Artist of the Month
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April 2016
Ghost King

Hailing from The Bronx and led by Spires' drummer Carter McNeil, Ghost King plays muddy fuzz rock brightened by unexpected chord changes, psychedelic overtones, and a '90s rock inspired lo-fi production that blends the fun attitude of Violent Femmes, the stellar songwriting of The Pixies and the slacking tendencies of Pavement. Early psych rock influences emerge here and there in their debut album 'Bones' (check out the rather Barretesque 'Bones pt. 1,' or the chorus explosion of 'When the Sky Turns blue' - streaming below), enriching the sonic palette in ways rarely accomplished, in a single record, without it sounding... all over the place. But beyond the familiar and beloved references to the past, what makes this album great is its consistently brilliant songwriting, and the band's habit of taking the listener in and out of unexpected places, like for example with the dissonant riffs of 'Skeleton Dance' 's intro, which slowly morphs into a perfectly consonant verse, or through the bizarre development of ''Til You Belong to Me' or 'Bones pt. 2.'  

The 60's

Band of Gypsys

Bob Dylan

Bruce Haack

The Fugs

The Godz

Holy Modal Rounders

Velvet Underground
The 70's
Patti Smith
The New York Dolls

The Ramones

The Talking Heads
Richard Hell
The Dead Boys
Lydia Lunch
The Contortions  
The 80's
Afrika Bambaataa
Arto Lindsay
Bad Brains
Beastie Boys
Bruce Springsteen
The Feelies
The Fleshtones
Grandmaster Melle Mel
John Zorn
Laurie Anderson
Public Enemy
Run D.M.C.
Sonic Youth
They Might Be Giants
The 90's
A Tribe Called Quest
Cat Power

Jeff Buckley

The Magnetic Fields
The Notorious B.I.G.
Soul Coughing
Yo La Tengo
The 00's
The Strokes
TV on The Radio
Fiery Furnaces
Yeah Yeah Yeahs
The Bravery
Animal Collective
Bright Eyes
Devendra Banhart
Moldy Peaches
Le Tigre
Blonde Redhead
Grizzly Bear

This is a preview of the new Deli charts - we are working on finalizing them by the end of 2013.

Go to the old Top 300 charts


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The Deli's SXSW Issue 2014 is online!

Read it digitally here.

P.S. 10k free copies of this issue hit the street of Austin during SXSW Music week!

Rain Drop Garden is a bright-eyed collection from The Esskays

After a weeklong, sickness-induced break, I thought I'd come back with a handful of music for y'all. What I didn't expect is that so many of my picks would come from the family of "psych rock." And like many real families, where your sister can be a lawyer while you're up at 3am in a haze concocting recipes out of stale saltine crackers and various chip dips (the only ingredients you have in the house), the apples may not fall far from the tree but they can sure end up a ways off from one another. Rain Drop Garden from the Esskays is out there and verby, seemingly the only pre-reqs for being "psych," but it's flowers all the way down. Jangly and poppy, never too demanding (but not boring by any means either), it's an all-seasons offering of catchy numbers that wander but never lose sight of the path. Either way, take a shovel out to Rain Drop Garden and get to digging. -Austin Phy


There's no fooling around on Fool's self-titled debut

Fool. That's a band name I can get behind. It's simple, not too ornate...it just seems like it would look good on a poster, you know?  But maybe I'm fixating on the wrong thing, because it turns out these guys are every bit as good at making music as they are naming bands. Fool's debut is psychedelic in a way that said descriptor isn't used all too often now. It isn't grimy, it isn't fuzzy, it isn't a bit salty from all the surf that frequently gets mixed in, but is instead more akin to The Zombies, Love, or—take note, as this is the one-in-a-hundred time I use this comparison as a good thing—The Grateful Dead. Whatever it is, really, it's one of the more unique releases from Nashville in a while. -Austin Phy  


Mickee Poole's "You're OK" is better than okay

 You're OK is something like the soundtrack to a high school prom in an alternate reality where the Cold War heated up and everybody ended up all melted and a little off-center. There's no anger, no aggression, just a cool, goopy go-with-the-flow relaxation the whole way through. It's lo-fi goodness as good as it gets, weird but not weird just to be weird, and uncomfortable but far from incomprehensible. There are moments of beauty, moments of breaking point tension, and an 8-minute slow burner that closes it all out with a sense of finality. Check out whatever kind of strange brew Mickee Poole's got going below. There's a solid chance you'll like it. -Austin Phy


The Daybreaks' "Cruel Summer" cover is an icy cold summertime treat

Summer isn't all sunshine and icy drinks with fruit in them. No matter what The Beach Boys tried to tell you, it's a season for loss as much as any other. A song like "Cruel Summer" works at taking a different approach to an overplayed trope, and the cover from The Daybreaks' camp pulls double duty. Fully indulging in the bleak sorrow suggested in the composition of the 1980s original, it's clearly a well thought out effort that doesn't take the gimmicky style-swap change of some covers or the miserably by-the-numbers approach of many others, but instead explores the intent of the original in a meaningful way and adds to what was already present. This version, held aloft by a restrained instrumentation and hauntingly cool harmonies, is like a nice bit of shade from the heat. If you want to get into the summer spirit but aren't sold on the idea of the season as a three month party, check out the video below. -Austin Phy



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