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best-emerging-bands-artists





The Deli Philly’s April Record of the Month: Nothing Feels Beautiful Anymore - The Madalean Gauze Band

A gust of wind ushers in “27 Stones,” as it eerily declares, “Poor little girl, you are in a world and no one knows your name.” Then, the gentle strums of acoustic guitar and keys intertwine to brighten the mood, and a mission statement and a motif of dissatisfying reality vs. a fantastical ideal is established. “I want to feel anything that’s real” is countered by the cutting chorus of “Nothing feels beautiful anymore,” before the longing of “I wish I could find the place, where all the things you love, you could hear them call you…” is revealed. A gradual momentum is built as the narrative of falling off course due to selfish desires unfurls. Clarity comes through over the course of a pensive climb, introducing us to The Madalean Gauze Band’s enchanting new LP Nothing Feels Beautiful Anymore.

It is followed by a menacing instrumental tone that sets the scene for “This One’s For You”. The swirl of tension creates a head trip as the vocals encircle in a chaotic, mesmerizing twist, before “Hotel Room” shifts gears, recalling the moments of falling in love in New York. The guitar sets out striding in accompaniment of the single in a singular, intimate manner. The recording serves as an admission of one’s true belief/desire. “Loneliness is safe, but a love will keep you going strong.”

“Welcome to the Party” greets us with its bewitching tones, requesting Madalean to “free yourself from the darkness,” as an ominous bell toll is cast against the proceeding, sunny vocals. “Life is a journey full of heavy demons” – the search for meaning in one’s life continues, before “Spooky Voodoo” spirals downward like a rumbling, runaway locomotive. The album’s title/sentiment is reiterated in an interlude of sorts and during the firestorm of “HAHA!” The song taps into destiny through a dream-like imagery and suggestive fall from grace: “You’re not the most beautiful anymore.” It toes the line between aggression and playfulness.

With “Talking,” there is a temporary reprieve, checking in on the listener. Foreshadowing the next track with the line: “Love, it shouldn’t be so hard.” “More Than You’ll Ever Know” has a strolling, percussive-guitar, one-two punch. Suggesting a sense of loss and loneliness – “things could be different, but they’re gone,” – a bouncy yet melancholy atmosphere filters through; the disappoint over revealing one’s genuine self and not being accepted is counterbalanced by a hopeful observation: “I want to believe in something that’s bigger than what I live in…”

“Electric Moment” seems to acknowledge an optimistic, personal outlook whilst taking ownership of one’s emotions, as acoustic guitar and angelic background vocals create a bare but bright aura. The aptly titled “The End” goes full circle, reinforcing its lyrical purpose in coda form. Nothing Feels Beautiful Anymore pages through a personal scrapbook of recent memories and relationships. Its ups and downs are viewed through a captivating psych lens, providing us with a kaleidoscope of wondrous sonics to enjoy. – Michael Colavita





A Deli Premiere: LOUIZA’s “Roll Your Eyes”

On April 5th, LOUIZA releases her sophomore album Swim at Night, recorded with producer James Riotto (The Mountain Goats, tUnE-yArDs, Ezra Furman) at Oakland’s Tiny Telephone. The Deli is pleased to premiere the sweet, folk-jazzy single “Roll Your Eyes.”

Swim at Night is a blend of folk, jazz, electropop and art rock. When asked about that last genre, LOUIZA’s Rebecca Mimiaga says the name allows for more experimentation. “When I think of rock, it’s so expansive…my music isn’t rock but it isn’t jazz either; it’s this total blend of all these things and I want to keep this project in the vain of ‘experimentation.’ [On this album] ...everything is more experimental [than the last]--the harmonies, everything.”

On the creation of the album itself, Mimiaga says she wants to give credit where credit is absolutely due. “With this album I’d come in with the song and a sort of mood board for what I wanted the song to be like, and Jaime (Riotto), would help determine what kind of synth sound to create. We have a lot in common sonically and he really helped determine the soundscape on the album. As for the musicians, I rarely tell them what to play, I want them to bring their own musical interest and influence to the album.” Tracks are refreshingly varied, from folk poppy rock to fantastic, horn-infused hip-hop jazz. Swim at Night is an exciting journey we recommend taking. Give it a listen and go see LOUIZA at Rickshaw Stop on April 18th for the album release show. Michelle Kicherer, Associate Editor





Weekend Warrior, March 29 - 31

Light up, and head on out to High Reeper’s record release this Sunday at Johnny Brenda’s. The local ensemble fearlessly dives head first into multiple chasms of the metal genre, while keeping true to its stoner roots and retro 70’s aesthetic. The quintet’s riff-tastic LP is a fine example of why Philly's underground sounds can't be put in a box. High Reeper will also be joined at the beloved Fishtown watering hole by celestial beings Green Meteor and NYC hard rockers Mick’s Jaguar. So feel free to bang your head, and let those locks/freak flags fly! – Alexis V.

