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Psych





Hot tracks/Hot takes: The Down & Outs

HOT TRACKS/HOT TAKES: The Down & Outs released three singles in 2021, a triptych that pretty well summed up the experience of living through 2021 or they did for me at least (see "Free Assocation" section below). These three songs, self-described as the beginning, middle, and end of D&O Chapter Two, mark a transitional, exploratory phase for the post-punky power trio—and who doesn’t identify with the whole “transitional phase” thing these days ammirite?—a triptych which taken together makes for an attractive mantelpiece display or stocking stuffer for Grandma!

FREE ASSOCIATION: The sound of pent-up energy released. Then pent-up again. Then dissected and stitched back together Ed Gein style. Then revivified via electrical-current Bride of Frankenstein style. (“She’s alive! She’s alive!”) White knuckle fight-or-flight response. Frantic. Volcanic. A danceable panic attack. Built up by deconstruction. Minimalist maximalism. Intimacy from a distance. A remote Zoom call broadcast from the inside of someone’s skull to the inside of your skull. (see Brainstorm trailer below)

SONG ONE: “Last Party On Duke Street”
Release date: 16 April 2021
Duration: 2:58
Lead-in: the sound of muted guitar string scraping like someone trying to dig out of a Turkish prison cell
Groove: mid-tempo strut
Freak out begins at: 0:41
Breakdown and/or breakthrough section begins at: 1:57
Lyrical daily affirmation: “You’re so cool and everybody loves you / loves the way you make the feel”

SONG TWO: “Jealous//Unreal”
Release date: 10 September 2021
Duration: 5:57
Lead-in: the sound of New Order’s drum machine after a rough night out
Groove: looping loping Krautrock
Freak out begins at: 0:39
Breakdown and/or breakthrough section begins at: 1:54
Lyrical daily affirmation: “If you love me so / why don’t you show it?”

SONG THREE: “White Hot Heat”
Release date: 12 November 2021
Duration: 2:43
Lead-in: Jimi Hendrix joins Death Grips
Groove: Jah Wobble circa PiL
Freak out begins at: 0:01
Breakdown and/or breakthrough section begins at: 1:34
Lyrical daily affirmation: “No thoughts, no pain, no dreams in here”

FiNAL PRESCRIPTION: Take two (or all three!) songs on an empty stomach, washed down with a shot or two of ouzo, and don’t call me in the morning. Because you’ll be out cold for most of the day, most likely dreaming about Christopher Walken crawing inside of your mind, which is really just exactly what you need innit? (Jason Lee)





French Police "Plant Based Girl"

French Police have released a new single called "Plant Based Girl". This is the Coldwave group fronted by the talented Brian Flores.

You can catch French Police at Empty Bottle on January 8th with Lilac and Virgin Mother.

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World Premiere: Tetchy take us to their "Backyard"

Tetchy have issued an invitation to their "Backyard." Check out their brand new song and accompanying music video below, a day before official release, in a Deli-exclusive premiere boo-ya! 

But be forewarned this ain’t no backyard summer barbecue, which is just as well because it’s f***ing December and the high temp in the city is supposed to be 41 degrees today. Also, keep in mind that backyards are intimate spaces—the innermost sanctum of a home, for those lucky enough to have a backyard—and this is a song about an intimate subject matter, namely, it's a song about coping with trauma, coping with the unexpected passing of a loved one more specifically, a trauma we're all likely to go through sooner or later. (unless you’re a sociopath…are you a sociopath?!)

All that said, “Backyard” isn't a depressing song. Far from it, the song works both as a twisty twitchy (dare I say “tetchy”?) post-pop-punk dirge, and as an ecstatic noise-rock purge, building from a halting faltering whisper to a raging cathartic scream. Lyrically the song opens with a declaration that “the dirt / in my backyard / looks so cozy / in the moonlight” with a half-sung-half-spoken full-of-pregnant-pauses rhythm that speaks to the confessional nature of the lyrics like a friend whispering secrets in your ear (so much for laid-back-folkie-pastoral-acoustic-guitar-based type confessional songs!) an opening that's half consoling and comforting (let's lay outside on a beautiful moonlit night!) half-staring-into-the-void-dissociative (does our narrator want to be buried in her own backyard? I hope not!) and from here I’ll leave the lyrical exegesis to you, dear reader, and let you form your own personal interpretations. 

