he's my brother, she's my sister - The Deli

he's my brother, she's my sister - The Deli

he's my brother, she's my sister - The Deli


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INDIEBANDS &SONGWRITERSthe delitasty tunes from the city of angelsWHAT’S THE POINTOF MUSIC CHARTSIF THEY AREN’TRIGHT???Sign Up for free @www.thedelimagazine.com/signupMany websites for musicians feature music charts that are limited to their subscribers. What’s the point of that?The Deli charts include ALL the big names of your scene, and they are organized in detailed regions andgenres, including Alt Rock, Indie, Country, Electronica, Songwriters, Indie Pop, Post Punk,Alt Folk and many more, to allow you to find the right niche for your music.

the delitasty tunes from the city of angelsLA issue #7 volume #3 fall 2010Note from the EditorDear reader,It’s that time of year again. School is back in session, theholiday decorations are coming out, and it’s finally time tothrow on a sweater here in California.With winter comes the Deli LA’s first major change ofguard, including myself as editor and an almost entirelynew staff. Like archeologists we’re digging through pilesof bands for our readers, cracking them open and exploringthe riches inside. On a cold December night, your feetin need of some socks, you might heat things up with theraw passion of Vanaprasta. Or if a glass of wine and acuddle with a loved one is in your future, it may be time toturn up Pepper Rabbit.This marks the end of the year. Fill it with friends, family,and fantastic music.Angelo LorenzoEditor In ChiefEditor In Chief: Angelo LorenzoAssistant Editor: Jenna PutnamArt Director: Kaz Yabe (www.kazyabe.com)Cover Photo: Angelo Lorenzo(www.angelolorenzophoto.com)Staff Writers: Gabrielle Canon, Kimberly Brown,Karla Hernández, Taylor Lampela, Kevin BennettContributing Photographers: Megan Mack,Michael Muller, Kyle Johnson, Eric Cwiertny,Sarah Morrison, Rebecca Joelson, Christina M. Felice,Pieter M. van HattemPublisher: Deli Publications, Brooklyn / Mother West, NYCFounder: Charles NewmanAdvertising & General Inquiries:Paolo De Gregorio (paolo@thedelimagazine.com)Mail CDs For Review To:The Deli Magazine LAc/o Angelo LorenzoP.O. Box 928Simi Valley, CA 93062On TheWebinterviews with LA bandswww.thedelimagazine.com/laThe first time I saw TerraplaneSun play at Silverlake Loungeon a random Wednesday night,I was instantly put under somesort of mesmerizing, blues-rockspell. I couldn’t take my eyesoff of them, or even sip on mycocktail, and when Ben Rothbardput his lips to that harmonica, itwas all over. Terraplane Sun hailsfrom Venice, which speaks fortheir California blues vibe mixedwith folk and rock ‘n’ roll. “Collectively,we all share a foundationdeeply rooted in Blues andRock n’ Roll. Beyond that, the 5of us have been influenced andinspired by all different styles…Terraplane SunI guess that’s the nature of thebeast when you have a bandconsisting of guys born and raised all across the country.” These fellows havestyle and flair for days, making their stage presence something you won’twant to look away from…so you best keep your eyes and your ears open.Read Jenna Putnam’s full article on Terraplane Sun at:www.la.thedelimagazine.com/terraplanesunHey, now LA bands can promote theirlive shows directly onThe Deli’s homepage — IT’S FREE!!Try it out: http://la.thedelimagazine.com(on right hand side column)Kris GruenPart of It Allthe deli’s iconsrock folk pop ambientlo-fi/DIY“Artfully conceived andexpertly executed”-Dan Bolles, Seven Daysnoisenew!hip hoploud rockmelody/softpsych rockelectronicdancegood!otherinfluencesprime LAmusicThe Deli Magazine is a trademark of The Deli Magazine, LLC, Brooklyn &Mother West, NYC. All contents ©2010 The Deli Magazine. All rights reserved.“Tranquil Vermont singer-songwriter withengulfing folkie sound”-CMJwww.krisgruen.com

