music
(or other bands you like) !!!
[best of emerging artists fest]
Williamsburg, may 23-26
Best NYC
oF
EmErging Artists 2012
For artist links: thedelimag.com/nyc2012
33. Brothers
34. The Bottom Dollars
35. Field Mouse
36. MiniBoone
37. Futurist
38. Merrily & The Poison Orchard
39. Exemption
40. Mal Blum
41. Deathrow Tull
42. Snowmine
43. Clementine and The Galaxy
44. The Sneaky Mister
45. J.Viewz
46. Reverend John DeLore
47. Robin Bacior
48. Firehorse
49. Brick + Mortar
50. The Due Diligence
51. The Courtesy Tier
52. Bird Call
53. The Sway Machinery
54. DIIV
55. The Beets
56. Slowdance
57. Dead Leaf Echo
58. Ice Choir
59. French Camp
60. Lady Lamb The Beekeeper
61. Lissy Trullie
62. Caged Animals
63. Papertwin
64. Penguin Prison
65. Superhuman Happiness
66. Tayisha Busay
see
p.26 & 27
for
sCheDule!
67. Pass Kontrol
68. Thinning The Herd
69. Xenia Rubinos
70. Fall of the Albatross
71. Food Will Win The War
72. Chappo
73. Sinem Saniye
74. Mother Feather
75. My Pet Dragon
76. The Third Wheel Band
77. Cuddle Magic
78. Himalaya
79. The Stepkids
80. The Bandana Splits
81. Grace Weber
82. Indyns
83. Wazu
84. In One Wind
85. Oh Whitney
86. Ex Cops
87. Appomattox
88. Blonde Valhalla
89. Twitchers
90. Young Boys
91. Nicholas Jaar
92. Fredericks Brown
93. Gross Relations
94. Idgy Dean
95. Psychobuildings
96. YVETTE
97. OhNoMoon
98. Aaron Roche
99. Spanish Prisoners
100.Happy New Year
101.Motive
102.Bugs in the Dark
nyc.thedelimagazine.com
/top300
use the deli’s ChaRts
to kNow YouR sCeNe +
fiNd baNds to plaY with
• Enter your band for free in our charts
organized by genre and region.
• Find out about other like-minded
artists in your same genre.

MEET THE NEW ALPHA
THE e900 SERIES VOCAL MICS FROM SENNHEISER
Own the stage! Sennheiser’s 900 Series world-class vocal mics are THE new standard. Faithfully reproducing everything
from a whisper to a scream, they give you the courage to give it everything you’ve got, and more, yet they’re rugged
enough for ANY stage. The e965 is a true condenser that lets you choose between cardioid and super-cardioid patterns
with the flip of a switch. The e935 cardioid and e945 supercardioid are THE top performing dynamic stage mics today.
Meet the new Alpha. BE the new Alpha. Own the stage with Sennheiser’s 900 Series, the best mics you’ll ever put in
front of your voice.
Enter to win an e900 Series vocal mic at:
www.SennheiserUSA.com/TheNewAlpha
Connect with us: SennheiserUSA

NYC :
State of
The Industry
By Mike Levine & Paolo De Gregorio

Adaptive Evolution
When The Great Recession hit NYC in 2007, the music industry was already dealing with
the aftermath of two very serious sector crises: The revolutions brought by the advent
of mp3s and home recording. These dual developments combined to deprive labels and
studios of a previously reliable source of revenue. Due to this ongoing hardship, the music
industry was more prepared to deal with the recession than any other field.
By 2008, musicians had already adapted to the new times, abandoning hopes of lifechanging
record deals but enjoying the advantage of being able to save big time on recording
costs. Pretty much every NYC emerging musician not in school had a day job, which
meant that those who were forced to leave town because of the recession didn’t necessarily
have to do so because of a lack of income from their music careers.
On the other side, the local businesses who survived the aforementioned industry crises
were already operating in a mix of damage control/explore new possibilities mode and looking
for ways to adapt to a shifting scenario. The strongest contenders “greeted” The Great
Recession as a new opportunity to test their survival skills. Here’s a memory from Cameo
Gallery’s Jify Shah:
“A few weeks after we opened our doors, the economy crashed. I remember thinking we’d
do $10 tickets for shows on weekends, but right away we had to settle for $5 - $8. Then we
did a whole bunch of specials: like $3 beers and free wings for happy hour.”
What Jify didn’t mention is that Cameo Gallery could also offset some of the venue’s losses
through its popular front door restaurant, but nonetheless, it’s responsive thinking like this
at the origin of any business’ successful change of course. Everywhere we looked, we saw
this same kind of rewired thinking going on in response to economic hardships.
If there’s one over-riding impression that we got from taking a look around and asking people
what they thought about what was going on, it’s that there isn’t any single way working for
artists anymore. Instead, there are a lot of different types of musicians trying out a multitude
of ways to make it. Experimentation is key, and constant, perpetual evolution a must.
Olive Juice - One Man’s
Adventures in Paying the Bills
Matthew Roth embodies the hustle of a local artist fighting against an economic
current. His group, Schwervon!, is that band you fall in love with without realizing
you have. A noise-rock duo with the thrash of Sonic Youth, coupled with
down-to-earth tales of love in the real world like Yo La Tengo. There’s
a simple honesty to the group that’s instantly translatable to an
everyday experience so vital to the makeup of any local scene.
He’s also arguably been one of the hardest working artists around
NYC over the past 15 years or so.
Since 2001, Roth has single-handedly managed to set up and
run a world-touring band, a local label (Olive Juice Music), a
recording studio and a production company in Manhattan, while
simultaneously working once a week at a neighborhood co-op.

“My days in New York were pretty varied. In the
morning I’d be processing orders, filling envelopes
and going to the post office. Then maybe I’d have 2
or 3 recording sessions a week… Then band practice
3 times a week. I’d be constantly tweaking the OJ
website, trying to blog and write reviews as much
as possible… Between my band and solo project I’d
probably gig an average of once every 2 weeks. In
between all that I’d be working on mixing Schwervon!
stuff or Major Matt stuff. I’d also moonlight as a
live sound engineer so maybe one night a week I’d
be doing that until 2am. I worked at the 4th Street
Food Co-op receiving produce on Friday mornings.
Occasionally, I’d put on live shows so I’d be working
on booking and/or promoting those, making flyers,
sending emails etc… Towards the end, it got really
crazy trying to make ends meet. I’d be selling stuff
on Craigslist or going to these paid test-marketing
things. I’d do anything
to pay the bills
and keep my schedule
flexible for music.
I’d probably also go
see a show at least
2 to 3 nights a week
on average to either
check out a friend or
a new venue.”
Here’s a man who lived, breathed and ate music, and still
had to do test-marketing to make ends meet. So if there’s
any reason an artist/entrepreneur like Matthew Roth was
able to make it work, it’s because he saw a demand, and
figured out how to make that need work for him.
It’s also interesting to note that after 11 years of this
hectic lifestyle, Matt finally moved back to his hometown
Kansas City in April 2012. All his struggle and
hard work during the last difficult period was done
almost as if to prove to himself that he could make
it through the post recession years: Adapting your
business to economic hardships is a challenge, and
challenges are motivating.
Record Making
and Wizardry
In the past decade, NYC has suffered unspeakable
losses in the recording studios department. Roth ran
with this need for low-priced, “ok quality” recordings:
“I started recording people because there was a real
need for it. The Internet was just catching on and not a
lot people knew very much about recording outside of
4-track cassette. I was fortunate enough to work in a
studio at the time that had Pro Tools. I saved up some
money and got a 001 system for myself and started recording
bands in my apartment in the L.E.S. for cheap.
It was better than a 4 track and cheaper than a studio.”
Many more musicians followed this path in the following
years, so much so that today, recording engineer
might as well be the most widespread (non-paying)
job in the Big Apple. The older and better-established
the deli_8 Spring 2012
studios are definitely feeling the crunch in this area.
Mastering Engineer Joe Lambert has a long and important
role in mastering a lot of local heavyweights, from
Eleanor Friedberger’s first solo CD, Last Summer, to The
Dirty Projectors’s seminal Bitte Orca. So it’s of concern
to him that “increased quality of at-home setups,
changes within the actual music industry and economic
downturn all seem to be factors as to why recording
studios aren’t booming like they used to.”
But mastering studios have fared relatively well compared
to recording studios. Although, as Jim Bentley
from The Fort recording studio told us, there are also
a lot of challenges when committing to lo-fi that many
artists aren’t aware of at the outset, and this is causing
a reverse exodus back to the studios at some point in
the musician’s career.
“When the economy shit
the bed, everyone ran
out to buy a $200 condenser
mic and some
crappy interface for their
laptop and thought they
were going to make
magic. It’s like going to
the chain music store
buying an entry level
guitar and amp… never played the thing in your life and
bam you’re supposed to be Eddie Van Halen or something…
it takes experience, chops… Nice gear helps, but
understanding how to craft the way the music feels and
technical skill (like knowing what mics sound like on this
or that and how to move them around to get the sounds
you want) are the weapons of the “big studio sound”…
It’s next level wizard shit…”
“i’d be selling stuff on Craigslist or going
to these paid test-marketing things.
i’d do anything to pay the bills and keep
my schedule flexible for music.”
—Matthew Roth (Olive Juice Music)
The Textured,
Dancey Sounds of
the Bedroom
An obvious consequence of the bedroom recording
phenomenon is that NYC has experienced an explosion
of lo-fi, electronic and/or semi-electronic artists who
perform music that lacks the live “oomph,” choosing to
focus instead on other production values like danceability,
texture and/or the most important of all: songwriting.
While there’s no need to write the obit just yet, there
doesn’t seem to be nearly as many straight-ahead quality
rock bands coming out of the city anymore. Even Long
Island, once a well-cultivated home for East Coast-grown
hard rock, has largely abandoned its radio stations and
is known more today for their Cabernet than hardcore
groups like Dead Superstar and Powerman.
Nowadays, you may have to take the Path down to Jersey
to check out what’s new in this genre. With Glen Rock’s
Titus Andronicus and New Brunswick’s Screaming
Females representing from across the Hudson, that’s quite

the deli_9

a bit of pressure for any scene. But maybe the 2nd decade
of the 21st century wasn’t meant for rock anyway.
Bands like Rubblebucket, for instance, are taking the
freakdom of Brooklyn’s psychedelic scene, and finding
a new place for their flags to fly – built on top of the
noodling rhythms of Afrobeat. This is similar to what
Spanglish Fly is doing for a little-known sub-genre of
soul-infused salsa music called Boogaloo. With this
revival genre picking up steam, the 13-piece ensemble
is electrifying alt-jazz clubs like Nublu and SOB’s with
their live shows.
In a “market” where recorded music isn’t paying the
bills, probably many musicians are – again – adapting
by creating a music that, through the seduction of
danceability, has the potential to attract more people
to the live show experience. Or maybe it’s an unconscious
process: survival of the fittest?
Bring It
to the People
This brings us back to live venues, a sector which,
in NYC, has actually been thriving in the aughts, and
which has also recently undergone some of the largest
changes of any institution. The introduction of many
“multi-tasking” spaces betrays the effort to improve
the classic business model (consisting of one room
with stage AND bar) which has too often proved fragile:
hence the proliferation of venues which – like Cameo,
Pianos and Cake Shop – host a restaurant, a coffee
place or a record store in a separate room – often including
a recording studio somewhere in the basement.
“Right when the recession first hit, there was a notice-
the deli_10 Spring 2012
“i think it’s a lot harder now for
bands to get noticed or to get
label support. But i think that’s
good. You really have to love
what you’re doing.”
—Matthew Roth (Olive Juice Music)
able dip in attendance and sales at the venue, but
things pretty much leveled out really about three months
later. Attendance now is actually better than before
the recession,” says Zach Dinerstein from Spike Hill,
another venue with a separate bar and restaurant right
on Williamsburg’s Bedford Ave.
Dinerstein is almost institutionalizing experimentation
by allowing it in the small room he books, which gives
artists an opportunity to grow in front of an audience,
while finding alternative sources of revenue to keep the
mission alive: “Like most places in the city, we rent our
venue out to events, like film shoots, catered parties,
private film screenings, things like that. After working in
the industry for a few years, I honestly don’t think anything
will keep people from pursuing music. If it’s your
passion to create music, you’ll find a way to do it, even
if that means music alone won’t cover your bills.”
Making
the Dream Happen
So, whether you are in a band or in a business, even
if “making it” in the music industry hasn’t become any
easier, this city offers quite a few ways (many probably
unexplored) to get to the same goal – i.e. sustainability.

