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The Deli announces 7 stages at the CMJ Music Marathon 2010

Deli Readers,

We've been working very hard to take as many bands as possible to this year's CMJ Music Marathon. As a matter of fact we aren't 100% finished with booking yet, but close enough to announce that we will have 6 shows and 7 stages during CMJ 2010 - in 5 different venues on 4 different days! As usual, there will be a smosgarboard of bands (around 50) mostly from NYC - including Keepaway, Oberhofer, Brahms, Bear Hands, Anni Rossi, Buke and Gass, The Rassle, The Living Days, Electric Tickle Machine, Chappo... and a welcome bunch of "foreigners" from other scenes we cover, like buzz-bands Blackbird Blackbird (SF), Bad Cop (Nashville), and Strand of Oaks (Philly).

SEE HERE FOR 99% FINAL SCHEDULE

We would also like to thank the 950+ artists that submitted through The Deli to play one of our CMJ parties - a dozen of them were selected by us and the venues. We really wish we could have picked more, it was a heart breaking process...

By the way, if your band wasn't selected for CMJ 2010, you may want to check out this article we wrote just for you, about how to improve your chances to be part of it next year. Hope you find it helpful!

Cheers!
The Deli Staff

 





Boston's The Royalty Say Goodnight

The Royalty play their last-ever shows this week - Sunday night, 7/25 at The House of Blues Restaurant, and Friday, July 30 at Providence's AS220.  Conveniently, Sunday's House of Blues show is free.  So take that extra cash to the bar and join the fun, as they may well be cruising towards a club ban.  Just kidding.  Probably.

If you haven't seen them yet and you're a fan of low-fi indie rock a la Pavement with a predilection for feedback (lots of it), incisive lyrics, sarcastic humor, heckling and cheap beer, then you owe it to yourself to make one if not both of these dates.  They also have an EP you should probably ask them about, featuring a great cover of Pavement's "Grounded."

Sunday 7/25
House of Blues Restaurant, Boston
Free, 8pm
with Quixote, Brontosaur

Friday 7/30
AS220, Providence
$6, 9pm
with Academia, Tens of Thousands, The Universes

- The Deli Staff

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Exposure Opportunity for All Asia Bar, Cambridge Alums

Are you a New England band or musician?  Have you toured through Boston?  Then I'm willing to wager that unless you were put on an existing bill elsewhere in Boston, you've played at All Asia Bar in Cambridge's Central Square.  Marc Shulman, the owner, is famous for letting just about anyone onto his club's humble stage.  He also gives the hosting band each night more freedom to do what they want with their time than many other club owners in Boston would be comfortable even considering.

So it is in true Marc fashion that he embarks on a new project, entertainment-minded for him and exposure-minded for the musicians he's hosted:  a playlist, indeed a mighty one, featuring every band and musician that has played there (and who have recorded music, of course).  The playlist will then be played over the house speakers at both All Asia and Marc's restaurant in Taiwan.  That's right - passive exposure both at home and overseas.

So, if you've played All Asia in the past and would like selections of your music to be involved, head over to this blog posting to find the link and password to a web drop box to which you can submit some or all of your music.  Marc has also offered to dig through all music submitted to find his favorites, so if you don't have the time to pick any "single(s)," Marc will do so for you.  So here's hoping you trust his taste.

- The Deli Staff

July 2010
The Highway
"Forest People
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mp3

Psychedelic swirling lures, introducing Forest People with atmospheric effects, slide guitar and nebulous, distant vocals.  It builds softly before dropping dead into one crunchy, snarled-lip guitar lick.  The band kicks it aside with the verse, Daniel Tortoledo's vocals immediately in the high-register, the rhythm guitar jiving like 70's funk.  It's as hypnotizing an opener as this listener has encountered in a very long time.  But The Highway, much as the name suggests, isn't content to idle in one place.  "Frozen Sun" cruises away from a desert sunset and a troubled past; there's defeat in the lyrics, but it's accepted, calm, soothed by the breeze and the knowledge that tomorrow is a new day.  The title track reminds what a spell a well thought out chord progression and back-up vocals can weave - it's a stunning, down-tempo meditation.  "Song for the World" is utterly beautiful; if you're the type to let music touch you, this one will, and it's thanks to plumb ingenious song-writing:  An entrancingly bittersweet opening gives way to one hell of a surprising French interlude (yes, both linguistically and musically); the song loops back on itself, gaining weight and fleshing out, and by the end, you might not know whether to laugh, cry, or sing along - even though they've switched languages again, this time to Spanish.  Now, I know I'm a bit of a sap, but the raw emotionality of the record is worth noting because it's a field in which psychedelically-minded rock 'n roll rarely succeeds.  But it's rock and roll, after all, so fear not if you just want to put your fist in the air - there's attitude in abundance, sharp and edgy soloing, inspired rhythm changes; hell, there's even a sing-along drum-and-vocal break.  There's still some residue of the "rock is dead" prophesying, some grumbling that rock and roll is all, at this point, recycled goods, and that the new breed of rock is not really "rock" so much as indie, as experimental, as post-this or that-core.  Buy Forest People.  And then buy it for anyone you know who buys that sh*t.
- Cullen Corley

May 2010
Ghost Quartet
"Ghost Quartet
"
mp3

Ghost Quartet is an anachronistic delight. Sharp, tactile, and playful, this Northfield, Massachusetts quintet (yes, you read that right—there are actually five members, none of whom are ghosts) offers up a new self-titled live EP that feels like something out of a smoke-filled 1920s nightclub. In 1975. In New Orleans. On Mars. Cacophony, chaos, and experimentation sit at the center of the five tracks on this jazz-funk treasure, transforming Ghost Quartet from a jazz recording into a piece of living, breathing art. Josh Powers weaves nimble bass lines with surgical precision under some seriously smooth vocals by Hilary Graves, whose Ella Fitzgerald-esque agility lends the group a winsome vibe with mass appeal—the same vibe, some might say, that lead singer Jenny Lewis offers Rilo Kiley. On “Catch the Funk,” guitarist Zach Holmes pays homage to 70s funk bands like Kool and the Gang and Earth Wind and Fire by digging grooves so deep, he hits rock bottom. On “Freeloader,” Graves shows off the band’s goofier side as she sarcastically taunts, “I don’t really like you much” over tubist Kevin Smith, who haphazardly blares away. Ghost Quartet sparkles not only because it embraces the unexpected; what makes it so unique is that it is a rarely-seen celebration of the raw, the unpolished, and the unperfected. While other bands reach for shiny new trumpets and fancy guitar pedals, you get the sense from these five live recordings that Ghost Quartet would rather play rusted instruments they found in an antique store. There’s something charming and wholesome about a band that sounds like it’s having fun when it performs, and by the end of Ghost Quartet, there’s no doubt that these guys (and girl) love every moment. With one foot in a speakeasy and the other in a garage, this quintet has struck a unique balance of old-timey nostalgia and youthful modernity. --Stephie Coplan

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