soundbites emerging LA bandsStanding Shadowswww.myspace.com/standingshadowsIs this TV? Or Real Life?By Karla HernándezThe alternative-rock 4-piece Standing Shadows has been keeping busywith the release of an EP, full-length album and 7”. With plans to releasea remix EP in late November and another album next year, the band hasalso had the joy of hearing their music on TV shows like the new “90210”and “The Shield,” in addition to a few video games.How was your experience of writing, engineering and producing thenew album yourself?David: “Five Years of Darkness” was a record that took us about 5years to complete, hence the name of the record. We initially startedwriting and recording the demos in Missouri (where I was currentlyliving) and Los Angeles (where Dan was living). I was working in the oilindustry with my family and I would drive a lot to see my customers.This allowed me to listen to our demos in the car, work on lyrics, vocalmelodies and whatever else we could possibly add to make the songbetter. I was listening to a lot of Arcade Fire, Muse, Flaming Lips, andof course, Pink Floyd and Radiohead at that time and would try to makesure our album was as creative and interesting as theirs. Dan was doingthe same thing out here in LA.Dan: We recorded, engineered, and produced the record between mystudio in Los Angeles and Dave’s studio in Missouri (at the time). Ourprocess quickly became a ‘postal service’ style record and we had anamazing time putting the pieces together. The first few years was allabout flying back and forth every few months to create the songs.What is it about your music that makes it fit for TV and video gamesynchs?Dan: Every scene on TV has a specific musical need. With the amountof music being released every day, it’s tough to stand out. The right songgets picked because the hook is saying something about what is goingon, the tempo works with the rhythm of the action happening, the tone ofthe instruments play into the mood of the scenario and so on. The musicwe write has great energy, whether it’s slow or fast, there’s an emotionalquality that drives the music and works well in a cinematic use. Most importantly,we’re writing about messages that everyone can relate to andthe sound has something unique that audiences can gravitate to.Full interview at: la.thedelimagazine.com/standingshadowsYoung The Giantwww.youngthegiant.comBathswww.myspace.com/bathsmusicGet Washed CleanBy Kevin BennettThe Friendliest GiantYoung The Giant, recently formed onthe ashes of The Jakes, play intense,emotional, anthemic indie rock. Afterpenning a deal with RoadrunnerRecords, an August residency at theTroubador, and a quick tour this fall,it was time to check in with guitarist/vocalist Sameer Gadhia.What are some differences in playingat a personal show where everyoneknows you to a festival like CMJ?We went from studio to touring to studioto residencies. At first i think it was alittle long for us, just the differences.every night there’s a difference if you’rethe headliner, or if you’re openingfor someone else, or if you’re playingsomething like a festival, it’s a fastchangeover. But what we realize in timeis that it really doesn’t matter, be onyour A game every time, and play theBy Jenna Putnamshow that you want to play every night.So I think we just try to make sure thatthere’s not too much of a difference forus. So if we’re playing at our home atDetroit Bar in Orange County or Pianosin Manhattan, then there’s no difference.So you did some writing for thealbum in Newport, where you livedfor 7 months together in a house onthe beach?Yeah we did a good amount of writingthere, but we finished up the albumin L.A. We didn’t do any of the officialrecording until we were in L.A. InOrange County we would just sort ofhang out, write passively. We got a lotof inspiration in Newport, because wewere just able to hang out there.Full interview at:la.thedelimagazine.com/youngthegiantOver the last six years, under the handle of [Post-Foetus],LA-beatmaker Will Wiesenfeld has gainfully explored theintersections and outer reaches of both electronic and acousticmusic. With Baths, his eclecticism finds its greatest focusyet, in a hail of lush melodies, ghostly choirs, playful instrumentationand stuttering beats. Between playing and travelingwe had a chance to catch up and ask a few questions.When made the decision give up classical piano, didthe absence of music leave a void? Or did you leave thepiano because you had other interests that you wantedto pursue?No, it was just a break. It was a comfort to NOT have todo music for that period of time, but I started longing toplay music the way I used to... Once I picked up playingthe piano again, and once I heard Björk around the sametime, my interests started to spread into recording, vocals,electronic music, etc.How do you prepare for a performance?I have no idea! It’s different every time. I just know that youcan never give yourself enough time to prepare.Full interview at: la.thedelimagazine.com/bathsthe deli LA_6

soundbites emerging LA bandsthat when we are doing what we love, which is having fun playingmusic together, everything surrounding us works itself out, andgood things can come out of that. We really can’t go wrong. Weenjoy playing with each other, and I am inspired by everyone inthe band. They are great people, and we are so lucky to be able toshare these moments together, whether it’s at our rehearsal space,or a sound check, or on stage playing with Ray Davies.The 88www.the88.net33s, 45s, and The 88 By Gabrielle CanonSince forming in 2002 “The 88” has become an LA favorite, earning them thetitle of Best Pop/Rock Band of the Year” from L.A. Weekly, in addition to acoveted spot on tour with Ray Davies of the Kinks. Despite this success theband believes the best is yet to come, but still shared the stories about whatgot them here, and insights into what we can expect from them in the future.How have you all evolved personally and as a band since you started in 2002?We have learned a lot, and have come to this place where we have realizedYou were formerly signed with a major label but are currentlyquite successful without them. What are the pluses/minuses ofbeing an indie artist? Has the business climate of the Music Industryaffected you at all? What do you think the best businessformat will be for our band going into the future?The pluses of our situation are that we can do whatever we want,whenever we want. Our latest album was so much fun to make,and that’s the way it’s supposed to be. I’m glad we got to havethe experience we did with Island Records because we came outof it more confident and stronger than we have ever been. I can’tthink of any minuses at the moment. These days, there are otherways for bands to generate incomes for themselves. You can findit by being creative and using your imagination. That’s the greatestthing that’s come out of this collapse of the “music industry.” Eachband can find what works best for them. For us, it’s to keep doingexactly what we’re doing, which is very simple: Getting togetherand playing music because we enjoy it.Full interview at: la.thedelimagazine.com/the88Vanaprastawww.vanaprasta.comPhoto: Christina M. FeliceAmidst all the chaos that is Los Angeles constantly aroundthem, they know exactly how to channel it into their music,which is as surprising as a walk in the city itself. Combiningpsychedelia and rock n’ roll, all five of the band memberscraft pieces of an intricate puzzle for the listener to put together.“We go straight to our personal lives for inspiration,”Wilkin explains, “We are a group that is very passionate andemotional. We love to experience all aspects of life from thecrazy to the very private. Most of what we do is inspired bybeing together. We understand that what comes to us dealswith the fact that we are open to receive it. We also go tomany parties and always leave feeling inspired.”Circles, Squares, And Triangles By Taylor LampedaTo say that it’s been an eventful year for five-piece, Vanaprasta, would be quite theunderstatement. The band concluded a month long residency at The Echo inSeptember, completed their debut LP Healthy Geometry, and most recently,performed in New York’s CMJ Festival. I caught up with vocalist Steven Wilkin togain some insight into the excitement and buzz that has surrounded the band lately.Creating Healthy Geometry turned into much more than justrecording an album for the band, but a growing process aswell. After finding that recording in studios within the beautifulchaos that is Los Angeles wasn’t working, they sought a newapproach. “We were isolated in the middle of the forest andwere really able to hone in on the message and feeling thatwould later come together and form Healthy Geometry. For usgetting out of the regular day to day that we experience in LAgave a chance to exist focused as a band and really understandour relationships, not only as band members but asfriends.” Once the recording was finished, the band found amatch in producer Manny Nieto (HEALTH, The Breeders) whohelped them craft a more powerful, trashy sound and DaveCooley (Silversun Pickups, Local Natives) mastered the record.Full interview at: la.thedelimagazine.com/vanaprastaThe Davenports“why the great gallop?”New album out now!www.myspace.com/thedavenportsnycthe deli LA_7 fall 2010

