The Deli #56 - Altopalo, NAMM 2019, Queens takes over Brooklyn

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Records of the Month<br />


Drowning World<br />

<strong>The</strong> sheer volume of this album is bound<br />

to be a deal-breaker for some listeners. Yet<br />

for the brave there is much to appreciate<br />

here. “Saturn,” its opening track,” flutters<br />

and screeches, hanging in suspension as<br />

any good intro might. “Hypnagog” is the<br />

album’s full-scale launch, however, pitched<br />

somewhere between the muscular metal of<br />

the Melvins and the more orthodox hardcore-punk.<br />

“End Times” is built on a minor<br />

chord guitar dirge and pounding rhythm,<br />

each taken from the Black Sabbath playbook,<br />

yet juxtaposed by screamed vocals.<br />

“Gille de Rais” is the closest Conduit<br />

comes to modern psychedelic music. Its<br />

menacing rhythm gives rise to a thick wall<br />

of distortion which skirts the line between<br />

post-rock and metal. “Parasites” is the<br />

closest to straight-up hardcore; yet even<br />

here the tension felt in its combination of<br />

instruments seems less message-driven.<br />

“Zero Days” finishes the LP with a clear<br />

almost direct incantation—an oddity in<br />

terms of strategy (yet not out of place).<br />

Drowning World is not for the faint of heart.<br />

But if straight-up truth is your poison then<br />

here’s the antidote. (BRIAN CHIDESTER)<br />


End of <strong>The</strong> Game<br />

In August, Eyes of Love put out their<br />

debut LP, End of <strong>The</strong> Game. Helmed<br />

by <strong>Brooklyn</strong> songwriter Andrea Schiavelli,<br />

EoL is a true meeting of the minds<br />

that brings together some of the New<br />

York underground’s most innovative<br />

musicians including Lily Konigsberg<br />

(Palberta, Lily and Horn Horse), Sammy<br />

Weissberg (<strong>The</strong> Cradle, Sweet Baby<br />

Jesus), and Paco Cathcart (<strong>The</strong> Cradle,<br />

Shimmer). End of <strong>The</strong> Game is an expansive—and<br />

impressive—debut of 14<br />

tracks ranging from breezy pop to lush<br />

orchestral arrangements, but mostly<br />

reveling in what could be described as<br />

a subdued, broken-up version of postpunk.<br />

Schiavelli’s vocals, reminiscent of<br />

the Magnetic Fields’ Stephin Merritt, find<br />

the ability to make any turn of phrase<br />

sound instantly classic and soaked with<br />

character. Be sure to give their excellent<br />

album a listen, it’s a lesson in entertaining<br />

unconventionality. (SARA NUTA)<br />

L’RAIN<br />

Self-Titled<br />

<strong>Brooklyn</strong>’s Taja Cheek is an experimental<br />

singer/instrumentalist whose classical<br />

music education inspires her solo project<br />

L’Rain’s rich, ambient sound. While<br />

creating her debut, self-titled record in<br />

2017, Taja’s burgeoning music career<br />

was intersected by the passing of her<br />

mother Lorraine, which affected L’Rain’s<br />

lyrical content with themes centered on<br />

the subject of grief—as heard in tracks<br />

like “Stay, Go (Go, Stay)” and “Heavy<br />

(But Not in Wait)”. Her tracks, however,<br />

wander through mystifying and dreamy<br />

territories with the effect of blending<br />

morbidity with cheery effervescence.<br />

Listening to L’Rain’s is the aural equivalent<br />

of gazing into a sonic kaleidoscope<br />

composed by a multitude of synths,<br />

samples, and effects, concocting a wistful<br />

carpet blanketed with her lush, whispery<br />

vocals. (REBECCA CARROLL)<br />

12 the deli Winter <strong>2019</strong>

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