The Deli NYC #35 - Celestial Shore, NYC Hip-Hop, Lovelife by The Deli Mag

the deli

the magazine about emerging nyc bands

FREE in NYC $2 in the USA

Issue #35 Volume #2 Summer 2013

www.thedelimagazine.com

Aye Nako Coastgaard Companion Free Time Butter the Children Brick + Mortar Lora Faye Heliotropes Denitia & Sene. Small Multiples Brazos Bambara Mree Belle Mare Lovelife Seasick Mama Manican Party The Dough Rollers

celestial shore Live at Silent Barn on 9/13/13

Feature

NYC Hip Hop

Re-Emerges From the Concrete Jungle

the deli

the magazine aboutthe emerging nyc scene bands everything about nyc music Issue #35 Volume #2 Summer 2013

skaters

Celestial Shore p.27

Note from the Editor

Editor In Chief: Paolo De Gregorio Founder: Charles Newman Executive Editor: Quang D. Tran Art Director/Designer: Kaz Yabe (www.kazyabe.com) Cover Photo: Josh Goleman (www.joshgoleman.com) Web Developers: Mark Lewis, Alex Borsody Staff Writers: Bill Dvorak, Nancy Chow, Mike SOS, Dean Van Nguyen, Meijin Bruttomesso, Dave Cromwell, Mike Levine, Brian Chidester In-House Contributing Writers: BrokeMC, Ed Guardaro, Corinne Bagish, Devon Antonetti, Michael Zadick, Bianca Seidman, Jack McGovern, Paul Jordan Talbot, Michael Haskoor The Kitchen: Janice Brown, Howard J. Stock, Ben Wigler, Shane O’Connor, Matt Rocker, David Weiss, Gus Green Intern: Sam Kogon Publishers: The Deli Magazine LLC / Mother West, NYC

On The Web

NYC Hip Hop Scene p.20 Deli Readers,

It was right about time for The Deli to dedicate a full feature to Hip Hop, a genre we haven’t thoroughly covered in our almost decennial existence. After all, more than one source attributes the birth of this culture to NYC (South Bronx in the ’70s, to be precise), and even though the Big Apple probably can’t be called the capital of Hip Hop today, the genre - which is currently experiencing a local resurgence - had a definite mark on our scene, producing a ton of unique acts (google “Best 50 NYC Hip Hop Artists” for a comprehensive Time Out article in this regard) and also influencing seminal indie bands like Beck (before he moved back to LA) and Soul Coughing. Also, The Deli’s Stompbox Exhibits (now we have 4 per year!) are becoming increasingly important for us, helping us offset some of the expenses we incur in printing this rag. Like everything else we do, they are free for musicians, so if you are into guitar pedals please come and support us! The next one is at Main Drag Music in Williamsburg on October 19 & 20. (See p.6 for details.) -Paolo De Gregorio

Online Features with NYC Bands

With only a handful of compositions to their name, Skaters have very quickly taken a giant leap beyond the usual blog space race, garnering attention from The Guardian and The New York Times, among others, who have joined the legions captivated by their refreshingly undiluted take on classic melodydriven punk rock. The band’s music is raw, rickety and exhilarating; a fun delineation of SoHo’s scuzzy seventies youth cultures through to their early noughties revivals - all leather jackets, skinny jeans, dark sunglasses and macho bluster.

Read Dean Van Nguyen’s article on Skaters at: www.thedelimag.com /artists/skaters

stomp box news and reviews

parquet courts Although 3 of 4 members hail from the Lone Star State, Parquet Courts is a self-proclaimed NYC band... and we’d say that’s pretty spot-on. Formed in the city, they ooze the same snarky, street-wise attitude that belongs to the shrewdest (and perpetually grumpy) New Yorkers. That being said, the quartet isn’t exactly rude; they’re just letting their thoughts on the matter at hand be known – and bluntly so. Parquet Courts are observers and they aren’t afraid to be honest, even if it’s abrasive more often than not. They’re beyond-buzzing 2012 release “Light Up Gold” is steeped in the blunt angst and haze of “motivation neglect,” and we’ve got to wonder if they’re pessimists or simply realists.

Read Corrine Bagish’s article on Parquet Courts at: www.thedelimag.com/artists/parquet-courts

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The Deli’s Stompbox Exhibit returns to NYC at Main Drag Music on October 19-20

his fall The Deli, Delicious Audio, and Main Drag Music are proud to present the 3rd edition of The NYC Stompbox Exhibit, a free for all interactive display of guitar effect pedals. Hosted at Williamsburg’s instrument store Main Drag Music in the heart of Brooklyn’s most musical neighborhood, the exhibit is scheduled for October 19 and 20 (from 11am to 7pm) - mark your calendars!

Many big and small guitar pedal manufacturers will be present, including Strymon, T-Rex, TC Electronic, Eventide, AnalogMan, SmallsoundBigsound, Fairfield Circuitry, WMD, TSVG Pedals and many others, with Shure, PreSonus, PedalTrain and D’Addario sponsoring and lending necessary equipment for the show (headphones, headphone preamps, pedalboards and strings). You can find updated information about this show on the Stompboxx Exhibit’s Facebook page at facebook.com/stompboxexpo. Also lookout for pedal giveaways on thedelimagazine.com around that period!

the deli Summer 2013

Brooklyn exhibit at Main Drag Music last year.

electronic

nyc electro Top 20 1. 2. 3. 4.