“Economic downturns typically
bolster creativity. A poor economy
often forces us to look inward, and
in doing so, we turn to the arts.”
—Arien Rozelle (Feeling Anxious PR)
For Matthew Roth the changes in the music industry
are two-fold. On the one hand, there’s less money going
around... but on the other, there’s a lot more going
on nowadays than there used to.
“I think it’s a lot harder now for bands to get noticed or
to get label support. But I think that’s good. You really
have to love what you’re doing. I think Brooklyn is
still a fantastic place for bands in the early stages just
because you have so many places to play and stuff to
inspire you.”
Arien Rozelle from Feeling Anxious PR is helping
artists do exactly that.
“New York will always have amazing musicians. It’s
where you go when you want to pursue your dreams.
And I don’t see that going away – ever. Additionally,
economic downturns typically bolster creativity. A poor
the deli_12 Spring 2012
economy often forces us to look inward, and in doing
so, we turn to the arts.”
That’s something to think about: What if a bad economy
is actually good for the arts? Is it possible that there is
an inverse relationship between the health of a local
scene and the health of the economy at large? After all,
the last wave of big NYC indie bands (Interpol, Yeah
Yeah Yeahs, TV on the Radio) happened right after the
recession following 9/11…
Music Is for Lovers
Although all musicians naturally hope to get to a point
where music will be their full-time job, true artists make
art because they need to, in some kind of spiritual way.
The creative process might not bring food to their table,
but it does feed them spiritually: Artistic creation generates
feelings of joy and euphoria, makes people feel alive
and gives a sense of accomplishment and purpose.
It takes more than a bad economy to dissuade lovers
from pursuing their love, dreamers from chasing their
dreams. And if the best love stories are the ones that
overcame the hardest of obstacles, a bad economy may
as well be the best premise for a music renaissance.

the deli_13

the deli_11

#1 We
RiYL: Belle & Sebastian,
Grizzly Bear’s Veckatimest
Best
oF
NYC
EmErging
Artists
2012
In the following pages you’llfind all the 102 emerging local
artists who made it into our Best of NYC Emerging Artists
Poll. For links to each band’s music and a break down of
the vote, please go here: thedelimag.com/nyc2012.
“best of” lists are music publications’ bread and butter, but sometimes we all
wonder what the rationale behind them is. the peculiar thing about our best of
NYC emerging artists list (see it on page 4) is that it’s not something compiled
by our staff, but rather the product of a complicated system mostly based on
the opinions of local, competent “scene-makers”. these jurors who follow and
work with emerging bands on a daily basis – comprised of local talent buyers,
music bloggers, writers, etc. – have the most influence on the final result, and
this is why our best of NYC has always produced reliably amazing new artists.
List of Jurors
Alex Rossiter (Webster Hall), Andy Bodor (Cake Shop), Billy Jones
(Pianos), Bowery Electric bookers, Brandon Haas (BMI), Carlye Wisel
& Donald Rasmussen (Big Yellow Couch), Chris Diaz (Knitting Factory),
Christopher R. Weingarten (The Village Voice), Claire McNamara
(OhMyRockness), David Teller (Bird Dog Productions), Douglas DeFalco
(Southpaw), Heath Miller (Excess db), Heather Dunsmoor (The Bell
House), Jamie Dominguez (SESAC), Jennifer Gilson (The Living Room),
Jify Shah (Cameo), John J. Hagan (Sycamore), Karen Soskin (Other
Music), Katherine Coates (Delancey), Marc Emert-Hutner (ASCAP), Matt
McDonald (CMJ), Max Brennan (Lit Lounge), Paolo De Gregorio (The Deli),
Rami Haykal (Popgun Booking), Sebastian Freed (Bowery Presents),
Steve Trimboli (Goodbye Blue Monday), Zack Dinerstein (Spike Hill).
Caveman
By Paolo De Gregorio
praised Caveman’s wonderful mix of psych rock and mellow pop
numerous times: The band was featured on the cover of our summer 2011
issue, and that’s the reason why, even though they won our Best of NYC
Emerging Artist Poll, they are not featured on the cover of this issue.
Caveman won this poll with a record number of votes from our jury of local scene-makers, and inherit the crown
of Best NYC Band from last year’s number one, Twin Shadow, and previous editions’ winners Talk Normal,
Chairlift, Yeasayer, The Big Sleep and Clap Your Hands Say Yeah.
Yet, for some rather mysterious reasons, the Deus Ex Machina of music sites (Pitchfork.com) has not even
bothered to review their debut album – maybe because it was self-released? The band is doing great – recently
performing at BAM Theater in a festival curated by The National – but it’s reasonable to wonder what kind of
parameters the Pitchfork staff uses to decide which records to review and which not.
Hopefully their new record label Fat Possum – home to The Walkmen and Unknown Mortal Orchestra among
others – will be able to give these guys the extra push that they deserve. In the meantime, we warm-heartedly
recommend that you take a listen to CoCo Beware before the entire world finds out about it.
the deli_15

Best
NYC
EmErging
Artists
2012
oF
#2
Lucius
“Our career has been an evolving,
living thing…” (Holly Laessig)
There are many reasons why artists
release EPs mid-stream through an
album cycle. For some, they have an
excess of material left over from the
previous record. Others write too many songs
to support a single release. For Lucius, neither
of these reasons quite explains the unexpected
sound and power of their latest self-titled EP.
For this group, we’re instead presented with
what could amount to an entirely new mode for
the Brooklyn band.
RiYL: Feist, Joni Mitchell, Iron & Wine
Looking Through The Telescope By Mike Levine (@Goldnuggets) / Photo by Shervin Lainez
When their debut Songs from the Bromley House hit two years ago,
Jess Wolfe and Holly Laessig approached things with a simple, but
effective formula: Take their powerhouse harmonies, add 1 part playful
hook, 1 part 1921 Steinway piano, and stir until ready. In lesser hands,
this straightforward approach might not have worked, but for the
project that they called Lucius, Jess and Holly proved that they had a
the deli_16 Spring 2012
knack for imbuing otherwise simple ideas with elevated meaning.
Jess and Holly (and six of their closest music buddies) happened to
be the first residents of an otherwise boarded up music school and
recording studio in Ditmas Park. They’d come here all the way from
Boston where they first met in 2005 while studying music together at
Berklee College of Music.
While at school, Jess and Holly took an immediate liking to one
another while collaborating on a Beatles’ White Album cover show,
and listening to some of the more intimate material from Bromley
House, like “Shenandoah” and “If I Were You,” it’s obvious not only
how good they sounded together, but also how far they’ve both
come in a short period of time.
“We’ve had so many interestingly synchronized
experiences, so it’s been almost therapeutic to be
able to guide each other through them together.”
(Jess Wolfe)
As intimate and sensual as their music feels, their background in Berklee
hails from a very competitive community. Boston’s music scene has its
own rich history to be sure, but for whatever reason, many of Berklee’s
alums moved down to New York a couple years ago in droves. So many
in fact, that today a fair share of the better-known indie artists playing
gigs around Manhattan’s Lower East Side are transplanted graduates
from the school (Adam Tressler, Jennifer Hirsh and Emily Greene can be

counted among the alums). A tight-knit bunch – most of the graduates
still support each other in performance and recording.
But most of these graduates’ main course consists of a diet of John
Mayer-style blues and twangy coffeehouse Jazz styles. Listening to
some of Lucius’ earliest material, you can still hear many of these
trademarks (check out Jess’ fantastic cover of “People Get Ready”
or Holly’s breathy airs in Chris Ward’s “Wind in the Trees”), but
something must have happened while staying at the Bromley House,
as the music that came out of it transcended both Jess and Holly’s
individual backgrounds, as well as many of the trends that their
Brooklyn peers have been re-treading over the past couple years.
At a time when MGMT style party rock and beachy summer jams
were all the rage, Lucius took a step back instead and approached
their sound from another place. Just listen to “For Loves Lost,” the
final track from Bromley House. Here’s a song that doesn’t offer the
listener a place to settle in and get too comfortable. Instead, the
tune reveals itself measure by measure, building slowly and taking
its time, and rewarding the listener to no end for the effort.
This is what makes Holly and Jess such a pleasure to experience.
The more you listen to them, the less you seem sure of having their
music pegged. You’re left wondering how they’re able to achieve such
soaring magnitudes while remaining so openly vulnerable, and this
only makes you want to explore more of the band. While a lot of local
groups indulge in the somnambulance of dreamy shoegaze, Lucius
achieves their peculiar mystery just by being their own quirky selves.
If Bromley House presented the listener with a sound that feels
rooted in folk traditions and melodies floating in the air since time
eternal, their latest self-titled release takes their mission entirely in
the other direction. With Lucius’ EP out everywhere now, coupled
with the band finally being signed to a label (ok, their own label:
Wildewoman Music), the girls seem to have a lot more up their
sleeves than first thought.
Not only this, but they’ve grown a bit since 2009. Lucius isn’t just
Jess and Holly anymore. The project has now blossomed into a
full-fledged band with Dan Molad (drums), and Peter Lalish (guitar/
bass) rounding out the ensemble with anything from Nord Leads,
to all manner of percussions, and even a lap steel when necessary.
Does this mean their songwriting process is any different now than
it was back in the day?
“When Holly, Jess and I began recording 2 years
ago, it started as an experiment of sorts, just trying
things out. As the record evolved so did the band
until we reached our current configuration. We
eventually began ‘learning’ the record and overtime
ended up in the setup we have now.” (Dan Molad)
Some songwriters tend to get weighted down by large ensembles;
finding their voice lost amid the bells and whistles of a backing
band. For Lucius, their new band has given Jess and Holly
an altitude of sorts that allows them to transcend many of the
limitations of their peers. It’s one thing to play dress up and flirt
with other influences (though the girls do look fantastic in giant
bows and shudder shades). It’s another thing to allow yourself to
truly magnify your sound through these forces.
If anything, Lucius is fast maturing into a great group because
of how much they challenge themselves. From writing an album
about an old music school/living space, to trying out for American
Idol, to donning glittery rhinestones, these ladies aren’t afraid to
see what they sound and look like in unfamiliar environments.
Perhaps that’s what they’re talking about with lyrics like “she’s
looking through the wrong end of the telescope” from “Turn It
Around” off their self-titled album. There’s nothing wrong with the
view, it’s how you approach things that makes all the difference.
For such a young group, it’s anyone’s guess where Lucius will
go to from here, but it’s hard to hear their EP as anything but a
prelude to the next step. When Jess and Holly were first raising
funds for the recordings from their Kickstarter campaign, the
original idea was a full-length album titled Wildewoman. After
raising almost two times as much money as expected, the project
seems to have taken on a life of its own. But the recent release
certainly won’t be the last stop either.
Yesterday I listened to an acoustic recording of “Sit There,” where
Jess and Holly put the sunglasses and Mad Men-era dresses aside
for the performance, and found that I immediately understood
why these ladies have been working so hard at their music. This is
truly a great song, and their painstaking passion has made it that
way. In fact, every detail of this group is meticulously thought out
and delivered in the largest way possible. Lucius is just waiting for
the rest of us to notice. Now, with their backing band, increased
touring schedule, and yes… giant sunglasses, Lucius has created
a world that matches the size of their spirit.
Artist Equipment Check!!!
Electro-Harmonix POG2
“We don’t have a bass player, but
Pete splits his guitar signal to his
guitar amp and to a bass amp with
an A/B switch. The bass amp signal
has an Electro Harmonix POG 2 on it
before hitting the amp which puts the
guitar down an octave and makes it
sound like a bass.”
the deli_17

Best
NYC
EmErging
Artists
2012
oF
#3
Widowspeak
Morricone inspired Mysticism By Ed Guardaro / Photo by Danny Krug
Widowspeak emanates a strangebeautiful
mysterious nostalgia that
only lingers deep within old souls.
Their music is unobtrusive – it takes its
time and slowly Molly Hamilton’s vocal melodies
seep through Robert Earl Thomas’ searing leads
and Michael Stasiak’s steady groove.
the deli_18 Spring 2012
RiYL: Mazzy Star,
Cowboy Junkies, XX
Old musical acquaintances from Tacoma, Washington,
Michael and Molly decamped to New York after a label that they
contributed to fell apart. Many moons later Michael urged Molly
– who had little faith in her electric guitar skills and showmanship
– to acquire a used Danelectro and start writing songs.
Through mutual friends, Rob was called in to a living room
practice session, plugged his guitar into Molly’s stereo, and
the band was born. The three, who were still searching for an
appropriate name, began to write a large amount of music.

For most songs, Molly writes the lyrics and vocal melodies, while Rob
and Michael tinker with the canvas that she lays down. Other tracks,
like “Gun Shy,” come from a “kind of backwards process,” says Molly.
“Gun Shy,” a song that began as only a chord progression the band
liked, features a subdued lead in the chorus that Molly thought, “was
intimidatingly suited to the song,” and struggled to create a vocal
melody that complimented such an intriguing instrumental track.
“After procrastinating for a while, I finally had something, and we
recorded it. But then I was worried it wasn’t exactly perfect, and
wrote a completely different set of lyrics and a different melody.”
Later on, as they listened to the two versions, it was clear. “The first
version was the definitive version. It just felt right.”
On the recordings and at numerous stand out performances
at CMJ and SXSW this year, Widowspeak – a band that is still
finding it’s footing as a group of people coming together through
sound – demands your attention and enchants your soul. Their
sound is a mixture of ’90s angst, early ’60s pop, and contemporary
urban alternative. It is
reminiscent of so much
in American music over
the last 60 years that their
songs seem to emanate
from a place that is all too
familiar, yet in reality is all
their very own.
Robert Earl Thomas is a nuage pastiche of all that was wonderful
before samplers and synthesizers binarily deconstructed human
ears. In all analog glory, Rob lets his lines rip, with a refreshing twist
of the old and new. Part spaghetti western – in the vain of Enrico
Morricone – and a little Link Wray – who used to poke holes in his
amp’s speaker cones – Rob connects the bands irksome charisma
to posterity. His tone – that of a dusty Fender reissue turned up
beyond its means – calls to former Cold War Kid guitarist Jonnie
Russell, and a stripped-down Omar Rodriguez-Lopez.
Molly’s swooning timbre is the kind that sends shivers down your
spine when you see it live. What you hear is what you get with Molly.
She does not hold back when she performs live, and the result is a
refreshing reminder of what a unique and talented performer can do
with a little bit of guts and organization.
Widowspeak has a noteworthy presence well before they start to
make loud noises together. This fall, playing in front of the haute, so
hip-it-hurts crowds, A&R reps and music industry peeps at CMJ,
Widowspeak took the stage at Ace Hotel with the same timeless
cool that hooks you on “Gun Shy.” Setting up in a basic power
triangle, Rob and Molly command a large amount of space – both
physically and sonically – while Michael is the thread that weaves
their sound together and keeps it moving – at just the tempo that
titillates you enough to get your feet moving.
One would think Widowspeak’s lack of a bassist would provide a
problem of groove. The sound is raw, high frequency and strippeddown.
However, utilizing a utilitarian amount of clean Fender overdrive
and reverb, Molly and Rob hold an interesting dynamic that doesn’t
feel lacking in the least bit. In fact, somehow even to trained musical
ears, one forgets there is nearly no bottom end whatsoever.
Widowspeak’s recent rise to fame is a Cinderella story amongst
the throngs of talented troubadours trying to make it in New York.
Just after the band’s sixth live performance, their self-released,
GarageBand produced October Tape had fallen into the hands of
Brooklyn indie label Captured Tracks. Their subsequent shows were
energetic – played with a passion and precision that made their
ambitions clear. In keeping with the public’s demand of something
more than a couple bootlegged iPhone-recorded live shows,
Widowspeak laid down “Gun Shy” the aforementioned 7” cut that
showcases their postmodern Wild West sound.
In August of 2011, Widowspeak released their self-titled debut
LP via Captured Tracks. The album’s opener, “Puritan” is an
energetic romp down
memory lane and is followed
“Some try to love you, but it’s never
long before you shake them off.”
up by “Harsh Realm” and
“Nightcrawlers,” which were
also previously released as
7” singles. Thematically, the
full-length album remains
consistent throughout. Robert
Thomas’ guitar work proliferates a lonesome sense of desperation,
complimented by Molly Hamilton’s haunting vocals that come in and
out of the sonic spotlight at all the right moments.
The finished product is a psych pop masterpiece with cathartic
lyrical passages like “Some try to love you, but it’s never long
before you shake them off.” Molly’s lyrics tell a tale of unhealthy
devotion, to the point of obsession all in the guise of love. Rob’s
lead lines make it clear that whatever Widowspeak is sonically and
thematically after, it feels so good, but hurts just the same.
Widowspeak, since CMJ, has continued to gain buzz, and it’s suffice
to say that we are all a little excited to see what this Brooklyn (by
way of the West) trio can do in the not so distant future.
Artist Equipment Check!!!
Danelectro Guitar
Molly used a second-hand
Danelectro guitar to write most
of the songs in the album.
the deli_19

