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

Go to the old Top 300 charts



Young Rival drop "Interior Light" LP + play Horseshoe Tavern on 12.17

Last week, Hamilton's indie favorites Young Rival dropped their latest album "Interior Light", and shared the title track. It's their first release since 2012's successful "Stay Young". The new album doesn't stray too far from their signature sound, without sounding like more of the same; oldies melodies over indie rock riffs and soaked in reverb. Somewhat obscure-sounding opener "Carry The Weight" sets the table for a very interesting album. The rhythm is tight and groovy and singer/guitarist Aron D'Alesio has an uncomplicated and cool guitar style throughout. My personal favorites are "Where It's All Going" and "Bent Out Of Shape". The trio are heading out very soon for a full on North American tour with Born Ruffians. They will be at the Horseshoe Tavern in Toronto, December 17th, and at the Casbah in Hamilton December 18th. Don't miss them! - Kris


I'm Here for the BOOs: Nashville's Halloween Playlist

Get tipsy off pumpkin beer? Check.
Watch Hocus Pocus and re-realize how awesome it is? Check.
Stress over the whole couples-costume thing? Check.

Create a totally badass Halloween playlist featuring some of my favorite local bands? CHECK.

Get in the spirit and give it a listen! -Caroline Bowman


Album review: Bloodbirds - MMXIII

(Photo by Todd Zimmer)
Twenty-year veterans of the LFK/KC underground music scene, Mike and Brooke Tuley have played with a number of bands familiar to local rock audiences. Best known for their time with Ad Astra Per Aspera, they established Bloodbirds in 2011 with the intent of cutting loose and shaking things up.
And they have. Dense, dark—equal parts Fun House (Stooges), Spacemen 3 and Black Angels—Bloodbirds’ newest release MMXIII may also be their swan song, given the departure of bassist Anna St. Louis for Chicago. In some ways, it is St. Louis whose playing defines the band. Forward in the mix, and by no means shy, St. Louis plays with punchy authority, reminding of some of the other great “lead” bass players like Jon Entwistle and Peter Hook. Brooke Tuley is a powerful drummer; her parts are simple, but dead-on. She locks perfectly with St. Louis.  Mike Tuley plays on top of their aggressive foundation, a canvas for his arsenal of shimmering hammer-ons (“Modern Sympathy”), punishing riffs (“Did You Say”), and sometime dulcet tones (the comparatively clean Blue Mask jangle of “Convalesce”). Depending on the song, his sound can be metal harrowing or as ropey, surf-psychedelic as the theme from Repo Man.
About those songs: they’re functional, gripping, emotional soundscapes, not necessarily bound by pop hook conventions. They hit you with the shape-shift intensity of vintage heavy rock like Blue Cheer or modern darkness merchants like Black Rebel Motorcycle Club. Which is to say the focus here is not necessarily on hum-ability. Even allowing for that, it would be nice if the vocals had a dash less delay density and a bit more clarity in the mix. Lyrics and vocals on MMXIII are more about mood than meaning (or mood as meaning), stray lyrics emerging from the driving murk to arrest your conscious mind here and again.
The tough thump of “No Trains Coming Through” totally belies the song’s title. With Roky’s manic intensity, the song “Did You Say” features the ominous, repeated line “Did you say you want the end to come right now?” And the music echoes the sentiment. “Round Moon’s” cascade of guitar features some of Tuley’s most expressive fretwork, summoning up the incantations of bands like the Icarus Line and the guitar howl of the Stooges’ Ron Asheton. For an album that emphasizes a certain heavy-osity, MMXIII manages to shift mood and tone effectively.
Brothers and sisters, the Bloodbirds can make a show-stopping addition to anybody’s Psych Fest. Live shows may be few and far between, given the departure of St. Louis, but they have reunited in support of MMXIII occasionally and the members remain close friends and open to the odd gig. Go catch them if you have the chance.
—Steve Wilson


The Deli's NYC issue #44 is online!

Deli Readers,

I know, it seems like we put our latest issue out just the other day - but no, we haven't switched to monthly. It's just that the fall in NYC is a busy time for us, and with CMJ week and our NYC Synth Expo (linked to BEMF) coming up, there's a lot to write about.

Here's our 44th issue of The Deli NYC (one of our finest!). Check out cover band Stolen Jars, they'll be performing at one of the (several) Deli CMJ 2015 shows!


The Deli's Staff

Quichenight, "The Minor Sea"

Maybe it's because we're totally landlocked, but Nashville is seriously lacking in surf rock (minus The Beech Benders. Those guys rule.)

Fortunately, Brett Rosenberg aka Quichenight is bringing the salty ocean breeze to our fair city and the sand to the crevices of our... hearts.

It's becoming more and more rare to see a full album release. With our astoundingly short attention spans, I'm surprised you've even read this far. But Quichenight's The Minor Sea is so intriguing and enigmatic and... just plain good, 14 tracks still leave us wanting more.  Starting off with sound of crashing waves and ending with the title track (Minor C, get it?) Quichenight shows plenty of self-awareness through the spring reverb and creepy organ solos. 

"Saturn's Pig" would make the Wilson brothers proud, while "Life is Disgusting" and "Quackin'" will have you doing The Swim until you're blue in the face. With cheeky lyricism and solid musicianship, Quichenight has taken the title from Taco Tuesday as our official favorite night of the week.

Give The Minor Sea a spin and pick it up on cassette and/or "the next obsolete format-- that relic of the 80s and 90s, the CD!" -Caroline Bowman



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