In place of lyrical exegesis, I’ll point out here how powerfully and evocatively the band as a whole work through the various stages of grief, and resilience, in purely sonic terms, over the song's four-minute duration—which could be witnessed first hand at Tetchy's single-unveiling show last night where the audience was clearly brought to a state of ecstatic communion (and hardly less so when they screened the music video later that night). Tetchy vocalist/lyricist/guitarist Maggie Denning gradually works her way from a tense murmur to playful hiccups (like a 21st-century Buddy Holly!) to open-throated melodicism to a whistle note that sounds like Mariah Carey backed by Sonic Youth to guttural animal bellowing to a howling-at-the-moon state of catharsis and then back again. So if you like singers with insanely elastic voices you're in luck.

Meanwhile the other members of the band, which is comprised of drummer Jesse French, bassist Dylan LaPointe, and guitarist Stevie Jick, match Maggie's vocal pyrotechnics and tonal shifts with an array of varied timbres and other sonic effects—from the jittery scraping rhythms of the song’s opening section to a gradual gathering of strength leading up to the song's noisy galanizing climax with the sound warping and distorting as if the the song's been shot into space and is now crashing down into a new atmosphere which really captures what Maggie calls “the surrealism of grief—mirroring the stab to the head that comes as you meet your new version of reality over and over again [and where] you don’t know yourself anymore."

And I gotta say, even beyond "Backyard," the band has a knack for capturing this state of sometimes giddy, sometimes panicked sonic disorientation (sometimes both at the same time!) constantly turning their own songs inside out. For evidence, listen to their Hounds EP below...

“Backyard” was recorded by the band's drummer Jesse (see also King of Nowhere), mixed by Julian Fader and mastered Anni Casella, who collectively capture the sonic state of unravelling and made it not only disorienting but also thrilling and inspiring to behold. The same goes for music video's director John Burgundy Clouse (working alongside Ms. Denning) who braved the backyards and waterways of West Massachusetts with Tetchy to capture a series of lucid dreaming images that mirror the aural rollercoaster ride in visual form with stuttering edits and sudden changes of setting and costume—for Maggie in particular, going from comfy sweater to animal suit to blue riot grrrl dress to birthday suit—thus capturing the sense of wild mood swings and naked vulnerability depicted in the song itself. But aside from these thematics it's a barnburner and rocks just as f***king much as the song itself.

So check it out above available here for the first time anywhere (we won't let you forget it!) and allow yourself to unwind in Tetchy's "Backyard." (Jason Lee)

Cover photo by Bao Ngo

 





The Exorzist III cast out the demon of holiday malaise with new EP

With the “Holiday Seasonal Affective Disorder Season” now officially upon us no doubt you’ll be needing some down ’n’ dirty ear-shattering brain-pounding skull-scraping consciousness-obliterating rock ’n’ roll to help purge the memory of your Alcoholic Uncle trying to convert you to QAnon and to help with digesting all that leftover cold turkey. But without going cold turkey of course because you’ll wanna down a couple belts of single-barrel bourbon before cranking up Gospel Jamming vol. 1, which is the new rekkid by the avant-punk-freejazz-skronk-jam-band-minus-the-noodle-dancing-power-trio known as The Exorzist III, a rekkid that’ll stuff your skull full of a pulverizing wall of sound that’ll block the ability to mentally process anything other than the glorious cacophony entering your earholes. (just scroll over the graphic directly below to listen).

The Exorzist III is a power trio in its purest form that dispenses with unnecessary frivolities such as having a singer, focusing instead on rhythmically-and-sonically-intense explorations like the 15-minute opening track "Jabber" with its layers of ever-shifting polyrhythms and heavily fuzzed out bass (Von Finger) and alternately-plinky-and-oceanic electric guitar (Drew St. Ivany) all anchored to a triple-time ostinato until it finally climaxes with an all-out tsunami of sound that sees drummer Nick Ferrante riding the crash cymbal like John Bonham suffering from a panic attack and it’s maybe something like the music John Coltrane would've made if he’d lived and continued down the path of Interstellar Space but traded his sax for an ax and switched over to playing heavy metal sometime in the '70s and after all Trane was raised on gospel music so maybe that accounts for the EP’s title.