Best
NYC
EmErging
Artists
2012
oF
in an era when zealous music blogs compete to be
the first to unearth potential new stars, the spotlight
often seems to fall on young musicians who’ve
done little more than strum a few simple guitar
chords in their bedroom and upload the recordings
to Bandcamp or Soundcloud. Take Brooklyn band
Friends. Having not yet put out a release longer than a
single, the five-piece has still garnered much positive
attention from seemingly every online music resource,
as well as mainstream press exposure from The New
York Times and The Guardian among others. The group
was even named one of NME’s Top 50 Artists of 2011,
and was nominated for BBC’s “Sound of 2012” poll.
Having captured the imagination of critics and fans
despite a limited output, Friends have actually moved
beyond the whispers of being an Internet buzz band to
one riding a huge wave of excitement and positivity.
One of The Deli’s oldest “friends”
(their EP We Animals was a Deli
CD of the Month back in 2009),
Monogold has developed its
current sound and scene status through
a relentless artistic growth.
Born as a rather shoegazey act in the midaughts,
the band showed a deep evolution
towards a sound more ambient and “avant,”
which relies on haunting melodies that could
easily interchange as the score for a children’s
movie or a horror flick. This maturation is on full
display in their latest album The Softest Glow.
From shorter songs like “Whippoorwill” to longer
numbers like “Spirit or Something,” their tracks
feature an almost tribal, exotic component that
can provoke dreams of sunny escapes, but also
a cerebral attitude that calls for winter chills
and being bundled up in coats. Rather than the
confused music that comes to mind with these
descriptions, Monogold instead achieves a level
of absolute versatility, combined with noteworthy
songwriting. Their newest release is definitely
something worth picking up. (Christine Cauthen)
the deli_20 Spring 2012
#4 Friends
It’s been a dizzying rise
really. The band only
formed in 2010 when
bass/percussion player
Leslie Hann and drummer
Oliver Duncan moved
into Samantha Urbani’s
apartment to escape
a bedbug attack and
discovered the singer’s
treasure chest of solo
recordings. This revelation
sparked the trio to
collaborate. Later adding
guitarist Nikki Shapiro
and multi-instrumentalist
Matt Molnar to the line-up,
these “Friends” (they’re
actually named after Brian
Wilson’s favourite Beach
Boys album, and not the
relationship that they
share with each other or
a bizarre mutual love for
the former NBC sitcom)
very quickly snapped into
tandem, and the sparkling
arrangements on their
early singles have defied their relative inexperience playing together as a
band. Each track would fall under the loose description of indie pop, with
the band incorporating everything from Spector-produced sixties girl pop to
seventies disco beats and hot Sly Stone-esque funky guitar riffs. Consider
the sinister but danceable groove of “I’m His Girl,” the sultry “Friend Crush”
and disco-funk jam “Mind Control” – it’s a wicked concoction of influences.
But despite the candy shop of styles, Friends actually encompass this
wide variety of genres into their sound quite naturally – they’re more hattippers
than straight revivalists. What each single does share, however, is
a lack of wasted space as the unit has already demonstrated an expertise
in crafting tight, catchy, pleasure-crammed pop delights. Think Talking
Heads at their most playful, and you’re some of the way there.
Friends’ debut album Manifest! drops this summer via Fat Possum in the
US and Lucky Number in the UK, and is surely one of New York’s most
hotly anticipated upcoming debut records. Unfortunately, with hype,
comes added pressure, of course, and a dip in quality would be deemed
a disappointment to the same musical press that has given their young
career a serious boost. But let’s dare to dream. (Dean Van Nguyen)
#5
RiYL: Santigold, Neon Indian,
Luscious Jackson
Monogold
RiYL: Animal Collective, Panda Bear, Beach House

the deli_21

Best
NYC
EmErging
Artists
2012
oF
Stephie coplan
songwriters
O bviously
and The Pedestrians
#18 Stephie Coplan
and The Pedestrians
Perhaps one of the most exciting things
along the artistic journey of self-discovery
and creative expression is the moment when
you stop trying to be like everyone else, and
embrace who you truly are. Such was the
case for Stephie Coplan, singer-songwriter
and frontwoman for Stephie Coplan and the
Pedestrians, a dynamic, bold new band bursting
through the New York music scene and
into the hearts of fans all over the country.
Channeling the energy of Gwen Stefani blended
with keen piano chops and empowering
lyrics, Stephie and the boys lure crowds with
the perfect balance of mischievous fun and a
scintillating sound. (Christina Morelli)
#38 Merrily &
The Poison Orchard
With their musical inspiration stemming from
an emotional promise, Merrily & the Poison
Orchard are impressing audiences throughout
the New York and Brooklyn music scene. Their
healthy integration of folk, pop, rock, and a
hint of country makes for a well-rounded and
entertaining live performance. Their tunes have
the lightness of Feist with a twisted edge, and
are richly orchestrated. (Christina Morelli)
#40 Mal Blum
Mal Blum’s whimsical, melodic songs have
been garnering her a devoted group of followers
over the past several years. Like many songwriters
of her caliber, Blum’s strength lies in her
the deli_22 Spring 2012
referred to melodic music with a focus
on lyrics, this genre doesn’t apply only to “solo”
projects, but also to bands that seem to serve the
musical vision of one person.
words. She’s willing to name-drop Harry Potter,
toss a nod to vegans, or place her characters in
the throes of seafood poisoning – always with
engaging lyrical imagery. While the songs themselves
rarely address gender empowerment
issues in an overt way, the discerning listener
can pick out the themes. Blum’s shows often
serve as bonding experiences for fans with similar
social concerns. And of course, everyone is
there to hear a ton of great songs. (Ben Krieger)
#43 Clementine
and The Galaxy
In recent months, you’ve probably seen
your fair share of the Clementine portion of
Clementine and The Galaxy, but you may not
have realized it. Properly known as Julie Hardy,
the group’s frontwoman has made television
appearances backing St. Vincent on David
Letterman and Ellie Goulding on Saturday
Night Live, using her light, ethereal vocals to
accent the singers’ performances. Now with
two EPs released under Clementine and The
Galaxy, which includes producer Michael
McAllister, Hardy is truly unleashing her powerful
voice while soothing with a Florence Welchlike
enchantment. (Devon Antonetti)
#44 The Sneaky Mister
Light and airy – original enough to stand out
but familiar enough to share sonic space with
greats like Feist and Regina Spektor, The
Sneaky Mister a.k.a. Judith Shimer bares her
honest lyrics and clever hooks with the current
Brooklyn scene. The seven tracks off her most
recent EP, Joyce, fills listeners with entertaining
commentary about everyday life and the human
Robin Bacior Photo: Michael Popp
condition. Shimer has a seamless way of keeping
spring and summer musically permeating in
the air all year round. (Christina Morelli)
#47 Robin Bacior
Robin Bacior’s intimate, candid lyrics and
complex, ever-evolving orchestral arrangements
show us a musician whose maturity
is well-beyond her twenty four years. Her
comforting folk tunes are perfect for the winter
season: a time of nostalgia and self-awareness
yet utmost beauty. (Amanda Dissinger)
#48 Firehorse
Leah Siegel has taken her songwriting to
an entirely new level with her new project
Firehorse. The force and precision behind the
band’s music team up to create a powerful and
heartbreaking sound. The group takes listeners
on an ethereal journey through an angst-driven
eerie universe on their debut album And so
they ran faster… In her single “Our Hearts,”
the sparse electronic arrangements, the
synthetic piano sounds, the mechanical electronic
drums, and the strong, sad melody line
confer to this melancholic song an existential
quality reminiscent of the slower material by
Radiohead and Peter Gabriel. (Chelsea Eriksen)
#52 Bird Call
Singer/songwriter Chiara Angelicola a.k.a. Bird
Call stuns with an intense level of vocal control.
Sultry whispered, sometimes ghostly soft folk
breaks into full-bodied warbling without a hitch.
It really seems like she can make her voice do
anything – think a throatier, pleasantly weirder
Regina Spektor. Chiara, based in Brooklyn and

lady lamb
The Beekeeper
hails from the sunny Bay Area, is currently collaborating
with producer Joel Hamilton (Elvis
Costello, Tom Waits) and Bryan Senti, composer
behind acts such as Mark Ronson and Rufus
Wainwright, on her upcoming full-length scheduled
for release this summer. (Corrine Bagish)
#60 Lady Lamb
The Beekeeper
Pieces from various places and parts of Aly
Spaltro’s world exude throughout the colorful
lyrics and retro tunes that spawn from
her moniker, Lady Lamb the Beekeeper. A
southwest-meets-northeast history and a current
Brooklyn base gives way to the whimsical
language, imagery and tone of much of
Spaltro’s music. She has engaged audiences
with her original approach to songwriting and
sound, as well as offered them an artistic
outlet to share their creativity through their
visual artwork, a unique concept found in the
indie music world. This artist/fan connection
is evident in any Lady Lamb performance, as
she thrives off the energy and feedback that
she receives while performing for her loyal and
loving fans. (Christina Morelli)
#73 Sinem Saniye
Reminiscent of Corinne Bailey Rae and Norah
Jones, the sultry, smooth vocals of
Glace Weber
Turkish-American singer-songwriter Sinem
Saniye are capturing hearts nationally and
internationally. Her debut album can be heard
on Delta Airlines, and her music video is now
playing on MTV Europe. The album is saturated
with rich pop, jazz tunes laced with Latin
and Turkish influences, and Saniye’s commanding
stage presence makes her live performance
even spicier. (Christina Morelli)
#80 The Bandana Splits
Retro girl groups of the ’50s have made their
resurgence in Brooklyn, as seen in the catchy
harmonies and sweet sounds of The Bandana
Splits. Comprised of three ladies who met in
Brooklyn, The Bandana Splits bring audiences
back to a time when music was lighthearted
and fun, bringing life and entertainment
to even the most unimaginable situations.
Annie, Dawn and Lauren have found a niche
in the contemporary New York music scene
that makes everything old seem new again.
(Christina Morelli)
#81 Grace Weber
Bright, airy and full of emotion, Grace
Weber’s latest album Hope and Heart encompasses
both sentiments beautifully. Since its
September release, Weber has received a
significant amount of press, including being
listed as Billboard’s “Artist To Watch” and
Photo: Jamie Philp
Mal Blum
clementine
and The Galaxy
Songwriters
Top 20
The Deli’s
Web Buzz Charts
1. Norah Jones
2. Regina Spektor
3. Ingrid Michaelson
4. Cat Power
5. Sharon Van Etten
6. Jenny Owen Youngs
7. Rachael Yamagata
8. Ron Pope
9. Mike Wexler
10. Josh Rouse
11. Jaymay
12. Adam Green
13. Hugo
14. Mike Doughty
15. Khaled
16. Charlotte Sometimes
17. Jolie Holland
18. Dawn Landes
19. Brendan James
20. JBM
Check out our
self-generating online charts:
thedelimagazine.com/charts
holding tight to a top ten spot on the iTunes
Singer/Songwriter charts post-release. Grace
Weber will be heading to the UK in June for a
brief tour. (Christina Morelli)
#92 Fredericks Brown
Deva Mahal, Stephanie Brown and Michael
Taylor make up the NYC-based “Pacifika” soul
sound of Fredericks Brown. The three Kiwis
debuted their first EP, Out of the Rain, after
meeting in New York two years ago. Though
pursuing individual careers, the band found
that they were bringing such original and powerful
talents together to break barriers of traditional
jazz and soul. They have since opened
for the late, great Etta James and toured in
support of Taj Mahal. (Christina Morelli)
#98 Aaron Roche
If you’re a fan at all of Beck’s Sea Change,
you’ll no doubt find a familiar place with Aaron
Roche’s string arrangements and hypnotic
croon. But what you won’t be prepared for is
how many instruments and textures Roche
brings to the table. Elevating pop tricks to a
high art sensibility, tracks like “Cyclocardorary”
and the haunting murkiness of “Death is all
Around” from his new record !BlurMyEyes
place Roche in the company of John Cale and
R. Stevie Moore – artists raising the usual pop
canvas to a spiritual dimension. (Mike Levine)
the deli_23