• Everybody in the band dresses like Indiana Jones, incl. whips.• The band dresses like a litter of puppies.ManagersManagers are great—you’ll want to get as many as you can. YOU CANNOT HAVE TOO MANY MANAGERS. A manager is somebody whogoes out there and hustles, gets you deals, endorsements, great gigs,etc. Better to have an army of such people than just one or two. Myband is currently represented by 15 managers, none of whom knowabout each other. The way we work this is, when one manager gets usa gig, for example, we tell all of the other managers that the date of thegig is a “personal day,” and that nothing can be booked then. The managerwho booked the gig gets 15%; nobody else gets a dime. The worstthing that can ever come of this is that your band gets conflicting offersfrom multiple managers. In this case, simply accept the most lucrativeoffer and tell the lower-bidding managers that they need to step up theirgame, and that you’ll be taking a “personal day” on the day in question.The Fans and The GroupiesWhen it comes to groupies, you can’t be too wary. Although safe sexis cheaper and easier to achieve than ever before, lust-clouded brainscontinue to make foolish decisions in the heat of the moment, decisionsthat can sidetrack or even derail a promising career. The fact isthat, no matter what your new friend tells you, any time you take offyour clothes and get into bed with a stranger and fail to use protection,you can become pregnant. Are you a girl? I have even worse news foryou. Your chances of becoming pregnant during unprotected sex areten times higher than your male counterpart’s.Here are a couple of myths about sex that personal experience hasshown to be very false indeed:Myth: You can’t get pregnant after a big spaghetti dinner.Fact: Although a big spaghetti dinner will probably leave all parties toolethargic to become aroused, if you do actually manage to completethe sex act, either or all three of you may become pregnant.Myth: If a man has two orgasms over a period of several hours, the spermfrom the second orgasm will hunt down and kill the first batch of sperm.Fact: Two orgasms do not “cancel each other out.” Although thesecond mob of sperm will hunt down the first mob, and will fight themto the death, the first orgasm will have contained so many more spermthat, when the dust has settled, a sufficient number will remain to completethe pregnancy rite.Myth: You can’t get pregnant having sex with animals.Fact: Yeah you can. Steven Tyler, one notorious example, is theoffspring of a man and a pig.Don’t rely on rumor and old wives’ tales to keep you safe. Take thetime to educate yourself about the many scientific precautions availablethanks to modern medicine. Unless, like Josh Homme, you wantto create an unpaid gang of pick pockets, car thieves, and pre-teenthugs who grudgingly do your bidding.Dealing With SuccessIf you follow the above advice, chances are good that you and yourband will enjoy success. If you’re at all cognizant of celebrity culture,you know that success is often the very thing that destroys careers. Myadvice for dealing with the distractions and excesses of success can beboiled down to a very simple rule, one which I follow almost religiously.It’s called The Rule of Two. The Rule of Two says that you never indulgein anything that’s more than twice as big, beautiful, expensive, or eliteas what you’d have been able to get your hands on if you weren’tfamous. You don’t buy a house that’s more than twice as expensive asthe one you used to live in. You don’t do any more than twice as muchcocaine in a sitting as you might’ve in the old days. You don’t datewomen who are more than twice as good-looking as your old girlfriend.Follow The Rule of Two and you’ll be able to enjoy your success,instead of letting it enjoy you. Whatever that means. (I didn’t make upthe phrase “letting success enjoy you.”)the deli LA_10

