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New Track: "Staying In" - Cold Fronts

Philly's Cold Fronts has been building moment again as the band gets ready to release its sophomore album, Fantasy du Jour, on the beloved stoner holiday 4/20. Below is the group's latest nugget of slackerdom, called "Staying In," which recently premiered over at Noisey. Frontman Craig Almquist shared a bit of insight about Cold Fronts' new single. "I felt so refreshed when I wrote this song because it was so simple and it had nothing to do with being sad or being in love or feeling like the world is gonna end. It was just nice to sing about something else for a change. It’s one of our more knucklehead songs." You can find Almquist and the gang at Boot & Saddle tomorrow night, where they will be opening for Chicago's Post Animal and local pals Suburban Living.





Premiere: Deli’s Artist of the Month Modern Painters share new video for “Whaler”

The results are in: Jamaica Plain indie rockers Modern Painters have won the Deli Magazine Artist of the Month poll for January 2018! The Painters gained the the Deli’s attention after releasing their lush eponymous debut album in December 2017, warranting a write up and a subsequent nomination for Artist of the Month. From our December write up: “In the case of Jamaica Plains’ folk-indie group Modern Painters, the confidence, sincerity, and precision in their self-titled debut is not unlike a veteran band with several good albums under their belt.”

To celebrate their victory, Modern Painters and Deli Magazine have decided to exclusively premiere their newest music video for “Whaler”, a breezy, jazz guitar laden track from their debut album. “Whaler” falls into the unique category of loungey, New England-intellectual indie music, recalling songs like Jonathan Richman’s “That Summer Feeling”, and Galaxie 500’s “Blue Thunder”.

The summer-y “Whaler” video couldn’t come at a better time, as New Englanders spend the mid-winter lull dreaming of lake-days under the hot summer sun. The video features singers Gabe Goodman and Nike Brannstrom half-dancing and crooning on Goodman’s 13’ 1969 Boston Whaler in his hometown of Scituate in the South Shore. Clad in a black dress and a casual black and white suit, Brannstrom and Goodman emote the delicious warm haze of lazy summer days, capturing the freedom and youthful vigor of harbor towns and mid day boat rides.

Be sure to catch Modern Painters at the Midway Cafe on March 20th. Enjoy the video for “Whaler” below. -Charley Ruddell

 





Veda Rays host Tuesday residency at Sunnyvale in February

Since premiering their first new track since 2014 here on the Deli this past September, Brooklyn's Veda Rays have been hard at work.  They released five song Shadow Side EP in November, as well as a second video for “False Coloured Eyes” (streaming below). In the video, the band is shown playing via a four way split screen, while lead vocalist James delivers his dramatic lyrical recitation through full screen edits.   The track hearkens back to the darker side of '80s second wave of post punk British bands, where synths and guitars merge with dark sounding, almost ominous vocals. The band will host a four night residency every Tuesday in February at Sunnyvale, where all the shows are completely free and feature many emerging NYC bands. In addition to the live performance the events will also feature photo & art exhibits, short film projections and spoken word performances. (photo by Julia Stibal) - Dave Cromwell





Tim Kuhl premieres single ahead of new LP, lands 5 month residency at Pete's Candy's Store

The lie “Half-Remembered” asks us to believe is that it is cinematic for its ambience and minimalism. This is not the truth. “Half-Remembered” is cinematic for its drama, its likeness to the grandeur of a big screen in a dark room. At the start of Tim Kuhl’s newest track, the second single from the Margaret Glaspy and Sean Lennon drummer’s upcoming album “Sky Valley,” the dripping piano introduces a gentle music in the lineage of film scoring. This gives way to a dark stretch of synth pop, decorated with gloomy vocals from poet Geoffrey Bankowski. It’s the second half of the song that breaks the illusion of minimalism. Kuhl orchestrates his ‘80s instrumentals to a fiery crescendo fueled by post-rock and all the epic drama of the big screen. The track owes as much to the dynamics of Explosions in the Sky or Godspeed! You Black Emperor as it does to the gothic synth pop of John Maus or The Cure. You can listen to “Half-Remembered” below and pre-order “Sky Valley,” due February 23rd, here. Kuhl will perform a string of shows at Pete’s Candy Store as part of an extended five-month residency beginning February 17th. – Cameron Carr, photo by Nathan West





The Deli Philly’s February Record of the Month: Johnny Utah – Johnny Utah

Johnny Utah’s limited edition self-titled cassette is quintessential listening for fans of bedroom pop, earnest lyricism, and melodies that feel like the soundtrack to your favorite early aughts indie flick.

Available via Slovakian cassette label Z Tapes, the six-song EP opens with “Angst,” which unfolds with melodic licks of guitar and the distant trill of birds. The hushed yet cinematic intro gradually blossoms into a satisfyingly more pronounced and rhythmically memorable ballad that asks a timely question: “Is it time for the world to see?” Heartfelt yet far from coy, “Angst” feels genuine, nostalgic, and fervent. It’s a suitable preface to “Gentle Boy,” which begins with the definition of its namesake, setting the stage for an unabashed and tender anthem that pays homage to vulnerability and emotion, while resulting in a realistic portrait of masculinity. The song ends with a heartwarming voicemail message that gives a vivid glimpse into the would-be biography of man not afraid to give a shit or say, “I love you.” It’s a refreshing meditation on human closeness and self-actualization.

The lullaby-esque start of “Elliot’s Song” echoes the beginning of “Angst” in its earliest moments, before evolving into a catchy confessional about intimacy and an inability to let go of a romance. Reminiscent of the raw truth at the center of bygone LPs by Drug Rug and The Babies, the track transforms its narrator into a believable apologist. It’s difficult to listen to this song without seeing a bit of yourself in it. Rather than mere desperation, “Elliot’s Song” is a sincere proclamation, while “Her Bangs” is a brief yet swoon-worthy offering that hums with yearning. A perfect song to be listened to again and again due to its brevity, “Her Bangs” illustrates Johnny Utah’s lyrical precision and the longevity of being concise. Within the span of barely two minutes, listeners are captivated by the clarity of the track’s narrative and sentiments. “Nvrllyrlly” is an undeniably smooth, pop cut. A testament to the persistence of desire, the urgency of the song is amplified by repetition and the pulsating thumps of a drum machine.

Johnny Utah’s final track, the aptly titled “A Song to End It All,” begins like a trippy, psych-drenched, fever dream in slo-mo, before bursting into a tambourine-filled hymn of sorts. A seamless end to a gratifying cassette, “A Song to End It All” and all that precedes it are well worth listening to on repeat. Each track will feel just as riveting as it did the first time you heard it. – Dianca London

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