Best
NYC
EmErging
Artists
2012
oF
rootsy
A lmost
perceived as “reactionary” genres,
Country and Americana were shaken in the early
aughts by a NYC movement called anti-folk,
which has caused a sprawl of young artists committed
to bastardize traditional American music.
#7 Big Wilson River
Reaching instant intensity with the dual night and day vocals of Darrin Bradbury
and Emma McLaughlin, Big Wilson River have charged up thrash folk streaming
through their veins. The band released Octopus in 2011, showcasing their
’90s alternative influences and blues sensibilities in a major way. Tunes like
“Hemingway Had a Cat” and “Dandelion” highlight the band’s ability to engage
listeners with screams and punches - both literally and sonically. However,
through their seemingly aggressive sound, true fragility emerges on songs like
“River Boat” and “Backyard Passout Fest” - releasing a powerful combination of
folk and heavy hits. (Devon Antonetti)
#12 Tall Tall Trees
Tall Tall Trees may have long hair, beards, and a natural, earthly charm,
but they also have the musical chops to back it up. With jazz, bluegrass
and world music backgrounds, the band recorded their selftitled
debut in 2008, instantly gaining popularity after getting placed
on MTV, Animal Planet, and several other channels. For their second
offering, the Tall Tall Trees quartet hit the Alaskan wilderness for some
much-needed time with Mother Earth. The experience resulted in what
would become Moment. Recorded in a church, the album conjures the
image of a giant glowing moon over the Alaskan woods that the band
claims as inspiration for much of the record. (Devon Antonetti)
#20 Hurrah! A Bolt of Light!
Fronted by former Paper and Sand leader Wil Farr, Hurrah! A Bolt of
Light! is teeming with anxious anticipation. Farr and Bridget Buscemi
share vocal duties, belting out gushing harmonies over loud alt-folk
guitars and energetic beats. Hurrah! A Bolt of Light! released a selftitled
EP in 2010 to a positive post-Sand and Paper response, followed
by last year’s similarly well-received full-length Hello!, which
was funded by a Kickstarter campaign. Both albums are thick with
Americana roots and infectious melodies. (Devon Antonetti)
#25 Spirit Family Reunion
Spirit Family Reunion is one of those bands seen playing in the subway, in the back
of noisy bars, or on busy street corners, going unnoticed to bright lights and mobs
of listless pedestrians with their earbuds at full blast. Or at least, that’s what their
cracked and weathered sound would make you believe. Their songs are drenched in
soul and the twang of the banjo, taking the Brooklyn band far beyond the ordinary
bluegrass rock group. (Devon Antonetti)
#34 The Bottom Dollars
With not much more than a four-song EP to their name, The Bottom Dollars used their
debut effort The Halcyon Days to launch themselves into an already successful series of
performances at SXSW and CMJ Music showcases, and are now gearing up for their own
Daytrotter session. With heavy blues vocals and an Old West appeal, The Bottom Dollars
(formerly known as ANAL06UE) continue to feed their growing buzz with energetic live
shows and a constant presence in the New York music scene. (Devon Antonetti)
#46 Reverend John DeLore
Originally hailing from Wisconsin, Reverend John DeLore brings his down-home folk melodies
from the heartland, accenting his country sound with poetic prose and pop-infused
hooks. Now based in Brooklyn, the Reverend, who was ordained online “after a night of
whiskey,” released his debut album Ode to an American Urn in 2009, in addition to two
self-published books of poetry. Ode to an American Urn is a focused and poignant exploration
of the past, much like fellow songwriter and poet Leonard Cohen, whom he covers
with “Iodine” on the album. (Devon Antonetti)
the deli_24 Winter 2012
Tall Tall Trees
Big Wilson R iver
H urrah!
A Bolt of light!

Photo: Lauren Slusher
Production Corner
Spirit Family Reunion
The Bottom Dollars
Food Will Win The War
By Sam Taylor (Southside Guitars)
Twang: is That Tremolo
or Vibrato?
In the mid-50s, great guitar innovators like Duane Eddy
started playing lead riffs drenched in tremolo and echo
in the lower registers of the guitar, creating the bass-y
sound that since then has become synonymous with
“twang.” Tremolo, a regular change in volume which
can be varied in speed and intensity, is an effect often
confused with vibrato, which similarly affects the pitch.
The confusion is due to the fact that guitar manufacturers
used the terms interchangeably. Most notably the
Fender Stratocaster came out in 1954 and was marketed
with what they called a “synchronized tremolo”
#50 The
Due Diligence
Armed with more than just a catchy
roots sound, The Due Diligence is
largely reminiscent of The Band, with
frontman Isaac Gillespie’s sincere
vocal deliveries and the group’s drawn
out harmonies. The Brooklyn-based
trio, which started out as simply Isaac
Diligence, released I Will Wreck Your
Life in 2011, an album that instantly
satisfies with rich, soul-infused rhythms
and earnest energy while combining
folk and some punk along the way.
(Devon Antonetti)
#71 Food Will
Win The War
Walking the thin line between mystical
and haunting, Food Will Win the War is
a Brooklyn pop and folk ensemble with raw, yet still embellished melodies,
sounding almost like a Neutral Milk Hotel cover band fronted
by Bon Iver. Their LP A False Sense of Warmth, which saw help from
members of Freelance Wales, uses accordions, fiddles, and almostwhispered
vocals to show vulnerability and longing. Food Will Win the
War is not only musically diverse on the album, but also smart and
engaging. (Devon Antonetti)
#76 The Third Wheel Band
The thought of a trio of teachers grabbing some instruments and taking
the stage has never elicited an entirely thrilling response. However,
The Third Wheel Band is a different story. Comprised of New York
early education music teachers, the bluegrass outfit mixes children’s
songs and folk classics, creating universally appreciated material on
their two full-length albums. Songs like “Skip to My Lou” and “I’ve
Been Working on the Railroad” sound just as enjoyable to adult ears
as they do to their young pupils. (Devon Antonetti)
#85 Oh Whitney
Oh Whitney, named in honor of lead singer Pete More’s mother and
the band’s general caretaker, includes musicians from Los Angeles,
Spain, France, Mexico and Texas, with their sound taking elements
from each region. Blending folk, flamenco guitars and Philosophy
degrees, the band released their self-titled debut in 2011, and has
since been toiling away in Brazil on a follow-up. For as scattered
as Oh Whitney could be, at one time even featuring a rapper, the
band is a subtle meshing of all members giving them their rootsy,
inspired sound. (Devon Antonetti)
Magnatone Custom 280 amp actually
affects both picth and volume.
(or tremolo arm), which was really a vibrato arm
since it affected the pitch rather than the volume.
It was still Fender that introduced the first amplifi-
Rootsy
Top 20
The Deli’s
Web Buzz Charts
1. Theophilus London
2. CocoRosie
3. Devendra Banhart
4. Punch Brothers
5. Antony and the Johnsons
6. Deer Tick
7. Citizen Cope
8. A.A. Bondy
9. Daniel Merriweather
10. The Felice Brothers
11. Phosphorescent
12. Langhorne Slim
13. Titus Andronicus
14. Akron/Family
15. Kevin Devine
16. Nickel Eye
17. Gregory and The Hawk
18. Warren Haynes
19. Sam Amidon
20. Jeffrey Lewis
Check out our
self-generating online charts:
thedelimagazine.com/charts
er with a tremolo circuit in 1955: the Tremolux.
That same year Gibson came out with the
GA-55 twin twelve amp, with “built-in vibrato,”
but – again – this was really a tremolo.
Danelectro and Premier were also selling amps
with tremolo in 1956 – advertised as “electronic
vibrato.” Things got more interesting and
confusing when in 1956 now defunct manufacturer
Magnatone came out with their Custom
280 amps and their effect marketed as “True
Vibrato,” which actually affected both pitch
and volume. That model is what Duane Eddy
used to create his signature twang sound.
Once guitarists realized they could change
their sound with effects nothing was ever the
same, and many of them started modifying
their own gear. In 1958, Eddy famously modified
his Magnatone 280 with a 15” speaker
and brought along a 2000 gallon water tank
as an echo chamber to record his breakout
hit “Moovin ‘N’ Groovin” with Lee Hazelwood.
The rest, as they say, is history.

Best
NYC
EmErging
Artists
2012
oF
alt rock
T he
#10 Apollo Run
Mixing orchestral pop with progressive indie
elements, Brooklyn-based trio Apollo Run
enjoys giving birth to musical babies named
Here Be Dragons. They just released their
second EP with such title… Multifaceted
musicians with a knack for memorable and
mesmeric melodies, the band showcases their
pitch perfect vocals and orchestral dynamics
on highlights like opener, “City Lights,” sultry
“Fireman,” and spooky “H B D” - with a surprise
ending. (Meijin Bruttomesso)
#13 Ambassadors
A band with serious potential that we’ve abundantly
covered in past issues, Ambassadors
can be described as an art soul-rock act crafting
short, catchy yet rockin’ tracks with strong
melodies and hooks. Their gospel and blues
influences are propelled by heavy percussions
and vocalist Sam Harris’ powerful pipes. They
also have one of the grooviest and most energetic
live shows in town! (Amanda Dissinger)
#21 Black Taxi
Kind of dirty, a little poppy and VERY danceable,
Black Taxi fashions catchy, punchy
songs of unmatched addictiveness. This band
can deliver awe-inspiring shows – at which
you’ll invariably find Deli “Alt Rock” chick
Meijin Bruttomesso, who one day will write a
book about them. The quartet is coming off an
important year, which raised their profile and
increased their audience. (Paolo De Gregorio)
#26 The Men
Rock ‘n’ roll is like flair. You can’t try too hard
to get it out there. It must be evident – from
the rockers’ music and attitude – that it runs
deep in their blood and that they just “have it.”
Pitchfork-blessed The Men “have it” indeed, and
so much of it that they can be considered the
flagship rock ‘n’ roll band of NYC. These guys
took Sonic Youth’s noise-rock lesson, stripped
it of anything unnecessary, and delivered an
album that rocks in ways that we haven’t heard
in a long time. (Paolo De Gregorio)
#28 Devin
Spring has sprung for well-coiffed 23-yearold
Devin. Unlike the majority of today’s
Brooklynites, he’s not about being aloof – and
nothing about him is understated. His boisterous
rock n’ roll features very NYC garagerock
influences, but retains an old school
charm. His dapper wardrobe plus the aforementioned
hairdo evoke some sort of young
Elvis persona. (Corinne Bagish)
the deli_28 Spring 2012
Deli’s staff relates “alt rock” bands to ones
that play straight and punchy guitar rock with
no frills and a more melodic or bluesy approach
than indie rock. LA is this genre’s flagship scene.
Mother Feather
#33 Brothers
Though not all members of Brothers are
actually related, the Brooklyn-based band
is nonetheless carrying on a rock ‘n’ roll fraternal
tradition. Old school rockers who look
like Motorhead and sound like The Allman
Brothers riding motorcycles, these guys basks
in their hard edge sound, stylized with leather,
cigarettes, tattoos and fishnet-clad ladies
nearby. (Devon Antonetti)
#51 Courtesy Tier
Having performed in bands together for the last
seven years, Courtesy Tier have since pared
down their act standing by a lone guitar and
drum kit. But this doesn’t mean their sound
is minimalistic. Rather, it seems like they’ve
found a way to hone in on bluesy echoing rock
with honest, often somber lyrics. Whether their
tunes are constructed via seemingly generative
guitar, intricate distortion, or grunge-y overlays,
the duo gets the point, and more importantly
the feeling across. (Corinne Bagish)
#74 Mother Feather
This lady-led, glamorous Brooklyn troupe
Mother Feather let fly a very promising fourtrack
EP in the fall, highlighting flight motifs
and their spirited, charismatic and danceable
personality. The record is a whirlwind of
genres and indefinable subtleties, spanning
from punchy dance tunes to old school Blues
Rock. Singer Ann Courtney and bandmate
Lizzie Carena, with their fearless style and
unapologetic attitude, are like a modern day
Joan Jett and Cherie Currie. (Jen Mergott)
Apollo Run
The Deli’s Web Buzz Charts
1. Screaming Females 11. Steel Train
2. The Pretty Reckless 12. Wakey!Wakey!
3. Brand New 13. Rhett Miller
4. Taking Back Sunday 14. Semi Precious Weapons
5. We Are Scientists 15. Jennifer Warnes
6. Skaters
16. Stereo Skyline
7. Devin
17. Morningwood
8. The Bouncing Souls 18. Alberta Cross
9. The Hold Steady 19. Ted Leo and
the Pharmacists
10. Straylight Run
20. The Parlor Mob
Check out our self-generating online charts:
thedelimagazine.com/charts
The Men
Alt Rock
Top 20

