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""bury me at makeout creek"

In her third album "bury me at makeout creek," Brooklyn songwriter Mitski reveals a dual musical personality and a multi-faceted talent. Opener "texas reznikoff" presents us with what (deceptively) sounds like your regular, acoustic guitar armed singer songwriter, who gently sings about her wishes, her lovers and far away lands. It takes less than a minute and a half for that first impression to get completely subverted by a sudden build up of distorted guitars. The sonic saturation continues in the following track, the noise pop gem "townie," where Mitski sounds like a riot girl of the new millennium, crafting a beautifully tense melody, full of carefree lyrics, over an unrelenting carpet of fuzzy guitars and feedback. Following track "first love / late spring" take us back to the initial sparseness, introducing a very elegant, if not seductive melody, reminiscent of the crooning charmers of the '50s. A few tracks later, "jobless monday" doubles down on the crooner-pop influences, forging another incredibly beautiful vocal line. The rest of the record keeps dwelling between these recurrent extremes, revealing an artist who relies on her pop sensibility to allow her poetry to shine, while her instinctive, youthful angst leads her to reject anything that's too conventional or predictable. Many great records emerge from this kind of tension.

The 60's
Bob Dylan

Simon and Garfunkel

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
Sonic Youth
Bad Brains
Beastie Boys
Bruce Springsteen
The Feelies
Laurie Anderson
They Might Be Giants
John Zorn
Arto Lindsay
Sonic Youth
The Fleshtones
The 90's

Jeff Buckley

The Magnetic Fields
Yo La Tengo
Soul Coughing
Cat Power
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

Welcome to the new Deli Charts, organized by genre and scene.

To rank the artists with the star system go to the Top 50.


scene blog

NYC's Teen Girl Scientist Monthly coined a new genre to describe their upbeat, energetic music: "pop stomp" (why not "stomp pop"? It sounds better...) Here at The Deli we are fans of the band’s fast paced pick-me-up single “Summer Skin”, which feels like a well needed shot of unpretentious rock'n'roll, something kind of rare in our tense and often angry rock scene. The Brooklyn band has a super fun live show that has the potential to get even the laziest of humans out of their seats for some frantic dancing. That's why they are asked to play Rockwood Music Hall on a Saturday - in this case January 3, 2015. - Robert Frezza

December 19, 2014

Vomitface formed to improve the local music scene. The trio's brand of self-proclaimed “black-surf” (to which we'd add “grungy, sludgy rock goodness”) comes across searingly in its new, self-titled EP. The noisy provocateurs, who recently played one of The Deli's B.E.A.F. shows, has just landed a January 2015 residency at Cake Shop. We had the chance to ask Jered Micah (vocals/guitar), Keller McDivitt (bass) and Preemta Singh (drums) about origins, passions, and why they do what they do.

Read Michael Haskoor Interview with Vomitface.

December 19, 2014

Brooklyn’s hardcore up-and-comers Sick Feeling are an authentic love child of the NYHC scene, sharing similarities to Fucked Up with an even more agonizing vocal edge from singer Jesse Miller-Gordon. They’ve just released a brand new punk single titled ‘The Americans’ paired with a meme lyric video directed by Nick Ace - you can watch it below. It’s the band’s second single from their forthcoming LP titled ‘Suburban Myth’ due out on January 20th via Collect Records. With such an aggressive approach, it’s no wonder that former Thursday’s Geoff Rickly (owner of Collect) took interest in their sound almost immediately. Claiming that they’re “the sound of American nostalgia being turned inside out,” Sick Feeling cling to their message of acceptance of young angst and growing pains as being totally normal. - Michael Haskoor (@Tweetskoor)

December 19, 2014

Tomboy is a NYC duo that offers a rather personal and stripped down take on the industrial-pop genre, even though the term "pop" is a little stretched here, since the band's material, to date, never really unleashes pop music's signature "big chorus," preferring instead to keep the melodic tension chained. Their approach is quite minimalistic and measured, with rarely more than two parts overlapping with each other, which opens up a lot of space for Sarah Aument's strong and somewhat Bjorkesque vocals.  "Roll Out," (streaming, video here) is the first single/video from their self-titled EP, released earlier in April, and moves from a dark, edgy industrial-dance verse towards a more open and traditional chorus. "Moths," on the other end, is a moody midtempo built on on a web of percussive samples and sudden synth slashes. Kudos to director Maria Burns fur the uber stylish, just released video, streaming below.

We added this song to The Deli's playlist of Best electronic songs by emerging NYC artists - check it out!

December 18, 2014

Isadora’s latest, the "Predators EP", strikes a fine balance between their song’s underlying dreaminess, and an unapologetic ebullience featured on later tracks. The songs are reliably catchy throughout, but some, such as "Barcelona" (streaming) will knock you sideways. In this song, the hook comes early, a brief and sticky piano phrase wrapped tightly in a snare and shaker groove. The song’s chorus, conversely, develops more gradually. The first pass at it is fleeting, hinting at this section’s later flourish and then reengaging the listener with the piano refrain, this time waist deep in wailing guitar. "Option A," another strong cut from the EP, also plays on this dynamic, gradually raising the temperature to degrees below soaring, expertly lapsing into a calmer pocket, before a final anthemic relapse. Catch Isadora 12/7 at Glasslands. - Emilio Herce

December 18, 2014

Few rock albums have been at once as daring and fun as Devo's debut "Q: Are We Not Men?" and we are always ecstatic when we hear exciting new local music referencing the band that managed to make Ohio glamorous (at least for a year or two). The NYC scene doesn't need any more glamor, but it sure can use a record like Future Punx's new EP "I'm So Inspired." The record represents a rather drastic change for the band: compared to their previous, more experimental and droney releases, more attention was shifted towards arrangements, melody and structure, i.e. production. On our favorite track "Plus Side," a web of funky guitars and farfisas creates an intriguing post-punk setting, letting singer Chris Pickering's deadpan tenor tie together the various elements with a few well picked notes. Opener "I'm so inspired" and third track "Forgive the Doubt" confirm the flirtations with both the post punk of the early '80s and funk music, with the latter providing the most memorable chorus of the EP. Closing track "See You in the Future" doubles the fun with keyboard madness, teutonic angularity and bizarre call and response vocals reminiscent of early The Stranglers - another stellar band of the '80s that's criminally under-referenced in today's pervasive '80s revival. Thank you Future Punx, this was a nice Christmas present! - Photo by Josefina Lagos

December 17, 2014

Which of these emerging acts should be The Deli's next NYC Artist of the Month?

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