And then…it just ends. A pattern that holds true for all four songs on Gospel Jamming vol. 1 because clearly The Exorzist III can't be bothered to write actual endings and no doubt fadeouts are far too gauche so instead they just stop playing whenever they damn well feel like it including on the final track “EVK” which simply lifts the needle off the record and not even on a downbeat. Harsh! It’s somewhat equivalent to a horror movie “jump scare” or maybe more like its polar opposite, but jarring either way, which is maybe how they came up with the name The Exorzist III (besides the power trio factor natch) which savvy readers may notice is only one letter removed from The Exorcist III (1990, dir. William Peter Blatty) a movie that some say has the greatest jump scare in horror history (my vote is for the ending of Carrie but it’s a close call) not to mention the movie features both Fabio and Patrick Ewing in cameo roles playing angels (!) so why it’s not taught in film schools alongside Citizen Kane I can’t explain. 

There’s a certain horror soundtrack aesthetic at work elsewhere on the record too. Like on “Coffer” which starts off with a short looped segment of suspense-type music before adding a high-BPM-hardcore-punk beat with the ominous loop still going on underneath and then adding a dissonant guitar that sounds like rusted car pistons grinding metal-on-metal and a throbbing plodding baseline and it's like the music you'd expect to hear if you were being being chased by The Tall Man from the Phantasm movie series about a creepy elderly mortician who torments his victims with a custom-designed oversized pachinko ball that flies through the air chasing you down long empty corridors until it catches up to your ass and these little blades or drills or circular saws pop out and thrust right into your forehead or eye socket or lower back for chrissakes which is a pretty impressively random way to kill a person so give The Tall Man credit for never doing things the easy way and neither does The Exorzist III and oh yeah he’s the guy on the cover of Gospel Jamming vol. 1 so that’s pretty cool. (Jason Lee)





Knifeplay go straight for the emotional jugular on new single "Hurt Someone"

Between the name of the band and the name of their new single (released just today!) and the photo above and the video below, I’m not sure I’d wanna meet Knifeplay alone in a dark alley.

But I would wanna listen to “Hurt Someone” alone in a dark alley because it's perfect music for a dark isolated place (whether interior or exterior) but at the same time perfect music for a place that’s ethereal and womb-like and otherworldly, with the steam rising up from a gutter nearby that catches the blue and pink light cast by neon signs just outside the alley while also diffusing the glow of dancing red and orange flames burning in the multiple unattended garbage bins that dot the landscape of Philly's grittier neighborhoods, or at least they do if you believe what you see in the movies, like in pretty much every Rocky movie where there’s at least one flaming garbage bin to be seen in the requisite jogging-through-the-streets-to-the-strains-of-horn-driven-disco scene.

You can probably tell I’m going for a cinematic vision here and it makes sense because Knifeplay makes widescreen-worthy life soundtracks with layer-upon-layer of oceanic guitars and hovering strings/synths and rhythms like a steady undertow that’ll make you wanna swim out to sea so far away that the rest of the world fades away from view. (or it’ll make you wanna hang out in a dark alley at night, I really need to pick one metaphor and stick with it!)

Anyway, Knifeplay is a six-piece made up of Alex, Johnny, Jack, John, Max, and Tj (no, I have no idea how to pronounce the latter) and according to the official press release released by their record label Born Loser Records it’stheir first new piece of music in nearly three years. Engineered by Philadelphia’s Jeff Zeigler, Hurt Someone offers a dark yet empathetic view of a character who fits right in with the world they’ve crafted in song since their early EPs” and there you have it.

And while you’re at it, you should head to your nearest streaming service asap and check out the single's B-side as well (“Ornament”) which is hardly ornamental because if the A-side is ethereal and amniotic, this instrumental B-side is the side that’ll actually make you feel like you're about to be stabbed to death in a back alley because the track ratchets up the nervous tension with a delicious-yet-demented-sounding dissonance until it builds up and up and up to an almost (almost) unbearable climax and then suddenly jump-cuts to black. (Jason Lee)

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