Best
NYC
EmErging
Artists
2012
oF
indie pop
P op
music will never die, and has a strong tradition
in NYC (think Blondie, Madonna and They Might Be
Giants). If a song can lift your mood, there’s surely
a pop element in it.
#6 Ski Lodge
The band name Ski Lodge evokes what it is meant to – a wooden cabin on a
mountain, a place of warmth and protection from the outside elements. It is
not garish and plastic, with whitewashed walls and chrome fixtures; instead
there is a hardwood floor with thick rugs and a warm fire, keeping the atmosphere
subdued and natural. Andrew Marr’s pleasant vocals present complex
ideas about change and the inherent exclusion of conformity while intertwining
delightful, grounded indie pop compositions. For the group’s next release, the
recordings will include contributions from on stage members Jared O’Connel,
John Barinaga and Tim McCoy for the first time, which will certainly be a new
direction in the band’s evolution. (allison levin)
#9 The Denzels
Formerly called The Goods, The Denzels, invigorated with the name change,
are ready to kick some ass with their dangerously addictive tunes. The songs
are absolutely pop at heart with endearing hooks and jangly guitars,
but there’s an edge that makes them emanate a New York
cool that is by no means a daunting or pretentious hipness. It is
actually rather astoundingly accessible. The band’s latest EP, Easy
Tiger, is a clarified, upbeat amalgamation of delectable pop and
rock music from the ’50s to the present day. (Nancy Chow)
#11 Kung Fu Crimewave
A quintessential expression of the recently deceased Manhattan
label/studio Olive Juice, Kung Fu Crimewave is a band of brothers
(and sister) featuring the Kelly family of Brooklyn – “Kung Fu”
Luke, “Tae Kwon” Jo and Neil Kelly. Rounding out the five-piece
is Deenah Vollmer on electric mandolin and Preston Spurlock on
keys. Charming male and female vocals twinkle on the band’s
2011 effort Capitol Punishment, a record filled with unpretentious
melodies, crooked guitars lines and imaginative lyrics – in the
best lo-fi pop tradition. (Corinne Bagish)
#19 Starlight Girls
Spooky, sexy, at times psychedelic, Starlight Girls imposes a carefully
constructed facade built from French cabaret, soulful ’60s
nuggets and downtempo sultriness. Their songs are invitingly
simple, but hold you fast until you’re caught up in the depth of their
sinister, artful dance party. Vocalists Christina B and Karys may
have adopted their name from the band featured on the ’80s cartoon
Jem, but their sound is built from another place entirely. (Mike Levine)
#29 North Highlands
Named after lead singer Brenda Malvini’s hometown, North Highlands
manage to reconcile the distance between their west coast roots and their
current east coast-based lives with Wild One. Carefully constructed and
arranged, the record drifts between the impeccably melancho-pop melodies
of “Bruce” and “Benefits,” and otherworldly, gently textured mid-tempos like
“Lion Heart” and “Fre$ca.” Brenda’s thoughtful, innocent sounding soprano
can simply make you fall in love with her band’s music. (Jen Mergott)
#30 Skaters
Though Skaters may be the new kids in town they’re hardly giving off the
newbie-vibe. In fact, members of Skaters have already been around the
block a few times, just in different bands. Their debut EP Schemers is a lot
of fun — good old-fashioned leather jacket sporting, skinny jean wearing,
punk-tinged garage pop-rock. Punchy, power chord-laden romps with sing-
the deli_30 Spring 2012
Slowdance
Idg Y Dean
along choruses are elevated to anthems with generous reverb. If
you weren’t already drinking a 40-ounce, you will be once you give
them a listen. (Corinne Bagish)
#37 Futurist
With concerts that astonish audiences like the Flaming Lips but
on an indie budget, Futurist draws a cult-like following with their
fantastical and always unique performances. However, the collective
doesn’t really need the added theatrics to draw attention to
their music, but it is a well-executed bonus. On their debut War Is
Yesterday, the band constructs a colorful, vivacious musical terrain
filled with good vibes. (Nancy Chow)
#56 Slowdance
Slowdance extracts the sweetest nostalgia as listeners look to the
past with rose-colored glasses. The dreamy, pastel-painted tracks
on the Light & Color EP evoke chic French pop and ’80s New Wave.

Futurist
Production Corner
The ’80s weren’t just about electronic music, ya know? That
decade also produced some of the most influential indie pop
bands of all times - for example: The Smiths. At the time,
the band’s guitarist Johnny Marr was regarded as highly as
Morrisey for his inventive parts but also for a sound which was
as simple as it was unique, and which made The Smiths the
jangly band par excellence.
If you want to get a similar tone from your guitar, try this:
assuming you don’t have a Rickenbacker, try a Telecaster or
Ski lodge
Photo: Harry McNally
Vocalist Quay Quinn-Settel effortlessly flits between French and English lyrics
poured smoothly over charming melodies. The band artfully waltzes the line
between melancholic bliss and a saccharine shower creating an infectious
sense of longing. (Nancy Chow)
#67 Pass Kontrol
Framing themselves via a back story that pits pirate radio against corporate
media and big oil dominance, Brooklyn’s Pass Kontrol set the stage for their
arty funk-pop. The band’s best songs employ occasionally filtered falsetto
vocals, funked out drum patterns and a clean, rhythmically-driven bass with
textural atmospherics provided by the guitar and keys. But Pass Kontrol is
way more than that, and browsing through their catalogue will reveal a kaleidoscope
of influences from punk to doo-wop. (Dave Cromwell)
By Paolo De Gregorio
The Jangly Guitar Sound
of The ’80s
#72 Chappo
Do you believe in doppelgangers? Alex Chappo does. In his band’s
zonked out debut Plastique Universe, Chappo embody sci-fi bandits that
screw with their doppelgangers and rock out the way Wayne Coyne fights
aliens. These guys are on a mission to make sure you visit their dimension
and eat their hard-rocking acid while you’re out there. (Mike Levine)
#75 My Pet Dragon
While many bands out of Brooklyn, Bushwick in particular, relish the
DIY sound of buzzy amps and crunchy distortion, My Pet Dragon
decided to go in the opposite direction. Presenting a sound so polished
that you can see your face in it, their songs are meant to fill
grandiose open arenas rather than dark art spaces. (allison levin)
#93 Gross Relations
Gross Relations is a new band from Brooklyn that is, indeed, pretty
sick. These four dudes rock the lo-fi guitar/bass/distorted vocals thing.
You know that thing I mean; the music sounds all fuzzy and messy
and, well, lo-fi! But Gross Relations also rock some surprisingly happy
sounding keys over all the controlled melodic clutter. And those keys
are key indeed bringing the POP out and making things sound more
interesting. Gosh, pop rules, doesn’t it? (OhMyRockness.com)
#94 Idgy Dean
Listening to just “Show Me All The Sounds You Know,” you might
mistakenly think Idgy Dean’s only weapons are her positive energy and
beautifully sultry voice. However, stick around for harder-hitters like
“Bang Bang Sun” and “Lung,” and you’ll soon discover some of the
depths to this roaring personality. Dean’s vocals soar over a backdrop
that can include anything from her tympani drum and electric guitars, to
double-tracked vocals that pulse through your skin with an energy too
dynamic to ignore. (Mike Levine)
Johnny Marr mostly used a
’54 Telecaster for The Smith’s
self-titled debut album.
The Denzels
The Deli’s
Web Buzz Charts
1. Lana Del Rey
2. fun.
3. Santigold
4. Here We Go Magic
5. MGMT
6. Vampire Weekend
7. Beirut
8. The Pierces
9. Class Actress
10. The Drums
11. Rufus Wainwright
12. Cults
13. Sufjan Stevens
14. Broken Bells
15. Oh Land
16. St. Vincent
17. Chairlift
18. The Bravery
19. Julian Casablancas
20. Ra Ra Riot
Check out our
self-generating online charts:
thedelimagazine.com/charts
Indie Pop
Top 20
Danelectro U2. Use your bridge pick up or single coil,
which have a softer attack. Ditch anything related to
boost and distortion in your pedal/amp chain. Turn your
bass EQ all the way down, the treble up just before it
starts sounding too brittle, and keep the mids also very
low - but make sure they give the tone the right amount
of body if necessary. Chorus and reverb are pretty
much a must - don’t exaggerate though. Apparently
Johnny Marr used to tune his guitar UP 1/2 or 1 whole
step, which slightly affects the guitar tone, so you can
experiment with that too.
But of course, the performance is what conveys most of
the jingle-ish feel. It’s really about playing the electric like
you would play an acoustic, with rapid/jumpy but gentle
strums, only hitting the thinner strings.
the deli_31

Best
NYC
EmErging
Artists
2012
oF
F rom
#8 Ava Luna
Led by ex-Deli aspiring intern Carlos
Hernandez (he showed up one day!) avantsoul
six-piece Ava Luna, after their first
full-length release in March 2012, found
themselves literally “pasted” on the cover of
The Deli’s winter 2012 issue. Often described
as “nervous soul,” the band’s music brings
together opposites from the sonic spectrum:
gritty sounds, distorted parts and menacing
arrangements keep things tense and edgy,
while pitch perfect three-part harmonies from
their stellar backing singers sooth your ears.
Call them a NYC paradox. (Paolo De Gregorio)
#27 Zambri
“Crash, bang, thud” go experimental pop
outfit Zambri’s loud arrangements. The sisters
Cristi Jo and Jessica Zambri surely spent
many a rainy afternoon as children drumming
incessantly on anything around them as their
music is partially defined by their large scale
percussion sections. Underneath the punishingly
thumped drums lie dark, sinister synth
arpeggios and wicked pop melodies, which
blend together beautifully on their debut album
House of Baasa, an accomplished and truly
original piece among the recent flood of New
York electronic records. (Dean Van Nguyen)
#32 Illumntr
Illumntr exists (mentally and audibly) on a different
planet. Like a tripped out sonic loom,
their combination of sounds and ideas produces
a multicolored patchwork where vocals
weave in and out, mingling with echoes, bells
and jangles, timpani and synths. These are not
songs with hooks, meant to be easily digested
and regurgitated. Instead, they are carefully
constructed suites – pieces melding into one
another with orchestral grace. (allison levin)
#69 Xenia Rubinos
Studio magic was not necessary to reveal
Xenia Rubinos’ talent on her debut album
Magic Trix. The record is charmingly do-it-yourself,
and Rubinos proficiently and seamlessly
bounds from genres and styles as she does
from English to Spanish – sampling soul, funk,
hip hop, rock, pop and Spanish folk. The eclectic
songs effectively display the range of her
pliant voice as she sweetly croons one moment
and spits out blasting rhymes the next over
minimalistic instrumentation. (Nancy Chow)
#77 Cuddle Magic
Composed entirely by classically trained musi-
the deli_32 Spring 2012
avant indie
+ noise rock
The Velvet Underground to Sonic Youth to Dirty Projectors, the
NYC scene has always been known for its forward-looking tendencies.
These two genres group the more experimental NYC artists.
In One Wind
XeNia Rubinos
cians (6 of them) Cuddle Magic has been
spreading their fascinating music through the
world since 2008. Their latest release, Info
Nymph, is a piece of art full of stories, literature
and artwork, wrapped into an unusual
take on traditional songwriting. The band is
both intense and soft, wrapping you snuggly
with their mellow vocals while keeping you
interested and connected through their quirky
orchestrations. (Christina Morelli)
#84 In One Wind
Blending and often juxtaposing elements of
pretty much any genre out there, from pop
to doo-wop jazz, from Americana to math
rock, and using all sorts of instruments
to do so, Brooklyn’s In One Wind can be
described as a big musical carousel. This
is obviously a group of musicians, who are
trying to find new sonic paths within the pop
realm, and their compositions succeed in
being at once entertaining and interesting,
which both pop and experimental music
often fail to achieve. (Mike Levine)
Photo: Shervin Lainez
#97 YVETTE
Marrying the rediscovery of ritual music with
noise rock, industrial duo YVETTE carves
out their tribal energy with religious devotion
and knife-stabbing intensity. Their debut selftitled
EP is a primal meditation without all the
psychedelic trappings. Making no apologies
to analog originalists, their construction of
LOUD, grinding, sawtooth synths is all digital.
However, I doubt anyone will mind how
they’ve built their saturated, washy textures. In
a town blanketed in beach bands, YVETTE is
a much-needed wake-up call. (Mike Levine)
#100 Happy New Year
Happy New Year doesn’t worry about making
a noisy mess; things will work themselves out
eventually. In the opener to her two-track EP
Twins, singer/songwriter/noise-maker Eleanor
Logan allows a deep bed of noise to envelope
her airy vocals entirely for a good minute and
a half prior to the drums kicking in. But once
things get going, her works take on a life all
their own. (Mike Levine)
illumntr
Photo: Chris Becker
Avant Indie
/Noise Rock Top 20
The Deli’s
Web Buzz Charts
1. Animal Collective
2. Black Dice
3. Sonic Youth
4. Grizzly Bear
5. Dirty Projectors
6. Yeasayer
7. Yo La Tengo
8. Department of Eagles
9. Gang Gang Dance
10. A Place to Bury Strangers
11. Thurston Moore
12. Kaki King
13. The Fiery Furnaces
14. Rasputina
15. Avey Tare
16. Son Lux
17. Mice Parade
18. Zs
19. Rubblebucket
20. Marnie Stern
Check out our
self-generating online charts:
thedelimagazine.com/charts

the deli_33

Best
NYC
EmErging
Artists
2012
oF
metal
T he
METAL SCENE IN NYC
2011 proved to be a productive and lively year for the heavy music
scene in the NYC area. Clubs such as the newly opened St. Vitus in
Greenpoint, the tried and true Trash Bar, the charming subterranean
vibe of The Charleston in Williamsburg and the triad of The Delancey,
Cake Shop and Fontana’s in the L.E.S. graciously hosted shows for
the wide array of artists who fit the hard and loud tag. Hard work
paid off for hometown acts such as Hull, Primitive Weapons,
Mutilation Rites, and Hung, who made enough noise on stages
across Brooklyn and Manhattan for indie labels like The End and
Prosthetic to take notice and snatch them up. Bands such as the
recently revamped Thinning The Herd (#68), the modern metal
juggernaut Fall of The Albatross (#70) and the dearly departed
Exemption (#39) raised the bar of musicianship in the scene
with every performance while local faves Killcode, Anaka, PUI,
Charetta, and Panzie flirted with breaking down doors to the mainstream
by packing the larger venues in Manhattan with their anthemic
hard rock and Big Apple attitudes in check and in full effect. Precious
Metal Monday celebrated its sixth year as the staple at Lit on Monday
nights, hosting the best of the underground’s buzzworthy national
acts as well as local metal bands Tiger Flowers, Alekhine’s Gun,
Flourishing, and Irony of Chaos, steadfastly shaking foundations
of every building within a three-block radius. The hardcore and
punk scene also experienced a strong year – thanks to performances
the deli_34 Spring 2012
genre of the suburban teenager par
excellence, in the last few years, metal
has been growing in popularity in NYC
– also because of the coverage given to it by
local indie rock blogs like Brooklyn Vegan.
Thinning The Herd
Exemption
The Deli’s
Web Buzz Charts
1. Thursday
2. Type O Negative
3. Baroness
4. Liturgy
5. Dub Trio
6. Made Out of Babies
7. Early Man
8. Brutal Truth
9. Dillinger Escape Plan
10. A Storm of Light
11. Winter
12. Car Bomb
13. Hull
14. Acrassicauda
15. Batillus
16. ELKS
17. Hung
18. IKILLYA
19. Exemption
20. Borgo Pass
Check out our
self-generating online charts:
thedelimagazine.com/charts
both on stage and behind the scenes from bands such as Abject,
Yo! Scunt, On the Offense, Straphangers, and A Truth, working
together to maintain genuine DIY ethics and sensibilities by putting
together kick-ass shows anywhere and everywhere across the boroughs.
Other notable acts that made waves in 2011 include grimy metal mavens
Doomsday Mourning, hardcore mainstays The Last Stand, the
crushing extreme metal of Thorn Constellation, throbbing industrial
rockers The Amatory Murder, hard rock chameleon Kore Rozzik
and dirty groove metallers Cousin Sleaze that make this scene both
diverse and vibrant. (Mike SOS)
Metal
Top 20