the specials the deli’s featuresHe’s My Brother,She’s My Sisterwww.myspace.com/hesmybrothershesmysisterPost-Modern SwingBy Jenna Putnam / Photos by Angelo LorenzoWhat it is: Folk, psychedelic,rock ‘n’ roll, western swing.RIYL: The Mamas and Papas, The Rolling Stones,Edward Sharpe and The Magnetic Zeros.If you spend any time in Los Angeles, you’ll notice it is a melting pot of creativity, beauty, talent,heartache, and passion. Sometimes it’s hard to distinguish a well-put-together illusion from thereal thing. Well, I can guarantee that He’s My Brother She’s My Sister is that of the latter. They havea unique presence and a timeless, classic sound that makes them stand out like an antique gem ina box full of modern jewelry. Their Southern, psychedelic folk-rock sound mixed with Western swingand burlesque will have you swaying side to side and tapping your heels in no time.Rachel Kolar’s high but softly ethereal vocals are complimented byher brother Robert’s deeper voice, harmonizing beautifully with theweeping sounds of Satya Bhabha carving into the cello. But what reallymakes their sound come together is Lauren Brown’s heel-toe percussionas she tap dances on stage. This also adds hugely to their visualelement, making their stage presence and performance turn headsanywhere. She has a homemade tap box that acts as an amplifier andmini stage. Satya told us that Lauren gets proposed to at almost everyshow, “…declarations of love just like it’s nothing, I mean they’re likedrink tickets for her!” Their musical influences include The Mama’s andPappa’s, Spindrift, The Beatles, The Velvet Underground, Marc Bolan,Bob Dylan, and Donovan to name a few. “A lot of blues, British invasion,and psychedelic glam rock…and Rachel leans toward folk andcountry music,” explained Rob, with Lauren adding that she loves classicrock and is stylistically inspired by tap. Satya was trained classicallyon the cello, and also enjoys older jazz music. All of these differentgenres somehow shine through when they play, and come together tocreate a unique style that is all their own. The fact that the band membersare all so close, both friends and family, creates a positive energythat listeners and spectators alike can instantly connect to. One of themost important things in a band’s success is putting on a captivatinglive show, and these guys will blow your mind to pieces.He’s My Brother She’s My Sister just got back from a cross-country tourwith Edward Sharpe and The Magnetic Zeros, which very well may havebroken the record for longest marquee. This lineup was a match made infolk-rock heaven. What’s interesting is the fact that both bands are basedin Los Angeles. “It raises some eyebrows when people find out we’refrom LA, some people get disappointed,” claimed Robert, saying thatmost people expect them to be from the South. This just proves a pointthat the Los Angeles music scene is diverse and is coming out with anew wave of exceptional talent. Some of their favorite venues to play areThe Bootleg Theater, The Troubadour, and HM 157. Satya and Racheltalked about a theater in Silverlake that they set up one summer night toplay music and read poetry with friends. “Playing outside is amazing,”exclaimed Satya. “It’s crazy going from knowing all these people herein L.A. to playing in Tampa, Florida...which is fun!” They said that beinga Los Angeles-based band has a big influence on their music. “Being inL.A. gives you access to other places, a bit more in nature I guess youcould say...because we’re very close the desert, the mountains, and theocean, and certain types of sound in our music are influenced by it,” saidRachel. “And L.A. is a very eclectic city with different sounds and a lot ofmixtures. A lot of bands in L.A. tend to create sort of a collage of musicin their style,” added Rob. All of this inspiration both at home and on theroad created the clever songwriting and music in their 7 track EP.The band’s self-titled EP was released this year, and is an interestingmixture of upbeat folk and dreamy psychedelic rock. Their songs aremoody and cunning, with storytelling that will paint a picture in yourhead. The first song, “Tales That I Tell”, is a song that any lady who hasbeen cheated on can relate to, filled with angst and an in-your-facesarcasm. The line “I threw my bottle straight at his head, man I wish Iwoulda chose his best friend instead,” pretty much sums up the disdaintowards a certain womanizer. The tune “Lazy Daze” makes you feel likeyou’re walking down the sun-kissed streets of Los Angeles, daydreamingand trying to figure out what life is all about. The slow acoustic andthe deli LA_11 fall 2010

weeping cello in “The House That Isn’t Mine” will put you under a spell.Rob wrote the song and recorded it in the same evening. “I was takingcare of a house in the Bronson Canyon hills during the time when therewas a huge wind storm which knocked down an enormous tree in thebackyard and caused a power outage. The song was written about theexperience, as it was being experienced, and recorded in the samecircumstances. The lyrics depict an eerie account of what went on. Irecorded it with my laptop mic onto garage band; you can hear thewind in the background if you listen closely. We added cello later.” Theirmost popular song, “How’m I Gonna Get Back Home” tells a story ofbeing on the road and the new encounters, fun, nerves, anxiety, andloneliness that come along with it. The songs jumps back and forthbetween that and the joy, comfort and promise of getting back home.It reminds you to take life as it comes, not to take things too seriously,and to enjoy the ride with the trust that things always work out in theend. The tracks are recorded in a raw, real and personal fashion. “He’sMy Brother She’s My Sister’s sound is built on trying to capture the instrumentin a rather naked fashion, so we rarely use effects. We like theidea of being limited in that sense and seeing what we can accomplishwith our hands, feet, etc. without much technological influence,” Robertexplained. Overall, the EP has a very fun feel to it that you can enjoy ona train ride alone, or at a get together with friends. It makes you wantto sing and dance, sway your hips, snap your fingers, what ever youfancy. The songs really become a part of you.He’s My Brother She’s My Sister’s full-length album is intended tocome out in spring of 2011. If you didn’t catch them at the SOHO NewNoise Festival in Santa Barbara this past month, keep your ears openfor some local shows popping up. The musical talent and personalityeach member brings to the table is something you won’t want to miss.“They’re so different...they sound like they’re from another time!” saida local who had just heard them for the first time. Their music providesour era with the taste of reality we need to keep us all down to earth.He’s My Brother, She’s My SisterSelf-Titled01. Tales That I Tell02. How’m I Gonna Get Back Home03. Lazy Daze04. Moonage Daydream05. The House That Isn’t Mine06. Coattails07. Wilted RoseAlbumreviewon p.15ATOMIX STUDIOSRecordMixMasterProductionThe Magnetic Fields, Funeral Party, Miss Derringer,Aarktica, The Dollyrots, Filter, Sony, AM, Bug Music,Fearless Records, Nonesuch, Merge, Virgin, EMIwww.myspace.com/atomixstudiosthe deli LA_12

