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


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Irresponsible video for "Up and Up"

First things first, I love everything about Irresponsible. After I found them on Facebook about a year ago, I immediately got a message from their singer/guitarist, Ryan Paladino, thanking me for liking the page and supporting the band. Outgoing musicians who don’t take themselves too seriously make music scenes that people can be proud to become a part of. Once I got an email from my editor asking me if I’d be interested in covering their new music video for the song "Up and Up", I was thrilled to cover it. The video is witty and funny, just as self-deprecating as the band in itself. Babes, booze and the one-liner “Let’s get this motherfucker started,” combined with great music to rock out to make for a fantastic music video. Check out their video, and their music. They’ll appreciate it just as much as you will. Irresponsible are currently recording their 3rd album. --Hannah Brady

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Acme's new video "Girlfriend Tonight" & release show on June 21st

Acme is a smorgasbord of psychedelic music. They taste of soul and funk and indie-pop. “Their entire sound is ancient and futuristic…they got that good energy, that raw talent, and that good music….Acme is the future.” I believe it. Acme’s new single, “Girlfriend Tonight” is tight 80’s-style funk played at slow-jam speed. It could have been reminiscent of heavier 90’s R&B, but the live rhythm section and guitars give the song a classic sound, dressed up in shiny modern synths and bling. It’s like a candy shop of psychedelia: slick and sticky molasses covered in sparkling rock-candy, and everywhere you turn there’s another sweet effect. I haven’t yet mentioned Che’s vocals, which are no less classic, and strong, making this song an instant earworm. Don’t miss Acme’s free, all-ages, single release show at new outdoor showspace The Lot @ Atlantic Plumbing on June 21st (presented by Union Kitchen, DCDIT, and DCist). --Natan Press

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Opal Rose's Universal Soul

Opal Rose’s release Universal Soul, shows an entire universe of sound. Nice beats and Opal Rose’s beautifully ranged voice create a trance-filled album. Reggae, jazz, latin, hip hop and R&B influences mix into an intoxicating concoction. The album is appropriately named, since it can bring together worlds of sound into a cohesive and alluring universe that I , for one, would love to live in. Opal will perform at Tree House Lounge on June 25th. --Hannah Brady

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Finley Martin's Backtracks

Solo artist Finley Martin has spent the past two years creating his premiere album, Backtracks. Finley’s deep voice brings a rich flavor to hauntingly beautiful piano harmonies in the first song of the album, “The Empress of Ireland”. As the album continues, it becomes apparent that his voice is able to do much more than lay the melody for a classical melody, but also fit a variety of modern genres. His versatility creates an album which seems to explore each subgenre of modern rock. The vast majority of his album is acoustic guitar and voice, and the diversity of his sound makes Backtracks captivating. You can catch him this Thursday, June 12th, presented by the RLife Live Series at the Renaissance Arlington Capital View Hotel, or June 19th at William Jeffrey's Tavern    --Hannah Brady

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Cigarbox Planetarium

When you listen to the fresh pops of percussion from Cigarbox Planetarium you can’t help but be intrigued by the fresh sounds of their instrumentals. Comprised of members Andy Charneco and Deanna Pineda, Cigarbox Planetarium have been playing shows around the DC area since 2008. Creating both their own unique compositions as well as reviving old hits such as “My Funny Valentine” with their reminiscent tones, one can’t argue that Cigarbox Planetarium is something different. Often playing shows with Charneco on guitar and Pineda on keyboards, the two make for an intriguing combination that oftentimes makes one think of them as a more “jazzy” and “courageous” version of Daft Punk. You won’t want to miss out on experiencing Cigarbox Planetarium, their next show is at The Windup Space in Baltimore on June 22nd. --Rohan Khanna

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Rom (formerly The Dead Women) release new album Soda Christ.