Best
NYC
EmErging
Artists
2012
oF
electronic
T he
electronic scene has been expanding like no
other in the new millennium – mostly because it’s
music that can be created by one person with a
laptop. The sub-genre ramifications are almost endless...
#45 J.Viewz
Jonathan Dagan – a.k.a. J.Viewz – doesn’t do things by the book. He writes
the book. And after watching his Grammy-nominated project for his second
full-length Rivers and Homes unfold before our eyes, we see why. The album
was 100% powered by fan love and funds. The end result is a seamless surge
of eclectic electro-moods infused with immediacy and flowing with euphonious
ease from breakbeats to trance, to funk and reggae. (Dean Van Nguyen)
#58 Ice Choir
Do I detect a slight English-twang in Kurt Feldman’s voice on
“Two Rings”? It’s hardly surprising. Judging from the track’s
complex array of keyboard riffs and dramatic synth swoons,
The Pains of Being Pure at Heart’s drummer is clearly a major
New Wave enthusiast. And if you’re going to try to emulate
genre heavyweights like Duran Duran and The Pet Shop Boys,
why not sing like them too, right? Released as a single, the
track and its B-side are thus far Feldman’s only ventures as Ice
Choir, but still deserving of a mention because, originality be
damned, “Two Rings” is absolutely brilliant. (Dean Van Nguyen)
#59 St. Lucia
Jean-Philip Grobler rejects the idea that he is a synth-pop artist,
citing his equal use of electronic and non-electronic instrumentation
to support the claim. There are prominent piano chords,
wandering guitar riffs and the odd sax solo littered throughout
his sound, but with programmed beats providing the heart and
earthly synths bringing the soul, the South African – who releases
music under the moniker St. Lucia – does create instrumentals
of great electronic beauty. (Dean Van Nguyen)
#62 Caged Animals
Originally the solo project of Vincent Cacchione, Caged
Animals evolved from a handful of rough, acoustic recordings
to the beautiful, synthetic soundscapes so lushly laid
out on their recent album Eat Their Own. The pulsating beat
of “Teflon Heart” scores the tale of a modern romance, while
“Piles of $$$,” draws on what made Kanye West’s 808s and Heartbreak such a daring
pop record. It also goes some of the way to explaining why The New Yorker so excellently
described the band as sounding “something like a hip-hop-influenced Velvet
Underground.” (Dean Van Nguyen)
caged Animals
#63 Papertwin
While limited budgets push many synth-propelled indie bands to utilize the pocket technology
in creating minimalist arrangements and compact beats, Papertwin’s recordings
are closer to stadium rock histrionics. Singer Max Decker’s evocative vocals float over
lush instrumentals tying everything together and helping Papertwin stand mighty tall
among their peers. The band’s career may just be a single five-track release deep, but
the Brooklyn four-piece’s EP Porcelain is about as fully-formed as any electronic band’s
debut in recent memory. (Dean Van Nguyen)
#64 Penguin Prison
Chris Glover cracks me up. He releases music under the ridiculous moniker Penguin
Prison. His lyrics are often wryly comic, and he has an affinity for the sardonic, as evident
on the single “Don’t Fuck With My Money,” an anthem for the 99%. At his best,
Glover’s funky grooves, passionate falsettos and clean production methods equate to
some incredible jams, 11 of which are compiled on Penguin Prison’s self-titled debut
album. It’s a party record if ever there was one. (Dean Van Nguyen)
the deli_36 Spring 2012
Wazu
Ice Choir

Photo: Billy Kidd
Production Corner
By Paolo De Gregorio
Fun with Arpeggiators
Arpeggiators are one of the most fun and
“ancient” electronic music tools, and consist
in editable algorithms that play the notes of a
chord following a regular sequenced pattern.
Like anything trendy in the 80s, arpeggiators are
coming back with a vengeance these days. If you
are not into their very mechanical “feel,” you can
try and use them to build textural backgrounds,
using more than one of them in different stereo
St. lucia
J.Viewz
#66 Tayisha Busay
Currently on a hiatus, Williamsburg hipsters’
favorite party band Tayisha Busay
has proven, with their new album Focus/
Virus, that they are much more than just
some kind of weird, hilarious cabaret act.
Songs like “Nothing’s Happening” and
“Heartmeat/Lovemuscle” are pure electronic
pop gems from a record that’s as
consistent as it is varied. (Mike Levine)
#83 Wazu
Straight out of Australia, Wazu duo Matt and
Rizz make vicious glam jams propelled by
murky, grating synths and ground-moving
guitar riffs that equate to an absolute horror
show of dark electronica. Having cut
their teeth performing in other groups in
their native land, the band now resides in
New York, and locals have embraced their
homicidal sound after the pair released a
series of self-produced singles last year.
Their debut album is due to drop this summer
with Titus Andronicus producer Kevin
McMahon at the helm. (Dean Van Nguyen)
#88 Blonde Valhalla
Coming together just last year, Brian Aiken, Andrew Owens and Birdie Aiken
– collectively known as Blonde Valhalla – very quickly put together Dance
of Youth, a Flock of Seagulls-esque five-track collection of retro synth-pop
tunes. Predominantly written by Aiken (a former member of the excellent
indie rock band Suckers) and built on cheap keyboard licks, the EP is a
rough but bright first offering. (Dean Van Nguyen)
#91 Nicholas Jaar
Ridiculously young New York-born, Chilean-bred producer Nicholas Jaar
was just 20 years old when he dropped his critically-acclaimed debut album
Space Is Only Noise. The sultry record drew from the softest reaches of
techno, incorporating jazzy piano chords, soul samples and other wellchosen
flourishes. This tantalizing concoction mesmerized music critics,
and the record drew praise from all quarters including a four-star rating from
The Guardian. As the world waits for a follow-up, Jaar has been a busy boy,
running his own label Clown & Sunset, as well as currently studying comparative
literature at Brown University. (Dean Van Nguyen)
#96 Psychobuildings
Standing out from the crowd of eighties dance music revivalists, Brooklyn
trio Psychobuildings pull from the darker side of the New Wave genre. Their
music is a psychedelic blend of heavy basslines, synthetic beats, funky
guitar licks and leader Peter LaBier’s vigorous vocals. Sometimes sinister,
but always danceable, the band has been showcasing their six-track selftitled
EP with an energetic live show that highlights not only their music, but
LaBier’s impressive dance moves. It’s something he’s not afraid to speak
about on the record. (Dean Van Nguyen)
7 Aliens Catanya Arpeggiator VSTi plug-in
features 1200 built-in patterns capable of
transforming simple chords into complex
MiDi phrases in real time.
The Deli’s
Web Buzz Charts
1. Twin Shadow
2. LCD Soundsystem
3. Sleigh Bells
4. Scissor Sisters
5. Blood Orange
6. Penguin Prison
7. Ratatat
8. Neon Indian
9. Tanlines
10. VHS or Beta
11. Battles
12. Amon Tobin
13. St. Lucia
14. Caged Animals
15. Lemonade
16. El-P
17. CREEP
18. Sepalcure
19. Hooray for Earth
20. Com Truise
Check out our
self-generating online charts:
Electronic
Top 20
thedelimagazine.com/charts
placements, or as random “melody
generators” if you slow them down a lot.
In the last few years, most DAWs have
introduced very useful simple MIDI
arpeggiators, which can apply this effect
to any VST or MIDI instrument you own.
But if you are looking for something a
little deeper and more involved, you
should check out the 7 Aliens Catanya
Arpeggiator VSTi plug-in, which features
1200 built-in ready-to-use patterns
capable of transforming simple chords
into complex MIDI phrases in real time.
the deli_37

Best
NYC
EmErging
Artists
2012
oF
psych rock
P sychedelia
+ dream pop
can embody the sound of the free, communal spirit of the ’60s
or the more private dreaminess of the shoegaze and dream pop movements,
which have been staples of the NYC sound for quite some time.
#14 Fort Lean
Fort Lean conceptualizes sonic escape in a parallel utopian world where you can still
see the skyline but not hear any cars, and the weather is always perfect. Isn’t that
Portlandia? Their lead single “Sunsick” off their latest 7” builds on a tom tom heavy
drum pattern as single stroked guitar chords chime down over distant synthesizer
pads. Passionate vocals give way to atmospheric lead guitar figures, while its b-side
“The Precinct” is delivered with measured pacing by way of a deceptively calming
descending chord progression, until the big coda crashes you over the head with
layers of guitars, cymbals and voices. (Dave Cromwell)
#35 Field Mouse
Emotionally engaging, carefully crafted dream pop is the appealing sonic domain
of Field Mouse. The formidable songwriting/recording team of Andrew Futral and
Rachel Browne create aural landscapes that can melt the hardest of hearts. Having
expanded to a four-piece with bassist Danielle DePalma and drummer
Geoff Lewit, the group has been playing numerous live shows and
steadily building a loyal fan base. (Dave Cromwell)
#54 DIIV (formerly DIVE)
DIVE, who recently changed their name to DIIV, plunges into an aquatic
soundscape of blur-soaked loops and echoing underwater vocals. Initial
band member Zachary Cole Smith was the guitarist for Captured Tracks
labelmates Beach Fossils, who certainly share a similar aesthetic. Their
vocals unwind into themselves – male and female voices come together
and fall back apart – like jellyfish in a twilight tide. (allison levin)
#55 The Beets
At first glance, The Beets evoke ’90s nostalgia: The Beets were The
Beatles-esque group on the show, Doug, with hits like “Killer Tofu”
and “I Need More Allowance.” The (nonfictional) Beets do touch upon
the ‘90s, wrapping themselves in layers of reverb and droning guitars
– joyfully discordant like early Pavement, whom they’ve opened
for. However, it is the ’60s in which they truly dwell, albeit somewhat
anachronistically. (allison levin)
#57 Dead Leaf Echo
Dead Leaf Echo fashions ethereal music in the spirit of ’90s
dreamgaze bands like Chapterhouse and Ride with its emphasis on atmospheric
guitars, distinct percussive momentum, cathedral-inspired vocal
harmonies and dramatic build-ups. This is also in part due to legendary 4AD
producer John Fryer (Depeche Mode, Cocteau Twins), who added his mixing
touch to the group’s latest recordings. (Dave Cromwell)
#78 Himalaya
With their deep, droney psych rock, Himalaya reference ’90s era artists like
Spaceman 3, Spiritualized and the Brian Jonestown Massacre as kindred
spirits. Having just released their debut The Reason We Start Fires, lead single
“Day 6” sets a deep slow groove, like lazy waves rising and falling on the
ocean. Softly sung verses give way to big choruses of “ahhhhhs.” There’s an
oddly nostalgic feel to it all – coupled with psychedelic vibes that mirror Syd
Barrett era Pink Floyd. (Dave Cromwell)
#82 Indyns
Indyns makes dancey music for people who like spending time alone in
their bedroom. Moody and atmospheric, singer/songwriter Adam Jones and
the deli_38 Spring 2012
Ex Cops
Young Boys
Fort lean