the specials the deli’s featuresWhat it is: Ambient pop.RIYL: Beach House, Real Estate.Pepper Rabbitwww.myspace.com/pepperrabbitDown The Rabbit HoleBy Karla Hernandez / Photo by Kyle JohnsonBetween releasing a debut album on Kanine Records, showcasing at CMJ and touring with theRural Alberta Advantage and Cotton Jones across Canada and the U.S., respectively, 2010 hastreated Pepper Rabbit well. With the album “Beauregard,” the duo, consisting of Xander Singhand Luc Laurent, has created a heartfelt and expansive journey of wistful indie rock.What were some things you saw or peopleyou met that might have inspired songswhile recording the album in New Orleans?We had a lot of fun recording in New Orleans.The city is so vibrant and full of life that it’s hardnot to be inspired by your surroundings. Theonly story that really made it into a song is “Inthe Spirit of Beauregard”. I brought my piano toNew Orleans all the way from my living room inSilver Lake, and after the journey, we of coursehad to get it tuned. So the piano tuner showedup and saw my friends dog, Willie. He was soconvinced that Willie was the reincarnation ofhis own dog, Beauregard, that he started talkingto Willie as if he WAS Beauregard. So I startedthinking about Beauregard’s story and how hemight have died, and the song came to life.Eight out of the 10 songs on the new albumcome from previously released EPs.Did you make any changes to the songs?Why should people who have your EPs buythe new album?Well the reason we first separated the songsinto EPs is that they were mixed and masteredby a few different people. So they sounded sonicallyvery different from each other. With thisrelease, they have been remastered so that theyflow more cohesively. And with the track listing,they work a lot better as an ‘album’. There arealso 2 extra tracks on the release and there are2 additional tracks with the iTunes release.Compared to when this was your solo project,how has the music evolved since Luchas become a band member?Having Luc in the process has allowed me tothe deli LA_13 fall 2010step outside my head a bit. I always come upwith a ton, sometimes too many, ideas andLuc really helps me shape them into somethingthat in the end really works well. It’sgreat to have someone by your side that’s notafraid to tell you when something works andwhen something doesn’t. And when somethingdoesn’t work it’s nice have the other setof ears to help you make it work.How did the relationship spark betweenPepper Rabbit and Kanine Records andwhat things about the label made you wantto work with them?They saw us perform at SXSW in 2010 and westarted talking to them fairly immediately afterwe met. They are great because they reallylet us do whatever we want. They provide agreat support system to the music we wantto make. Also their history of finding great artistsbefore most other people do was a hugeincentive. A lot of our favorite bands have putout their first recording with them.The album’s instrumentation includes, piano,drums, bass, guitar, trumpet, accordion,clarinet, banjo, and ukulele. How are youable to translate that to the live setting?It wasn’t easy. After we finished the recordings,we had about a year before we couldstart touring and playing shows. This gave methe time to map out and gather the equipmentfor the live show. And it took about a year todo so. We like to keep the personnel small,and only take one other person on the road.We also are not fond of playing to backingtracks. So we use a lot of live looping and employa trigger pad where Luc triggers samplesfrom. A few songs we have had to reworkfor the live setting, as the recorded versionswouldn’t translate well in a live setting withouta 10 piece band. With 3 people and all theequipment we have on stage, we have beenable to produce and incredibly full and lushsound live, which is something that took a tonof work but I’m really proud of.How was your tour with Cotton Jones?What shows from that tour stick out in yourmind and why?It was amazing. Those guys are like family tous now, some of the most amazing peopleI’ve met in my life. We learned a lot from them.Every night they were so great and so consistent,and they pushed us into being a betterlive band. It’s great to see a band every day forthree weeks and not tire of singing along. Oneshow that sticks out was in Birmingham, AL. Itwas the fourth show of the tour, and the venuelet us stay in the green room, and the AirstreamTrailers in the parking lot. We all stayed upuntil 5 in the morning skateboarding throughthe venue, running around, and just getting toknow each other. It was like touring camp. Oneof the best nights of my life for sure.Pepper RabbitBeauregard01. Clarinet Song02. Harvest Moon03. In the Spirit of Beauregard04. Red Wine05. Snowalker06. Older Brother07. None Shall Sleep08. Song For A Pump Organ09. Babette!10. Send In The Horns

soundbites emerging LA bandsWhite Arrowswww.whitearrows.comPhoto: Michael MullerThe Monthlieswww.themonthlies.comPhoto: Megan MackBound By BloodBy Gabrielle CanonThe mysterious men behind White Arrows have certainly made animpression. Both their music, and how it is artistically presented showhow the worlds of art and music can come together to push boundariesand raise eyebrows. They let us in on some family history, howthey see themselves in their current stage of musical evolution, andwhere they draw their inspiration from.Can you tell us more about your music? Have you changed orgrown since forming the band? What can we expect in the future?Well. We’re just setting out to make some kind of impression. We’reever-evolving, I think. We’re just in the beginning stages.Teething, andeating trash. Soon we will grow to jump through fire.As a band you are very mysterious, with little details on your bioand background. How did White Arrows form as a band? Whatare some random interesting facts about your band/ yourselvesyou can share with us?It’s origin of the recordings were done in New York. But we’re an LA band.The band consists of me (Mickey), my brother Henry, my half-brother JP,and old friends Rob Banks and Steven Vernet. A strange, but interestingfact is that JP and I found out we were blood related a few years ago. Wehad thought we were family friends our entire life until our parents told usthat, technically speaking, my father was a donor to their great friends.Full interview at: la.thedelimagazine.com/whitearrowsSurviving LA Month By Month By Kimberly BrownThis quartet from Echo Park is unapologetically indie pop and honestly,there isn’t much to fear about their recent four song collection, the HorrorFlick EP. Here’s what the band had to say about living and playing in LA.What do you think makes The Monthlies stand out from every otherIndie band from Echo Park?Nick: We love the music we play and we love each other. We have a lotof fun every show we play and keep growing as a band. Our sound isour own and we are proud of that. Our music is usually meant to makeyou smile so we hope it just keeps spreading.Is it hard being a band from the Los Angeles area since there is somany out here?Wes: There is nothing more fun and rewarding than being a part of one ofthe best music scenes in the country. We don’t look at it as ‘competing’ butrather sharing a strong passion for being a really good band and doing thebest that we can. LA has so many great bands that constantly inspire us.I heard you make up lyrics on the spot at your concerts. Was thisever planned or was it something that just sort of happened one day?Wes: That’s only because we sometimes play songs live before I’ve fullywritten all of the lyrics. I would rather the lyrics be organic than forced.Jana: And sometimes he just forgets them! But it’s true for all of oursongs that the melodies come before the lyrics.Full interview at: la.thedelimagazine.com/themonthliesSeeing ClearlyBy Kevin BennettGeorge Glasswww.myspace.com/georgeglassYour new eponymous EP was justreleased, how long was it in the making?I suppose we started work on this EP (our first)at the band’s inception. We formed in Octoberof 2009. We were fresh out of other musicalprojects that all sorta dissolved simultaneously.So when we decided to start playingtogether, we were all really eager to hit theground running. Our first live show was playedabout a month after our first rehearsal.Who are your major influences?Everything from The Kinks, The Who and Loveto Elliott Smith and Grandaddy. Also, I’d saysome of our biggest direct influences wouldbe the bands that we’ve been playing withand hanging around for the last few years(One Trick Pony, Death To Anders, Les Blanks,Radars to the Sky, The Happy Hollows, toname a few).How has your music evolved since youfirst began playing music together?I think it takes a band a good year or twobefore they are able to find a sound that is indicativeof the whole. When we started, it wasmostly just us jamming on a bunch of songs Ihad written a year or two prior to our forming.Since then though, we’ve written a goodnumber of songs together from scratch and ofcourse, those songs probably are the closestthing to where we’re headed. It pleases us tobe able to witness the path of our sound.Full interview at:la.thedelimagazine.com/georgeglassthe deli LA_14