DC’s post-punk trio The Dead Women have changed their name to Rom, and released a new record called Soda Christ. Recorded and mixed by Chris Freeland at Beat Babies in Woodstock, MD, Soda Christ has been anticipated by fans since a teaser demo EP was released earlier in the year. This is Rom's first full length, and second official release, following 2013’s Vier EP (as The Dead Women). Vier was a promising 4 song collection of tight post-punk, and Soda Christ delivers fully on that promise, and then some.

The album is tight and catchy from start to finish, sounds gorgeous, and will please both fans that have enjoyed their live shows, and interest new listeners. The sound owes a lot to bands like Joy Division and Wire, and Mark McInerney’s buttery smooth vocal melodies fall somewhere between Ian Curtis and Morrissey. This is not at all to say that the band is a one trick pony. Rom covers a lot of sonic ground on the album. The guitar tones are varied, rich and sweet, and Sean McCauley’s bass, and Mark Pry’s drums form foundations that range from melodic and dancey, compelling one to jiggle and sway, to simmering intesity. The band isn’t afraid to stray frequently from their more obvious influences, and do so without a hiccup, making fuzzy twee indie-pop on Micro, crispy pop-punk on Name, and anthemic (yet mellow) 90’s flavored indie-rock on Old Bull Lee (for which they are joined on vocals by Jenn Wasner, of Wye Oak--who also appears on opening track Jerry Princess Taste).

Soda Christ is solid, full of single-worthy tracks from start to finish. It's a fantastic opening statement for a skillful new band comfortably embracing a style (and name). Look for shows from Rom this summer and fall, and check out some of the new tracks below. --Natan Press

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The Bumper Jacksons' Sweet Mama, Sweet Daddy, Come In

Bumper Jacksons' new album Sweet Mama, Sweet Daddy, Come In is a pleasant surprise. The traditional swinging jazz brings to mind the indisputably dancing that took place in speakeasies throughout the country. Saying that Bumper Jacksons have a full band may be an understatement. Their full band consisting of clarinet, washboard, vocals, kazoo, trombone, guitar, mouth horn, bass, harmony vocals, snare, pedal steel and dobro drums, more trombone, and a suitcase. Yes, a suitcase. The band’s very own Dan Cohan created his own percussion setup around a suitcase with a washboard, tin can and old pieces of trash that make interesting sounds. --Hannah Brady

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Koshari's new double A single Into Shreds/Just In Time

The first time I heard the songs off Koshari’s new double A-side, Into Shreds/Just In Time, was live at the Black Squirrel this past Sunday. Due to the realities of the venue, Koshari’s guitarist Bryan Baxter opted to play his part with an acoustic guitar and a small selection of pedals. Though he was uncertain of the result, the set was beautiful, reminding me immediately of The Cocteau Twins’ tides of sparkling crystal sound. Barbara Western’s vocal melodies also remind me of Elizabeth Fraser’s, though Barbara’s words are more comprehensible. On record, the guitars in these songs are far more aggressive.

The combination of loud and abrasive guitars, pedal-play, and delicate vocals easily peg Koshari as a “shoegaze” band, with a significant debt owed to British bands like MBV. Yet Koshari’s sound differs significantly. They more often recall (perhaps unsurprisingly) the American wall-of-sound post-hardcore bands of the same period. The guitars are not ethereal crinkly cellophane, and there’s none of MBV’s trademark tremolo abuse. Koshari’s guitars are lush and thick; they chug and assault and dive quickly. The bass is easily discernible, and provides a melodic groove, while the drums are only mildly distorted and chewy, and the tempo is a hard drive rather than a lethargic shuffle or frenetic dance.

I’m having a hard time choosing which of the two songs to post below, so I’ll just pick “Into Shreds” because it’s the first one as presented on their bandcamp. I strongly suggest also listening to "Just In Time" (it should play through automatically). There’s a lot to hear in both songs (the differences between the songs are interesting if you’re into this sort of sound-play), they’re both catchy, and you’ll want to listen to them repeatedly. --Natan Press

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