Other places where you can rock or not this weekend…

Johnny Brenda’s (1201 N. Frankford Ave.) FRI The Clap Back - Benefiting Small But Mighty Arts: Rieko Copeland, SUN High Reeper (Record Release), Green Meteor

Boot & Saddle (1131 S. Broad St.) SAT Baker Man (Record Release), Mesmeric Haze, Aspect Ratio, SUN Augusta Koch 

Kung Fu Necktie (1250 N. Front St.) FRI Gringo Motel, The Rectors/Shake It Off: Taylor & Friends Dance Party, SAT HIPS, DJ Lean Wit It

Underground Arts (1200 Callowhill St.) FRI RFA, Secret American, Ali Awan

Union Transfer (1026 Spring Garden St,) SAT Brainrack

The Trocadero (1003 Arch St.) SAT The Pogos, Floaters, Voodoo Death Cult, Standard Bearer, SUN Man Like Machine, Timelost

TLA (334 South St.) SUN Lee Mazin, Bry Greatah

The Fillmore Philadelphia (1100 Canal St.) FRI DJ Diamond Kuts, Lee Mazin, Bri Steves, Summer Valentine, Wyo Chi, Mamba Cinco

The Foundry (1000 Frankford Ave.) FRI DJ Kaz: Drop It Like It's Hot

World Café Live (3025 Walnut St.) FRI (Upstairs) Reverend TJ McGlinchey, Mason Porter, Christopher Davis-Shannon, Alec Stewart/(Downstairs) Marah, John Train, SAT New Sound Brass band, Scantron,The Dull Blue Lights 

The Fire (412 W. Girard Ave.) FRI Jaxy & the Three 57s, SAT Drums Like Machine Guns, Aggressive Trial Attorney, Paradise Gardens, Night Terrors, SUN Broad Cast, The Zheroes/Slokey (EP Release), 3hibachi, BK Friendly, Mr.Hideyoshi, Toadofsky, Magnetic The Shaman

Ortlieb’s Lounge (847 N. 3rd St.) FRI S.R. Frost (Record Release), SAT Goddamnit

The Barbary (951 Frankford Ave.) FRI Crozet, XXIIIXIX/November Lounge, Det Cart Sid, The Third Arrangement, SAT Mirrorsigns

Silk City (435 Spring Garden St.) FRI Rich Medina, SAT DJ Deejay

Bourbon & Branch (705 N. 2nd St.) FRI Bill Guy and The Essentials (EP Release), Referee, Puppy Angst, SAT American Dinosaur, Lady HD, Stonewall Vessels, SUN Christian Real Keez, Tori Seven

Fergie’s (1214 Sansom St.) SAT Hannah Taylor and the Rekardo Lee Trio, Transistor Rodeo, SUN Rusty Cadillac 

Connie’s Ric Rac (1132 S. 9th St.) FRI Only on Weekends, Wolves Can't Dance, SAT Raw Street Cabaret 

The Tusk (430 South St.) SAT GHOUL B.C., Night Mission

Century (1350 S 29th St.) FRI The Age Of Truth, Thunderbird Divine, Ritual Earth, Grey C.E.L.L., SAT Tartarus Horde, Stopping Power, Hallucinogenic Bulb

Frankie Bradley’s (1320 Chancellor St.) SAT Hot Damn, SUN Necrosexual, Rockers Galore

The Grape Room (105 Grape St.) FRI Darlingtyn, Briz & the Revival, SAT Viewing Party, Chaos Theory, Minerva

Ardmore Music Hall (23 E. Lancaster Ave.) FRI Big Mind, Crucial, Solomonic Sound System, SAT Breakwater

The Pharmacy (1300 S. 18th St.) FRI Murayama, Overwinter, Expansion Project, SAT SteveO & The Crippling Addictions, Lost Boys Lottery, SUN Gloves Off, World Below, Snake Charmer

Tralfamadore (Please contact one of the acts or venue for more info.) FRI Rebecca Zimmerman (Album Release), Canine 10, Stereotytans, Drew Arden, SUN all boy/all girl, Phoebe Fm

The Music Ward (Please contact one of the acts or venue for more info.) FRI Medusa's Disco, SAT Full Bush, Dweller

Warehouse on Watts (Please contact one of the acts or venue for more info.) SAT DJ Everyday, Rob Paine & Francisco Collazo





Turkuaz releases video for "Superstatic" + plays BK Steele on 04.06

Never failing to impress, Brooklyn native group Turkuaz has released a music video for their brand new single “Superstatic” which was shot in Brooklyn and directed by Dani Brandwein and Jocelyn Piece. Turkuaz's lead singer and guitarist Dave Brandwein produced the video which encapsulate the colorful and creative nature of the band via green screen shots that have “an extra sprinkling of strangeness.” Everything was shot inside Brooklyn Bowl, which adds an extra touch of locality to the work. “Superstatic” is from the band’s 2018 release Life In The City, which once again puts Turkuaz’s excellent blend of funk and soul on full display and continues to cement the band’s status in “The Borough of Trees.” Turkuaz hits the road April 4 for a thirty-three date U.S. tour. - Rene Cobar





Just a Person Doing a Thing | An Interview with Madeline Kenney

Madeline Kenney has had her hand in a lot of projects these last couple of years. Her latest album, Perfect Shapes, is a twang-hazy, dream pop collection with some killer guest stars. Produced in collaboration with Jenn Wasner (of Flock of Dimes, Wye Oak and Dirty Projectors, and with whom Kenney just released the split single The Sisters/Helpless), the album was a “synth-obsessed” production. She’s not interested in always making the same types of albums and sounds. She recognizes, too, what an honor it is to be able to play music as a core piece of her livelihood.