the snacks the deli’s CD reviewsrockpoploud rockfolkpsych rockambienthip hopgood!melody/softelectronicnoisedancelo-fi/DIY otherinfluencesprimeLA musicHe’s My Brother,She’s My SisterSelf-TitledIf you’ve never been exposedto He’s My Brother, She’s MySister, I think it’s a fair warningso say their mojo have thepower to heal the afflicted. “Tales That I Tell” hasvocalist Rachel Kolar paint the laments of a loverdone wrong in all of her dusty western glory, whileLauren Brown taps out the beat. Rachel’s brother,guitarist Rob Kolar picks up the vocal duties on“How’m I Gunna Get Back Home” with cellist SatyaBhabha filling in the breaks. “Lazy Daze” fits somewherenicely in the crack between 60’s folk and 70’spsychedelics while “Moonage Daydream” continuesthe down tempo theme with a hint of David Bowie’s“Space Oddity.” Haunting falsetto and acousticguitar ring through regret on “The House That Isn’tMine”. “Coattails” picks the pace up again with alittle ditty about those people who just can’t seemto achieve anything for themselves. “Wilted Rose”closes up shop with a simple, lo-fi chorus about aworthless girl’s quest for love. (Angelo Lorenzo)www.myspace.com/hesmybrothershesmysisterMad PlanetAll ElephantsConceived in early 2009, AllElephants dives deeply into thegenres of trip-hop, alternativerock, and jazz—a surprisingdeparture from Gillespie’sand Gordon’s time spent in bands like Bang SugarBang and Nervous Return. The album was recordedthrough the course of a year in the duo’s Silverlakeapartment with album art supplied by comic artistNathan Hamill, son of Star Wars actor Mark Hamill. Iwas a bit interested to listen after hearing them namePortishead and Massive Attack as strong influencesfor their album. “I Live Alone” and “Love Addict” areshining examples Gillespie’s smooth alto, trip-hopinfluenced, vocals; her lyrics taking on themes ofloss and healing. It’s not until “Danger Danger” dothings really pick up with a slightly industrial feel andGordon’s strong up tempo break beats. Introspectionis a strong theme throughout the 12 song collection,coming to a head with the closing track “Watch”, it’snoisy oscillations fading into silence. (Angelo Lorenzo)www.madplanetmusic.comStrange BirdsStrange Birds EPCalifornia music doesn’talways have to be about thebeach and surfing and prettygirls. The partnership of AidinSadeghi and Bret Leinenthat form Irvine-based Strange Birds is inspiredby California as well, but they present us with amuch more intimate portrait of the landscape.It has a quality of an old memory. The varyingamounts of reverb on the vocals stir up a nostalgiathat feels as if it’s still close enough to touch. Thecalm guitar strumming and softly harmonizingvocals on “Save Me” and “Winterbirds” serve up theperfect amount of melancholy equivalent to a rainyfall day. The melodies are simple and repetitive tolull you into total comfort and keep you there. Theexcitement lies in the details and flourishes in orderto take the listener by surprise within their music.These can be exemplified in the dramatic shift fromthe deli LA_15 fall 2010the tranquil pace in the beginning of “Bandages” toa throbbing electric guitar jam for the last minute ofthe song and the descent from jazzy guitar beatsin “Chasing Ghosts” to shivering psychedelia atthe end. Each second of the songs are meticulouslycrafted, but it flows as if done completelyeffortlessly. It sounds as if the Fleet Foxes and BonIver ran away into the forests and the mountains,and came out with this EP. (Taylor Lampela)http://strangebirds.bandcamp.comLoch and KeyJupiter’s Guide forSubmarinersSean Hoffman and LeylaAkdogan, the dynamic duobetween Loch & Key, releasedtheir debut effort Jupiter’sGuide for Submariners earlier this year and havebeen sailing the musical high seas ever since.The album opens with Mt. Washington, a bossanova drenched ode to East LA, that sets the pacebetween the jazzy and the contemporary. After tappingyour toes and snapping your fingers through“In The Town of the Queen of Angels”—“The Girlfrom Ipanema” finds herself in Los Angeles?—Weend up at “A Rather Large, Television-ShapedHead” with its more contemporary guitar work andCardigans-esque feel. “Maybe” and “The Man WhoFell From the That Sky” slow the collection downwith sincere balladeering before “Devil’s Backbone”kicks into a western gunslingin’, God-fearin’ romp.“Goodnight Bright Eyes” closes things out with asolemn, but hopeful, instrumental. The album is adreamy mix of Leyla’s subtle, airy vocals on top ofSean’s menagerie of guitar work. (Angelo Lorenzo)www.lochandkey.netThe Sweet ReposeLay Your Axe to RestIf Drive Thru Records was stillreleasing music, the SweetRepose would have most likelybeen the newest addition tothe roster. Wearing their heartson their sleeves, the three members of the SweetRepose play music that is somewhere betweenSaves the Day and The Early November. Vocalistand songwriter Tommy Miller is a vulnerable poetwho writes honest lyrics. Like all bands influencedby proper emo, the music on “Lay Your Axeto Rest” projects anguish and signs of internalconflicts. With Sunny Day Real Estate as a maininfluence, the Sweet Repose layer heartfelt vocalsover cascading drums and interject subtle tempochanges within songs. The vocals can comfort abroken heart, but include sporadic wails that canshake you up a bit. Lay Your Axe to Rest makes upin heart where it lacks in polish. (Karla Hernandez)www.myspace.com/thesweetreposeXu Xu FangChina Girl EPXu Xu Fang is mainly the brainchildof multi-instrumentalistBobby Tamkin, most recentlythe drummer for the Warlocks,who together with the bandcrafts a sonic world that is hauntingly captivating,which is what they manage to do in three songs offof their China Girl EP. “Seven Days Now” takes youon a trip through warbling psychedelia holding yourhand the whole way through. Guitar melodies pileon top of each other, all fighting for your attention,but in the end they all melt together. It becomes afruitless attempt to distinguish any specific patternsand eventually you just succumb to the overwhelmingpush and pull of the beats beneath you. “YourWay” grabs you in a similar way, but only becausethey throw everything but the kitchen sink at you.Pulsing electric guitar riffs, steady metronome beats,tambourines, synths that fly through your ears, and atone point, someone wailing incoherent words in thebackground. The true centerpiece is their cover ofDavid Bowie’s “China Girl” off of the War Child benefittingalbum We Were So Turned On: A Tribute toDavid Bowie. Disarming, but inescapable, the soundenvelopes you in a swirling twister of echoed vocalsand deep, full synths. You’ll exit, head spinning, butall you’ll want is to go back for more. (Taylor Lampela)www.xuxufang.comTaylor Locke &The RoughsMarathonLos Angeles is full of show-offmusicians and now TaylorLocke & the Roughs can beadded to the list, but in thiscase, it’s in the most humbling way. Releasingtwo full-length albums this year, which serve ashistory lessons for rock ‘n’ roll, the band is provingthat it can churn out fun, relatable rock songs withcompetence and ease. Taylor Locke & the Roughsis comprised of four well-known LA musicians,Locke also plays in Rooney, guitarist Chris Price inthe band Price, bassist Charlotte Froom previouslyplayed in The Like, and drummer Mikey McCormackis a member of Everybody Else. The sophomorerelease, “Marathon,” opens with a 6-minute medleyof mini-songs where the band showcases all ofits influences, from ‘60s pop harmonies to fastgarage rock and gritty Southern twang. Locke andhis crew have nothing to hide. They like music thatis raw and vintage, sing about girls and write funsing-along choruses that reflect it. (Karla Hernandez)www.myspace.com/taylorandtheroughsMiM0SASilver LiningThere is something very fluidabout the latest release fromMiM0SA called “Silver Lining.”While the first track “TheHigher Consciousness,” openswith the sound of sirens, giving an impression ofmayhem, the album is very much meticulouslyorganized. The talented producer, also known as,Tigran Mkhitaryan, crafts thoughtfully layered electronicmusic and is good at introducing new ideasat the right time and place. The layered beats neversound cluttered, overwhelming or forced and thereare always interesting lines to follow on each track.Although there is a lot of movement, the overallaffect is tranquil. One of the few tracks that featuresvocals is the standout “Drippin.” Laser beam andspace battle sounds build a galactic vibe whilecrisp drum beats, synth and hip female vocals buildimagery of urban nightlife. “Pushing Little Daisies”also features vocals, but short male phrases aremore characteristic of dub style. Whether stayingin on a rainy night or going out with friends, “SilverLining” is a pleasant listen. (Karla Hernandez)www.myspace.com/tigranmimosa