andmates produce a dream state formed from the simplest of elements:
synth, beats and reverb-drenched guitars. Somehow these elements come
together to produce catchy fog machine dance anthems perfect for your
next pillow party. (Mike Levine)
#86 Ex Cops
Brooklyn duo Ex Cops plays music that some have categorized as devotional
tropical goth, however, a thorough listen to their material reveals a more
complex sound. Older songs like “Broken Chinese Chairz” point towards the
Production Corner
By Paolo De Gregorio
Experimenting with
Effect Plug-ins
Audio Plug In effects give musicians with experimental
tendencies a lot of options to play with. Here are a few
cool ways to create some original sonics.
EVER CHANGiNG BACKGROUNDS (OR
DRUMS): Create three or four radically different
effect buses featuring several plug ins as inserts, and
using your DAW’s mixer automation, slowly (or quickly
if you wish) change the ways a background sound is
affected. For a more noticeable effect try progressing
from a more mono to a radically stereo sound. On
Radiohead’s records you can hear this idea applied to
drums: drum sends are switched on and off abruptly,
Field Mouse
DIIV
minimalistic New Wave stylings
of the late ’80s. The mysteriously
titled “S&HSXX” clacks with a
percussive force reminiscent of
Brian Eno’s “In Dark Trees.” Their
latest tracks also differ greatly from
one another. “You Are a Lion, I Am
a Lamb” revisits the dreamy, uptempo
melodies of the Madchester
era and dips them in a mid-fi sonic
context, while “The Millionaire” is
an arresting dream pop gem which
halves the bpm and doubles up in
reverb. (Dave Cromwell)
#89 Twitchers
“A good band is hard to find” is
not how the saying goes, but it
is the philosophy that Twitchers
have wholeheartedly ascribed to.
Their website (www.bloodofjesusrecords.com/twitchers)
cannot be
found on the main page of their
label. There is no bio, no photo, no
links to social media, and no direct
Experiment with feeding drum loops with
The Prosoniq Orange Vocoder.
creating sudden bursts of a distorted version of the
main drum sound, often panned hard left or right.
THE HANGiNG DELAY: This effect (very
common in dub and some psych rock) is commonly
Psych/Dream Pop
Top 20
The Deli’s
Web Buzz Charts
1. Frankie Rose
2. Bear In Heaven
3. Suckers
4. Woods
5. Widowspeak
6. Real Estate
7. TV on the Radio
8. The Antlers
9. The Raveonettes
10. School of Seven Bells
11. Panda Bear
12. Crystal Stilts
13. Asobi Seksu
14. Psychic TV
15. Ducktails
16. My Best Fiend
17. Amen Dunes
18. The Big Sleep
19. Minks
20. The Depreciation Guild
Check out our
self-generating online charts:
thedelimagazine.com/charts
email. Music videos are collages from vintage films (coulrophobics
should avoid “Loco”). Like any good mystery, Twitchers are dark and
brooding. Their drony reverb rolls in like a dense fog. (allison levin)
#90 Young Boys
With their sound evolving over the last two years, Young Boys
appear ready for a more visible profile. “Fell From Grace” brings
together shimmering guitars with live crack snare drum and twisted
carnival organs. “It’s Alright” lumbers along a slithering groove that
most certainly does pay homage to Scotland’s Brothers Reid, while
“High Tide” drives forward on buzzing keyboards and deep toned
vocals making it as “psych” as anything that, say a band like The
Black Angels might do. (Dave Cromwell)
#97 OhNoMoon
Hit hard by the sudden death of their bassist Raymond Blanco
towards the end of the year, OhNoMoon’s 2011 was bittersweet
at best. Until then, this Astoria-based psych rockers had released
the single “Sleeping Limbs” and an outstanding cover of Bowie’s
“Ashes to Ashes,” laying a fast path around town, which culminated
in a sold out Deli show at CMJ. Hopefully they’ll give us some new
recordings soon. (Paolo De Gregorio)
#99 Spanish Prisoners
Spanish Prisoners’ album Gold Fools is a hypnagogic journey of
competing influences – one-half vintage synth wilderness, one-half
driving rock riffs. The band’s washy vibe will leave its “tremolo-haze
symphonies” (their words...) on that vulnerable sweet spot of yours
– found right between the headphones. (Mike Levine)
used on vocals and guitars but might work on any
rhythmic instrument: set up a rather long delay on
an effect bus, synch it to the song’s tempo. Keep
the main vocals dry until you hear a word in the
song you may want to highlight (make sure it’s in
a note that works with the following chords). Edit
the vocals’ “send” automation values so that the
signal is sent to the bus ONLY when that word
is sung: during playback you’ll hear the word
repeating a few times after the first occurrence.
Adjust the delay’s volume, tempo and feedback
so that it works in the arrangement.
“VOCODE” YOUR DRUM LOOPS: We
are all familiar with how vocoders interact with
the human voice. But this weird robotic effect
does very interesting things to any more or less
rhythmic signal. Experiment through feeding drum
loops instead of vocals for some truly different
textures. The Prosoniq Orange Vocoder (pictured)
works particularly well for this purpose.

Best
NYC
EmErging
Artists
2012
oF
indie rock
P robably
now over its peak period, indie rock has
turned into an umbrella term over the years.
The Deli uses it to describe artists with a darker
rock sound who keep their songs edgy and tense.
#15 ARMS
ARMS is one of the first NYC bands I ever fell for. The
song was 2009’s “Heat and Hot Water,” and the setting
was a NYU dorm room. Naturally, I was thrilled
when I heard about the band’s latest album 2011’s
Summer Skills, a beautiful and blissful melancholy
(in the best kind of way) stirring up nostalgic feelings
that you can’t quite put your finger on, but are powerful
and passionate like the best summer memories.
(Amanda Dissinger)
#16 Grassfight
Bleak like Ian Curtis (but with a much higher range),
danceable like... New Order (but twice as zonked
out), Grassfight expands on the freaky shoegazer vibe
in a way Interpol never got around to. Wtih a name
based on a tragic battle during the Texas Revolution,
their 2011 EP Icon is bound to be confrontational. But
don’t let that scare you, singer Nathan Forster and
band make the kind of lush, devastating music too
catchy to keep you down. (Mike Levine)
#23 The Can’t Tells
Crafting catchy, lo-fi indie rock songs in the vein of
Pavement and Lemonheads, The Can’t Tells released their
latest self-titled album in February via their Bandcamp, and
since then have been performing all over Manhattan and
Brooklyn. The trio’s simplistic approach to indie rock music
(and killer live show) makes them easy to instantly connect
with and get excited by, which is rare for a new band.
(Amanda Dissinger)
#36 MiniBoone
MiniBoone incorporates a melodic punk rock sound (think
early We Are Scientists) with charismatic vocals that leap
across decibel levels and emotions with a balletic agility.
Imagine the enthusiasm of Say Anything’s Max Bernis combined
with a healthy dose of David Byrne’s erratic vocal
styling. (allison levin)
the deli_40 Spring 2012
ARMS
motive
Brick +Mortar
Photo: Brian Park

The Can’t Tells
lissy TruLLie
Photo: Collier Schorr
Bugs in The Dark
#49 Brick
+ Mortar
The ghostly boardwalk town of
Asbury Park, NJ is home to famous
oddities – smiling Tillie, the 1920’s
era Convention Hall, and a slew
of musical acts, including Brick +
Mortar. The drums-and-guitars-only
duo stacks their sound with electro
beats and totally unique vocals. Lead
singer Brandon Asraf keeps it theatrical
and playful, using his voice as
an ostentatious instrument to make
things more interesting with every
distorted word and wacky shout.
(Corinne Bagish)
The Deli’s
Web Buzz Charts
1. The Walkmen
2. The Strokes
3. Yeah Yeah Yeahs
4. The National
5. Interpol
6. The Rapture
7. The Men
8. The Morning Benders
9. We Are Augustines
10. White Rabbits
11. Yellow Ostrich
12. Blonde Redhead
13. Matt and Kim
14. Eleanor Friedberger
15. Julian Plenti
16. Cymbals Eat Guitars
17. French Kicks
18. Japanther
19. The Front Bottoms
20. Bear Hands
Check out our
self-generating online charts:
#61 Lissy Trullie
Lissy Trullie’s husky voice evokes
another rocking redhead, vocalist and
guitarist Marcie Bolen (an original member of The Von Bondies),
and she also sings in a similarly jaded tone. However, “It’s Only
You, Isn’t It” off her recent full-length debut, opens with a plaintive
cry that sticks with you. Her emotional depth is clear, though
it isn’t always openly apparent. (allison levin)
thedelimagazine.com/charts
#87 Appomattox
Cheeky, slightly sneering vocals with enough occasional growly
rock undercurrent to keep us on our toes is reason enough to
start listening to Brooklyn trio Appomattox), who boasts one
of the best rock shows in town. What keeps us glued to their
tunes are the messages injected – quite palatably – into the
Appomattox’s upbeat and tightly melodic post-punk.
(Corinne Bagish)
Indie Rock
Top 20
#101 Motive
In the track “Nobody Eats My Dinner,” singer Andrew McGovern
is way too hard on himself. At first lamenting how nobody likes
him, he eventually gets lost in its driving rhythm instead; taking
the song to a loud, hard-jamming place similar to the destinations
that The Strokes used to carry me. Like the track “Summer
Solstice,” that takes you on a long ride but leaves you in about
the same place that it began, Motive deals with life’s revolving
frustrations the only way they know how – channeling their angst
through heartbreak riffs and confessional lyrics. (Mike Levine)
#102 Bugs In The Dark
Bugs in the Dark is a group that wraps its sound up tightly and
unleashes it with equal fury. The three-piece lays down charging
riffs under singer Karen Rockower’s soul-shaking vocals weaving
a punishing set together that takes no prisoners. (Mike Levine)
the deli_41

Best
NYC
EmErging
Artists
2012
oF
funk+ hip hop
T his
#22 A$AP Rocky
The kid’s got flow. Content-wise A$AP Rocky
sticks primarily to the gunshots and bravado
prevalent in mainstream street and gangsta
rap, but his delivery sets him apart as a hellion
who’s done his homework. The first rapper
to break a perfect synthesis of Houston-born
Chop-and-Screw and Harlem Street Rap,
A$AP Rocky seamlessly switches flows with
the artifice of a vet MC. Though he may lend
a bit much credence to all the “Purple” and
“Swag” he’s endowed with, he’s not afraid to
include a little insight into the game and his
own struggle and hustle. (BrokeMC)
#31 Hidden Fees
Retro maestros Hidden Fees are so lodged in
the seventies they’ve seemingly rejected all
modern methods of releasing music. There’s
no streaming music profile, just a couple of
limited edition 12” vinyls that house the band’s
smokin’ hot brand of funk. This rather loose
collective of musicians tends to produce elongated
jam session of night club grooves, and
it’s led by Ivan Sunshine of Ghost Exits and
Love As Laughter, as well as Tom Gluibizzi
from Psychic Ills. (Dean Van Nguyen)
#41 Deathrow Tull
Deathrow Tull is the self-proclaimed “rattlesnake
in your lemonade, the whiskey on your
ice cream, the underwear on your monkey,
and the dancing shoes on your vibrator.”
These wonderful weirdos provide clever,
tongue-in-cheek rap – bordering on funk,
bordering on electro? Whatever it is, they’ve
the deli_42 Spring 2012
category also includes dance-oriented
world music genres like Afrobeat, which
have been witnessing a renaissance in
NYC in the last few years.
The Sway Machinery
found a very unique blend of wholly interesting
debauchery. (allison levin)
#53 The Sway Machinery
The Sway Machinery have built an unlikely combination
of Jewish Cantorial music with afrobeat
grooves, and the result expresses a hidden
energy common to both. Klezmer and Malian
tribal music aren’t usually said in the same sentence,
but this band made it their mission when
recording with the legendary Timbuktu songstress,
Khaira Arby. This is a group that honors
different traditions while bringing them together
into something new. (Mike Levine)
#68 Superhuman
Happiness
If the band’s penchant for bright costumes
doesn’t draw you in, Superhuman Happiness’
The Deli’s Web Buzz Charts
1. Beastie Boys 11. A$AP Rocky
2. NAS
12. Das Racist
3. Kid Cudi
13. DMX
4. Jay-Z
14. Busta Rhymes
5. 50 Cent
15. Wu-Tang Clan
6. The Lonely Island 16. Mark Ronson
7. Fabolous
17. Mos Def
8. Childish Gambino 18. Matisyahu
9. MF Doom
19. Method Man
10. RZA
20. Lloyd Banks
Check out our self-generating online charts:
thedelimagazine.com/charts
Deathrow Tull
peculiar yet enchanting genre fusion will. The
band’s mastermind Stuart Bogie’s roots in
Antibalas are evident as he leads the group into
an ever-changing musical adventure through
funk, afrobeat, pop, folk, jazz and rock. This
dabbling in various genres may have to do with
the impressive laundry list of artists Bogie has
worked with including TV on the Radio and the
Yeah Yeah Yeahs. (Nancy Chow)
#80 The Stepkids
Recently blogged by none other than Thom
Yorke on Radiohead’s website, The Stepkids
have taken The Parliament and Funkadelic
Psych/Funk lesson and put it to good use
for a generation that never got to take a ride
aboard that crazy spaceship. The trio is tightly
pairing the ghosts of Sly Stone and The Bee
Gees together with Free Design and The Fifth
Dimension. Not a small task... (Mike Levine)
Funk/Hip Hop
Top 20

the deli_43

Music Here
By Meijin Bruttomesso
Photos by Lucas Garzoli
As one strolls down 8th Avenue
scanning the rows of unassuming
high rises and approaches 38th
street, the faint sounds of crashing
cymbals, rumblings of bass, and
echoes of singers belting seem to emanate
out of thin air. Finally, at the base of 584 8th
Avenue, the source of the noises becomes
clear; it’s The Music Building!
Aptly named, The Music Building is an ant farm of sorts for upand-coming
bands. Except for allowing artists to actually live
there, it offers secure, 24 hour access for writing and rehearsing,
loading and unloading from shows, storing equipment
safely, teaching lessons, and throwing the occasional gettogether.
Situated in an area of town that has near non-existent
noise complaints, bands can rest easy about their erratic
hours or frustrated neighbors. Conveniently located by Port
Authority and Penn Station, the 12 story Manhattan structure
is available for artists from all over the Tristate area. “Officially
opened as a facility strictly for musicians in July 1979 by Jack
P. Lerner and taken over by his son, Roget Lerner, in 2010, the
building is the largest rehearsal space in New York, offering 69
studios in its 42,000 square-foot capacity.
Approximately 150 to 200 bands of every genre imaginable
rent out the space each month, and in turn, sublease
further to other artists, creating a huge network and sense
of musical community. Some of New York and the World’s
most renowned artists have jammed within the Manhattan
location’s walls, including pride and joys, Madonna, Interpol,
Living Colour, They Might Be Giants, The Bravery, The
Strokes, who are leaving this month after 14 years in the
building, New York Dolls, Patti Smith, members of Kiss and
The Talking Heads, Billy Idol, The Fleshtones, Joey Ramone,
The Smithereens, Blondie, and the list goes on. So, who will
be the next legend to add to that list? Here are some of the
artists currently quaking The Music Building.
Lives
Last Spring, Social Hero and Vinyette shared The
Deli’s feature on Music Building artists. Channeling classic rock and
classic metal, Social Hero bring back the power chords and power
stances, while injecting melodic vocals ands a sense of fun, perpetuating
hte spirit of rock alive. Vinyette’s edge lies in their intricate,
ever-changing rhythms, and progressive style.
The Dirty Grand produce dark and haunting electrodance
rock. The NYC trio, consisting of Lou Reed’s touring guitarist
and former members of BM Linx, create a grungy and echoing
soundscape on their EP, Facedown.
The Blackfires are yet another rock troupe to keep
an ear on. Members hailing from all corners of the globe unite over a
love for bluesy riffs, devilish guitar solos, falsetto vocals, and smashing
drums. Headbangers can rejoice in the resuscitation of a spirited
metal attitude.
Nominee for Artist of the Month on the Deli, Lightouts indeed
touch on the lighter side of the music spectrum. The two man band
THe bLackFires
& aToM sTrange
Tony FroM
THe dirTy grand
Music buiLding MuraL
by LusTer kabooM
broTHers &
THe Tye Trybe
recently released a new single, “The Cure of Shyness,” which showcases
their upbeat and ethereal Indie pop and multitasking abilities.
Hip-hop infused electronic melded with R&B grooves backed by
contagious beats define Inky Jack. These four Brooklynites
know how to create an infectious dance track, and their self-titled EP
is available and fitting for any night club around town.
Bronx boys, The Tye Trybe combine the grittiness and
laid back energy of garage rock, a distinguishable vocal growl, and
underlying soulful vibe. The three-piece also pays homage to their
roots in Spanish Harlem, adding a unique flair to their individual sound.
As the number of bands rises throughout NY and beyond, the need
for rehearsal spots similar to The Music Building grows. According to
Roget Lerner, “The goal going forward is to provide more resources,
beyond rehearsal space, that will allow the emerging bands to elevate
their chances of success. This includes production of hi-quality videos,
media partnerships, etc.” While that is in the works, we can all
thank The Music Building for setting an example, supporting artists
and their creations, and keeping music alive and well.
Visit The Music Building on Facebook to hear about upcoming events: Facebook.coM/THeMusicbuiLding.