We met at a cafe that was blasting old crooner jams. Madeline was full of smiles, a confident-approachable attitude, and seems like someone who’d be a pleasure to work with. In an industry dominated by male energy and ego, it’s a pretty refreshing idea.

The Deli (TD): Do you think your work has been swayed by what’s going on right now? “Me too” and more women working in music engineering?

Madeline Kenney (MK): When my first record came out, this guy who interviewed me said at one point, ‘it’s a really good time for women in music right now’ and I said, ‘no offense dude, but what the fuck?’ I get where he’s coming from, but women have always been making music. Just because people pat themselves on the back for publishing more of it now doesn’t mean there’s any more or less music being made by women. Just because it’s cool now to write about women it’s just...whatever. But it turned into a great conversation that ended in us just talking about music and I’d much rather talk about that than the fact that I have a vagina.

TD: Amen. Speaking of which, you’ve been exploring new sounds, lots of synth, drum machines: can you share what gear you’ve been using?

MK: I've been using my Minilogue for everything! I also built a Subharmonicon at Moogfest last year that’s super fun. I use FunkBox on my iPhone for drum programming--it's really easy and has samples of tons of classic drum machines.

TD: Have you had any "life-changing" gear discoveries recently?

MK: I can think of several pieces of gear that changed my music! Namely my RC-30 looper pedal, which I use to write a lot. Also having a computer to record stuff with was a game-changer! Right now I'm just really into writing pretty straight-ahead guitar, vocal music, which is a change-up from my synth-obsessed 2018.

TD: So what kind of pedal(s) do you use? Can you describe your pedal set-up?

MK: Yeah, the chain is: tuner, EarthQuaker Dunes distortion, some cheap Chorus pedal, Boss PS-5 Super-Shifter, Memory Boy delay, Boss RC-30 looper, Boss DD7.

TD: What is your interest in production and engineering?

MK: I’ve made my own videos for a while and have directed for others. Before I had a budget I was shooting, directing and editing everything myself....I’d been trying to learn engineering and production--I did a lot of that at Women’s Audio Mission in San Francisco.

TD: Did you produce Perfect Shapes?

MK: We engineered the record together. It says it’s produced by her (Jenn Wasner), but it was a really collaborative effort.

TD: What other videos or projects do you have your hand in?

MK: I just produced a record for this woman, A. O Gerber, and then she had me do two music videos for her. I might be doing a music video for Rose Droll. I’m also going to be doing a video for John Vanderslice. So yeah, I’m just trying to get into that world, just a way to do something and as a way of making money. Because well, you gotta!

TD: And you shoot them yourself?

MK: I film them myself, yeah. Whatever gear I can get for the budget, I’ll use, then edit it myself. I’m not an expert--I didn’t go to school for it--but I really like doing it. And with every video project I get, I’m learning more and getting better. It’s really fun. You know what’s funny? When I was a little kid I would put on music in my room and dance around and sing to it and pretend that I was in a video. And in my brain I was like oh, too bad that’s not a real job. You can’t make videos for people, they just do it themselves. That was my idea!

TD: Do you have any advice for other musicians--especially young ones--who are trying to do this? As their job, their dreams, whatever?

MK: Thor Harris wrote this sage piece called, “How to tour in a band or whatever.” He talks about how if you’re an artist you’re essentially a nonprofit organization. You have to do something else to make money because people won’t pay for art. It’s always been that way. He’ll give you a reality check but also be like, still do this.

TD: What motivates you, when you’re really worn out? What’s your endgame?

MK: I think that anyone in this world of music needs to be hyper-aware of the fact that this is (usually) temporary. Never, ever take it for granted. But take LambChop: he’s amazing, has been making records for like 30 years, plays small venues. He’s always making new, insane-sounding things. He’s this 60 year old dude using a Vocoder auto tuner. But he works construction, too! It’s an industry where you’re either a hot hot thing, making tons of money and getting all the gigs, or, you just quietly put out a record, do your tour, and go back to your life. The latter is what I want. My end game is that slow climb: put out quality records, keep exploring new ideas and sounds. I want to always be learning new things, not just doing the same types of sounds over and over...My dream of dreams is to open my own bakery-cafe, so I can have that as my sense of permanence and then have touring or shows as a thing I continue to do, hopefully for my whole life.

-Interview with Michelle Kicherer, Associate Editor

header image: 
sites/upload-files/imagecache/review_image/kin.jpg
author: 
Michelle Kicherer
Subtitle (brief and awesome): 
An Interview with Madeline Kenney
Excerpt (short interesting quote from the Q&A): 
“I’m just so tired of hearing the phrase ‘bad ass women.’ What the hell is that? It’s demeaning. We’re just people doing a thing--why can’t it just be that?”
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