kitchen recording equipment reviewsFulltoneFull-Drive 2 MOSFETwww.fulltone.comReview by Howard Stockat the heart of vintage overdrive pedals, and vintage generally equalsgood for guitarists. They aren’t stuck with it, though: The Fulldrive 2throws in a switch that toggles between MOSFET and standard modes.The Full-Drive 2’s controls are relatively simple: volume, tone, overdriveand boost knobs, plus two switches, CompCut/FM/Vintage andafore-mentioned MOSFET/standard selector. Despite its placement, theMOSFET/standard switch works whether the boost footswitch is engagedor not. The standard mode is voiced very nicely, but the MOSFET modeadds a little richness, a crackle around the edges, that guitarists goingeasy on the gain may well prefer.On the other side of the pedal, a three-way switch navigates betweenCompCut, FM and Vintage. CompCut is effectively a clean boost; itdoesn’t add much grit but it punches a tube amp into overdrive. Just takeinto account the boost in volume.FM adds some dirt, but not too much. For players who look for an articulateoverdrive that spices things up without overpowering them, this isprobably the best mode. Vintage goes the whole hog, with plenty of midsand a classic rock growl that cuts through the mix very nicely and shouldsatisfy old-school classic rock purists.Fulltone’s Full-Drive 2 is a classic overdrive pedal reinvented 10 yearsafter the original was released, with technology from decades early.The MOSFET, for metal-oxide-semiconductor field-effect transistor, wasThe boost switch is handy for solos, piling on the pounds to make thoselead lines really sing, and can really thicken up rhythm guitar lines if a songcalls for both articulation and a solid battleaxe thunk. The pedal wouldsound awesome without it, but the boost function adds a layer of utilitythat makes the Full-Drive a key piece of kit, worthy of its two-pedal footprinton a pedal board. In a market over-saturated by boutique overdrivepedals, the Fulldrive stands shoulder to shoulder with the best of ’em.Delicious Audio’sHistory and Constructionof The Drum KitBy Michael VecchioThe Deli’s Pro Audio satellite site Delicious Audio is presenting a videoseries covering the history of the drum. Go to Delicious-Audio.com tosee the first of a three-part segment on vintage drums. The interviewwas shot at Steve Maxwell Vintage and Custom Drum Shop on 48thstreet in Manhattan with store manager and vintage drum expert Jess Birch. Thissegment covers “History and Construction.” Keep an eye out for parts 2 and 3 infollowing online posts, which will deal with “Heads and Tuning” and “Cymbals.”Watch the video atwww.delicious-audio.com!the deli LA_16