kitchen recording equipment news
Line 6
POD HD Desktop
Review by Gabriel Lamorie
Line 6 has developed their own high definition
amp modeling technology, and packed it
into their POD HD line of guitar multi-effects
modules. And this HD Modeling technology has been
moved to the desktop with the introduction of the
POD HD Desktop.
The POD HD ($400) is a small desktop multi-effects unit that
contains 22 HD amp models based on some of the world’s most
iconic amps and over 100 “M-Class” effects containing 19 delays,
23 modulations, 17 distortions, 12 compressors and EQs, 26 filters
and 12 reverbs. The amps and effects can be combined in a massive
amount of ways, making the possibilities for customized tones nearly
endless. All of the processing takes place in the internal DSP engine
- so no load is put on your computer when recording.
The POD HD has a USB connection to facilitate interfacing with
any DAW software. The unit also includes a S/PDIF digital output
for recording. The sample rate can be configured in the internal
settings from 44.1 kHz up to 96 kHz. No need to worry about
latency because when recording via USB, the signal actually splits
– sending one signal to the computer through USB and another
signal directly out of the main outputs and headphone jack. The
USB connection also allows for direct playback of your DAW
through the POD HD’s outputs.
Some of my favorite go-to effects originate
in the Eventide H3000. A great deal of the
Eventide experience comes from tweaking and
interacting with the hundreds of presets that come
loaded in the box. They have funny names like “lush
life” and “my bloody valentine” and “canyon” and they
cover a lot of ground from subtle, usable room verbs
to ridiculous, head-up-your-arse fun-blasts that aren’t
so much usable as spatial effects as they are eartickling
time suckers that you learn to love.
Brought to you by
Playing the POD HD live is a pretty awesome experience. The portability
and setup time alone is a huge benefit. Whenever I play my PRS SE
Custom guitar live, I am usually mixing on my own gear so I found that
controlling my sound by plugging directly into a snake or mixer out of the
left and right outputs of the POD HD is great, due to the fact that the mixer
has absolute control over my guitar tone.
If you aren’t partial to the idea of another person controlling your axe, but
you still want the flexibility of the effect models and signal chains of the
POD HD, Line 6 has included output modes that tweak the actual signal
so that you can achieve the best results when plugging into your own
external amp. Not only that, but Line 6 also includes pre amp versions of
all 22 HD modeled amps for the best signal to noise ratio.
Eventide SPACE Multi-Effects Pedal Review by Travis Harrison
Eventide’s Space ($499) is the company’s play to put a lot of that crazy
sonic diversity into a stompbox small enough to stuff in a gig bag. The
Space also works equally well as a piece of outboard gear. Firstly allow me
to simply declare that this thing sounds good. Most of the sounds I was
able to coax from it were convincing, full range and unique, be they swirling
vortexes of galactic-apeshit or far more reasonable plates and rooms.
“if you’re looking for a little bit of that
Phil Collins gated reverb for your three
and half bar tom-tom fill, try the ‘Phil
McCavity’ preset, which really nails the
‘In the Air Tonight’ sound.”
Some of my favorite patches in this sucker were the crazy ones. My friend
Nate Martinez from Thieving Irons used the Space as a guitar pedal on a
session at my studio and found a beautiful delay called “Nero’s Ascent”
which seems to finish with a puff of pitched up reverb. It was a heavenly
sound. I found myself going to the “Hey Honey” preset quite a bit for a
haunting pitched reverb that added a real mysterious color to some mixes.
The “Spicy Spring” sounds like a spring-reverb on steroids which, to
spring-reverb addicts like me, isn’t a bad thing. If you wanna take your
mix on a one-way trip to the 1980s, the Space can take you there. “1985
Damage” is a wacky mid-’80s styled verb that when applied sparingly can
induce a little Reagan-era spatial euphoria. And if you’re looking for a little
bit of that Phil Collins gated reverb for your three and half bar tom-tom
fill, try the “Phil McCavity” preset, designed by Alan Moulder and Flood,
which really nails the “In the Air Tonight” sound.
the deli_45

kitchen recording equipment news
Toontrack EZmix 2
Review by Zach McNees
EZmix 2 ($149) by Toontrack is a powerful yet
simple mixing tool for focusing and enhancing
the sound of tracks with a wide variety of
mixing presets for inserts, busses, aux sends and FX
creating a quick and headache-free “set and moveon”
mixing experience. This is a Native-only plug-in,
available in RTAS, VST and AU formats.
EZmix 2’s cascading preset options allow users to refine the
sound they’re looking for based on a variety of presets starting
with Instrument Groups. Drums, Bass, Guitars, Keyboards,
Percussion, Strings, Vocals and others in a “Miscellaneous”
category will get you started. You can then refine each of these
selections to a specific instrument. The search can be refined
further with a selections of amps, effects, musical genres and
mixer options for Insert, Groups Bus or Aux Send allowing users
to find what they’re looking for quickly. I started by auditioning
electric guitar presets on a clean guitar track that was sounding
a little flat. Each preset in EZmix 2 has a very unique and
sculpted sound. Since the control over the sound of each preset
is minimal, if the preset you’ve selected doesn’t immediately
strike you as the right sound for your instrument, your best bet
is to continue searching. I settled on a preset called “Guitar with
Delay” that engages EQ, Compressor, Chorus and Delay effects
which were finely tuned and well blended. This particular preset
the deli_46 Spring 2012
Brought to you by
EZmix 2’s cascading preset options allow users to refine the
sound they’re looking for based on a variety of presets starting
with instrument Groups.
sculpted a healthy amount of low midrange out of the guitar, boosted the
high-end slightly and compressed the overall signal noticeably but not
to the point of overkill. Chorus and adjustable delay finish off the sound
instantly making the guitar lush and dreamy while widening an originally
mono track into a unique stereo sound.
I spent some time applying EZmix 2 to some of my drum tracks. Settings
for Kick allowed me to audition several different choices, each blending EQ,
compression and Aural Exciter-style sonic enhancement effects for a sound
that ran the gamut from scooped and punchy to soft and retro. I ended up
selecting an “Enhanced Metal Kick” preset that seemed to work really well
on a vintage style kick drum for an Americana-type track.
For the more reviews, visit www.sonicscoop.com!

Planning is better than hoping.
Start planning today.
Info and registration at www.alanjohnsonlaw.com/wmb
Attorney Advertising
TM
Register now
June 18, 2012
New York City
3-hours of
intensive training
wholemusic_half pg ad.indd 1 4/30/12 11:43 AM
the deli_47

kitchen recording equipment news
Burriss Boostiest
Review by Gus Green
The Burriss Boostiest 2.5 is as unique as its name
suggests. It’s not an overdrive or a boost, it’s both.
I often claim to be a “both guy” myself so this
pedal sort of had me at hello. The left half of the pedal is
a Tube Screamer-esque overdrive circuit while the right
side is a fully adjustable clean gain pre-amp.
The right side’s controls include Input, Highs, and Output. The Input
knob adjusts gain control and was designed to be a set-it-and-forgetit
style knob that makes a bit of noise when adjusting the setting
when active. The website suggests turning the knob with the pedal
either bypassed or off. What it actually does is adjust the bias, and
the knob itself clicks as opposed to sweeps. I couldn’t find much info
about what happens at each click but to my ears the more you turn
it clockwise the more gain you add to the signal. You can then use
the Output knob to adjust the level of girth that is added to the tone.
The Highs knob is used to then adjust the brightness of the tone as
gain is increased. One could roll this control back to tame the high
frequencies as gain is added to the signal. I really liked the Boostier
side of the pedal for my particular rig because most of the time I just
want to emulate the sound of my amp’s drive as I increase the gain
knob. The “Boostier” side does a great job at this.
The left side of the pedal is said to be a Tube Screamer-style overdrive.
The controls are Gain, Tone and Level. The object here is to crank
the Gain knob to get the desired amount of overdrive, then tame the
overall volume with the level control. The Tone knob is used to roll-off
making

DigiTech iStomp
Review by Gus Green
Check out the deli’s
stomp box blog!
The DigiTech iStomp is an innovative concept in
the guitar pedal world, offering a digital stomp
box that’s really a jack for all trades for your pedal
board, thanks to the magic of emulation technology. The
box offers iOS interaction supports for the iPod Touch,
iPhone, and iPad running iOS 4 or later.
The idea is that you download the effects pedal software for each
individual stomp box model from the iOS device to the pedal one at
a time, to essentially turn the iStomp into the desired effect pedal. In
a matter of minutes I downloaded the free Stomp Shop app, used to
store all of your effect pedal options, and plugged the 30-pin cable
from my iPhone 4S to the iStomp. The individual effects range from
$5 to $10 and take about 40 seconds to download. I noticed that the
“Total Recall” delay was free so I figured I’d give it a shot. It sounded
very clean like modern digital delays do. I really liked the ducking
function that allows you to set a threshold of how loud you want the
delays to be while you are strumming. This is great for strumming
rhythms where delay is desired but without muddying up the signal.
I was really impressed with the “Redline” overdrive, which comes
included. It’s a very modern distortion with Gain, Level and HI/Lo EQ
knobs. At extreme settings it made my guitar feedback like Hendrix.
Even at modest settings it was pretty face-melting. I was very pleased
with the clarity of the digital processing. It sounded rich rather than the
murky tones normally associated with digital distortion. That must mean
that it has high quality digital to analog converters and a good DSP chip.
www.delicious-audio.com
The idea is that
you download
the effects pedal
software for each
individual stomp
box model from
the iOS device to
the pedal one at a
time, to essentially
turn the iStomp
into the desired
effect pedal.
Do you love rock ‘n’ roll guitar?
I’ll admit seeing that the Stomp Shop (at the time of writing) had 20
stomps to choose from, which made me a bit A.D.D. You get a 5
minute timer displayed on your device before the effect is disabled.
Some standouts included the “DOD FX25B Envelope Filter”, “Octaver”
octave pedal, “Rodent”, and “Vintage Tape” delay. DigiTech promises
to update, and expand the effects constantly so that your iStomps will
never get old. I find the concept of having interchangeable, adaptable,
and upgradable stomp boxes to be extremely exciting and futuristic.
Do you have a sweet-talking
phone voice and a drive to sell?
Now’s your chance to grow with Electro-Harmonix,
famous for guitar effects pedals and vacuum tubes.
Hours 10am to 6pm. We are located in Long Island City
near the #7 Vernon Avenue stop.
E-mail resume to mike@sovtek.com
the deli_49

the deli's Pedal Board
Electro-Harmonix
Superego
Synth Engine • Brings to bass players the
• An interesting new approach to
the synth stompbox.
• Auto mode captures and
freezes notes and chords as
you play.
• Beautiful sounding modulation
and volume envelop controls.
• “Gliss” knob allows you to
glide between notes and
chords automatically.
• In “Latch” mode, sounds can be
stacked on top of each other.
the deli's Plug-in inserts
SKnote Grasso
• Tube modeling unit that affects
saturation and dynamics.
• Can add subtle warmth or
heavier saturation to will.
• “Spank knob” controls
post-drive dynamic response.
• Sounds great on both complete mixes
and individual tracks.
the deli_50 Spring 2012
More pedal reviews at delicious-audio.com!
Emma
ReezaFRATzitz
Distortion
• Double personality
(they are both nasty).
• Not a subtle pedal, it offers
both “Class A and “Class B”
distortions, which can be
blended to taste.
• Class A setting sounds similar
to a JCM900 head, deep
and compressed.
• Class A setting is
less compressed,
more open.
Diamond
Bass Compressor
high-grade optical compression
previously only available to
guitarists.
• Runs at twice the typical stompbox
voltage (18VDC) = more
headroom.
• Results are comparable to
quality outboard gear rather
than stomp box.
• Blows most “regular “ bass
compressors out of the water,
fuller and more natural sounding.
Sonimus SonEQ
Rocktron
Celestial Delay
• Old school analog delay,
solidly built, with true
bypass.
• Excellent sound quality
for the price.
• Nice darkening of later
repeats leaves more room
for the dry signal.
• Self oscillation feedback
takes some time but it’s got
a nice, crunchy quality.
• One of the best sounding FREE EQ plug-ins out there.
• Inspired by different vintage units combined into one “super” plug-in.
• 5 bands EQ with parametric Low, Mid and High.
• “Woow” switch and Drive knob add punch and saturation when necessary.
u-he Zebra 2.5
• A flexible, powerful modular synthesizer
that combines subtractive and additive
synthesis.
• Drag and drop circuit building makes
everything easy and intuitive.
• All components sound top notch.
• It inspires by challenging you to work in
different ways.
if you are interested in reviewing pedals
and plug-ins for The Deli and
Delicious Audio, please contact
delicious.editor@thedelimagazine.com.
Synapse Audio Dune
• A regular analog subtractive synth
with a few tricks up its sleeve.
• It sounds as good as it gets,
in particular for bass sounds.
• Outstanding filters.
• “Differential Unison Engine” allows
different voices in a sound patch to
have independent modulations.
• It features also Effects, Arpeggiator,
and lots of modulation options.