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Songwriters





Strand of Oaks' Winter Classic 2016 at Boot & Saddle Dec. 2 - 4

After a tumultuous year and half of touring the country in support of his heavily lauded LP Heal, Strand of Oaks returned to Philly last December for an intimate Winter Classic series at Boot & Saddle. The event was two nights of anything goes, which allowed Timothy Showalter the chance to unwind among friends and perform extended cuts of songs, do an assortment of covers, and even try his hand at some comedy. The end result was so successful that the local area singer-songwriter will be coming back to the South Philly venue for the Winter Classic 2016, and it will now feature three nights of shows under the same format. Showalter also just announced that he will be releasing a new album, Hard Love, on February 17 via Dead Oceans, and shared its lead single, “Radio Kids,” so expect him to be heavily armed with new tunes. Strand of Oaks will be supported each night by the rock ‘n’ roll show review stylings of Jason Anderson. Boot & Saddle, 1131 S. Broad St., 8:30pm, $15, 21+ (Photo by Alex Crick) - Bill McThrill





Unveiling Dominic at Ortlieb's Dec. 1

Dominic Angelella’s creative evolution stretches from Hop Along to DRGN KING and Lithuania with stops along the way. His latest musical manifestation is simply titled Dominic, and will release an album, Goodnight Doggies, on February 3 via Lame-O Records. The album’s first single, “Birthday Song,” possesses subtle layers of instrumental warmth, intermingled with a catchy, folk jangle and a thoughtful personal narrative, sweeping one up in a pensive daydream with a grounded core. Tonight, Angelella will be unveiling his latest project at NoLibs watering hole Ortlieb's. He'll be supported by Vexxed, which features Lucy Stone (who had been part of the recent incarnation of DRGN KING). The bare, introspective sounds of Photo Jenny will also be joining this mid-week affair. Ortlieb’s, 847 N. Third St., 8pm, $10, 21+ - Michael Colavita





From the NYC submissions: Maris's bone-chilling ambient-pop

Earlier in 2016, NYC based Belgian singer-songwriter Mariske Broeckmeyer released her bone-chilling debut album 'On Gods And Other Things’ under the moniker Maris. The first track off the record, “How’s Things” immerses us into an astounding experimental soundscape, full of electronic details. An expansive, almost looped melody, sung with a soft, delicate expression, plays catch up with a slowly building rhythmic pattern; seemingly conflicting sonic textures somehow melt together to create a gracious, feral, ever evolving drone, at times reminiscent of Bjork’s darker compositions. The rest of the album employs samples and effects of the quirkiest variety, always faithful to some sort of avant-ambient language, which allows Mariske's slightly foreign sounding vocals to disclose their magnetism. - Ashley Muniz

This artist submitted music for coverage here.

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The Deli Philly's December Record of the Month: Welcome - Slaughter Beach, Dog

Jake Ewald, well-known as one-fourth of Modern Baseball, steps into the spotlight on his first full-length album as Slaughter Beach, Dog. Suitably titled Welcome (Lame-O Records), Ewald’s ten-track confessional holds nothing back. Each melody and each emotion is unfettered and nostalgic without apology. Like the grownup and more articulate version of your favorite band from undergrad, Slaughter Beach, Dog’s dream-pop adjacent anthems will melt your heart with ease.
 
Opening with the self-aware ‘90s throwback “Mall-rat Semiannual,” Welcome’s strength lies in Ewald’s ability to build an entire universe within a matter of seconds. Like a lyrical rendering of an intricate diorama, the album’s first track unfolds with earnest inflection, sway-worthy riffs, and a romanticism reminiscent of Pavement’s “Gold Soundz” meshed with Modest Mouse’s “Dramamine”. The directness of “Toronto Mug” is perfectly mirrored by the its brevity, while “Monsters” feels like the song you wish you wrote about yourself, depicting with precise rhythm what it means to be haunted by the shortcomings of others as well as your own.
 
“Bed Fest” plays out like the soundtrack to a mumblecore flick at its climax - bittersweet and subtle - awash in acoustic chords and swelling snare, ending in trippy reverb as Ewald croons, “You can’t stay here.” “Forever” and “Jobs” are pragmatic snapshots of the millennial plight framed by poppy backbeats and relatable proclamations like “I think that we’re better off just believing in ourselves, but that’s just me.” A sweet but solemn love song, “Politics of Grooming,” effortlessly bleeds into “Drinks,” a wistful theme for lovers not quite over their past, but unafraid of diving headfirst into the future, hand in hand despite misgivings. Like a premature epilogue, “Toronto Mug II” is lo-fi in all the right ways, serving as a welcomed primer to the album’s instrumental exit, “Essex Street.”
 
Staying true to its namesake, Slaughter Beach, Dog’s latest slew of songs will remind you of where you came from and who you really are. - Dianca London

December 2016
Slaughter Beach, Dog
"Welcome
"
mp3
Jake Ewald, well-known as one-fourth of Modern Baseball, steps into the spotlight on his first full-length album as Slaughter Beach, Dog. Suitably titled Welcome, Ewald’s ten-track confessional holds nothing back. Each melody and each emotion is unfettered and nostalgic without apology. Like the grownup and more articulate version of your favorite band from undergrad, Slaughter Beach, Dog’s dream-pop adjacent anthems will melt your heart with ease.
 
Opening with the self-aware ‘90s throwback “Mall-rat Semiannual,” Welcome’s strength lies in Ewald’s ability to build an entire universe within a matter of seconds. Like a lyrical rendering of an intricate diorama, the album’s first track unfolds with earnest inflection, sway-worthy riffs, and a romanticism reminiscent of Pavement’s “Gold Soundz” meshed with Modest Mouse’s “Dramamine”. The directness of “Toronto Mug” is perfectly mirrored by the its brevity, while “Monsters” feels like the song you wish you wrote about yourself, depicting with precise rhythm what it means to be haunted by the shortcomings of others as well as your own.
 
“Bed Fest” plays out like the soundtrack to a mumblecore flick at its climax - bittersweet and subtle - awash in acoustic chords and swelling snare, ending in trippy reverb as Ewald croons, “You can’t stay here.” “Forever” and “Jobs” are pragmatic snapshots of the millennial plight framed by poppy backbeats and relatable proclamations like “I think that we’re better off just believing in ourselves, but that’s just me.” A sweet but solemn love song, “Politics of Grooming,” effortlessly bleeds into “Drinks,” a wistful theme for lovers not quite over their past, but unafraid of diving headfirst into the future, hand in hand despite misgivings. Like a premature epilogue, “Toronto Mug II” is lo-fi in all the right ways, serving as a welcomed primer to the album’s instrumental exit, “Essex Street.”
 
Staying true to its namesake, Slaughter Beach, Dog’s latest slew of songs will remind you of where you came from and who you really are. - Dianca London
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