kitchen recording equipment reviewsShure SM7B: A Secret Dynamic Weaponwww.shure.comBy Michael Vecchionoticed that SM7B’s are used as vocal mics in the “Live From Abbey Road”series. Obviously, the SM7B is detailed and smooth enough to be used as atop quality vocal mic. But what I find interesting about the SM7B is that it’sa dynamic mic (as opposed to the other two main types of microphones—condenser and ribbon), and dynamic mics are not the usual choice forvocals. For the most part, engineers choose condensers on vocals to getmaximum clarity and accuracy. However, many engineers choose the SM7Bas a vocal mic over highly regarded condenser mics in their arsenal. The factthat it can rival top condensers on vocals speaks volumes about its quality.SM7B is also an excellent all-around mic because it is dynamic. Dynamicmics are able to handle very high sound pressure levels, which is whythey are used as close mics on drums or on loud speaker cabinets. Forthis reason, the SM7B is also a known choice for amps and drums,especially for the all-important kick and snare.Engineers and recording studios have certain favorite pieces of gear that arereferred to as “secret weapons.” What’s a “secret weapon,” you ask? It’san inexpensive, but super high-quality piece of gear that people generallyeither don’t know about or disregard because of its low price tag. Without adoubt the greatest of the recording industry’s secret weapons is the ShureSM7B. It is a staple in the mic closet of every great studio in the world.For starters, at Clinton Recording Studios we used our SM7B to recordvocals for Bob Dylan, Sheryl Crow and Dr. John, and I recently saw a videoof Scott Weiland using an SM7B to record vocals on “Big Bang Baby.” I alsoAnother feature of the SM7B is its superb off-axis rejection—in otherwords, it has a very focused, directional pickup. This quality comes inhandy if you’re recording in a space without a lot of isolation (hence,the use of SM7B’s for vocals in the “Live From Abbey Road” show), or ifyou’re trying to close mic a single drum in a set.The SM7B is an amazing all-around mic that offers all of the benefits ofa dynamic mic with all of the quality of a condenser. And its low price of$349 puts it firmly in the “secret weapon” category. For more informationvisit www.shure.com.www.the deli’sequipment blog is here!the delitasty tunes from the city of angelsdelicious-audio.comfocus on effect pedals, audio software and micsinterviews with bands about recordingcharts of the most popular gearThis month:Hundred In The HandsHistory of Drums Part 1Equipment Giveaways!+ more!the deli LA_17 fall 2010

kitchen best selling gearthe deli LA_18

the deli's Pedal BoardT-RexRoom-MateTube Reverb• Built-in 300-volt powersupply powers a tube thatadds voluminous, earthywarmth reverb andspacious true stereo.• Four selectable signaturesounds: Spring, Room,Hall and Chorus/Hall(the latter works best withacoustic guitar).• Features mix and decayknob that works also ahi cut filter.Electro-HarmonixFreezeSound Retainer• Delivers infinite sustain of anynote or chord at the press of amomentary footswitch. Releasethe footswitch and again you aresample-ready.• 3 selectable decay rates,including a latch mode, guaranteeliquid smooth tonal transitions.• Hooking it to your other pedalsopens up sonic collage possibilities.• Handles input gains frompedal boards.Death By AudioRobot• Low fidelity 8 bit pitchtransposer with absolutelyno feelings what-so-ever.• Arpeggiator mode withspeed control!• Control knob on the sidechanges the pitch of theeffect to NORMAL, OCTAVEDOWN, and OCTAVE UPmodes.Heavy ElectronicsGrind Fuzz• Fuzz/overdrive hybrid thatmaintains note definition ofchords and arpeggios.• Excellent impedance responsewith Wahs.• “Swell” function adds high-endgain and harmonics.• Side-adjust voltage pot can beadjusted to drop voltage.the deli's Plug-in insertsif you are interested in reviewing pedalsand plug-ins for The Deli andDelicious Audio, please contactdelicious.editor@thedelimagazine.com.Overloud SpringAge• Based on a mix of convolution and algorithmic technology.• Three spring models: 1. AQTX ideal for guitar and vocal tracks, 2. S201 keyboards,synth or lead instrument., 3. ANGEL for drums or mastering.• Drive control lets you push into saturation the tube stage which drives the spring.• Boingy knob controls the spring response to transients.UAD-2 EP-34 Tape Echo• Recreates the warm tape delay effects ofvintage Echoplex EP-3 and EP-4 units.• Faithful to the original, also deliverschaotic Echoplex sound, “warts and all.”• Unique movable record head designcreates warm, rich sound.• Runs exclusively with Universal Audio’sUAD-2 DSP Accelerator Cards.the deli LA_19 fall 20102C Audio Aether• Claims to rival the best hardwarereverb units available.• 2x & 4x Oversampling, DoublePrecision 64bit DSP.• Lush sounding, each reverb aspectcan be modified.• Two simple modulation controls addrandom LFO modulations in the LateReflections section.Audiodamage Axon• FM plug-in instrument that triggers 7percussion-tuned FM voices.• Easily creates original rhythms andtextural patterns.• Features on-board effects and mixing,and full MIDI I/O capabilities (in the VSTversion only).• Gets away from grid pattern generationand to allows creation of longer, lessrepetitive rhythm patterns.

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