Small Black Anamanaguchi Battles Lemonade

5. 6. 7. 8.

El-P Ratatat A-Trak LCD Soundsystem

Photo: Adam Weatherley

lovelife

By Dean Van Nguyen

fter suffering a rather traumatic run as Viva Brother, a band who rapidly went from NME cover stars to British music press whipping boys after a series of PR gaffes, frontman Lee Newell and his group left their Slough home for Brooklyn seeking a fresh start. Alongside fellow Englishman-inNew-York Ally Young (formerly of the group Mirrors), Lovelife is a total change in direction

for the ex-Viva Brother members. Ditching the jaunty guitar pop, the group have quickly created a body of dark, dense electronica that draws from eighties New Wave and modern R&B in equal measure. It’s a run of creativity that, according to Young, has been largely stimulated by the change of scenery. Did Brooklyn leak into your sound yet? We decided we were going to move, and a month later we were living in

Production Corner By Paolo De Gregorio

Human Factor in Electronic Drum Loops My feeling as a (former) music producer is that in EDM today there is WAAAY too much to-thebeat quantization. For the uninitiated, “quantizing” is the process of aligning the hits of a musical phrase to the song tempo’s subdivisions. Sure, there are plenty of people out there who are happy to dance to the strict “uhmp-tz-uhmps” embedded in the majority of dance tracks. But why not try to feed the crowd something that’s even more contagious in setting booties in motion? The syncopation found in funk, hip hop and Afrobeat drumming makes those genres

9. Scissor Sisters 10. Julianna Barwick 11. Gramatik 12. Mindless Self Indulgence

so much more compelling to dance to, and with today’s technologies, you don’t really need a human drummer to emulate that. My advice to the up-and-coming EDM producer is to initially work on drum loops separately from the tracks. Make a selection of drum hits and existing loops that you like, and create combinations of them, slowly building your own library and paying particular attention to how slight delays on the various beats and backbeats affect the way the drum pattern “feels.” It’s always good to keep the first hit (normally a kick)

Williamsburg. Since then, we’ve totally fallen in love with NY. It’s definitely influenced our sound. Everything you surround yourself with influences you one way or another; it’s inevitable. You guys have a few EPs out. Have you gone into each EP with a specific approach or are each more just a handful of tracks you were feeling at the time? I don’t think we’ve ever set out with a specific idea for an EP. I think they’re more snapshots of where we were – emotionally and physically – at the time we wrote

Full Deli Web Buzz charts here: thedelimagazine.com/charts 13. Sleigh Bells 14. Neon Indian 15. Hooray for Earth 16. MNDR

17. Holy Ghost! 18. Matthew Dear 19. Com Truise 20. Twin Shadow

them. We just finished our third EP, Stateless, about 10 days ago, and there’s definitely been an evolution. What’s your process? Do you handle certain elements of your sound or is everything a collaboration? We all like to write together. Myself and Frank [Colucci] handle all of the production and beatmaking, but the song writing comes from all four of us. We all play more than one instrument, and no one is precious about anything, really. Things sometimes get heated, but that’s all part of the process. Usually we’re pretty diplomatic. I hear a lot of The Weeknd, Drake and Frank Ocean in your sound. Yeah I think that’s fair. They’re all artists that we listen to, so I guess it’s inevitable that they will creep into our sound. We always like to try and counter the hip-hop/R&B influence in our music with something juxtaposing. We’re nice English boys, so if we made music that sounded just like any of the artists you mentioned, we’d be a laughing stock, and rightly so.

Read more @ thedelimag.com/artists/lovelife

perfectly quantized to the first beat to keep the rhythm consistent, but you can experiment with pretty much any other tempo subdivision – and don’t GAP forget about the triplet Highlighted in red, a delayed hit on the 2nd beat. option, which can introduce a completely unextemplates that can automatically pected element. apply a more or less noticeable syncopation. In the EDM genre, Most modern sequencers allow nailing a drum loop is already a you to lay down the samples on big step towards a dance-floor a grid, zoom in, cut and move hit, and syncopation is an elethe elements around, while some ment no electronic producer let you use and create quantizing should overlook.

Find other recording tips at Delicious-Audio.com/diy

By Bianca Seidman

mall Multiples is big on concept – from their name inspired by math visuals to the idea of combining several, recognizable genres in each song. They even have a mascot. Craig Hartley, singer and synth player, and Eli Friedmann, guitarist, had no idea that a casual college friendship would result in their genretripping two-man band, mixing nostalgic and modern. Nor did they anticipate their collective affinity for proggy, but distorted alt-rock, would land them a spot on NPR music even before recording an album. How did you decide to form a band and pursue music together since you weren’t

small multiples that close as friends in college? At the time, I was playing mostly jazz gigs, and in looking for a guitar player, I reconnected with Eli. From there, we realized a lot of our musical interest overlap, and here we are. You have Leah Siegal (Firehorse) on guest vocals for a couple tracks. Those are darker, more sparse and kind of proggy. Did you write those for her, or is

Denitia and Sene.

that what came from working together? After being introduced to Leah Siegal and hearing her sing, we knew she would be great for those songs. We thought our vibes would work well together, and they did. We really enjoyed working with Leah and look forward to doing so again. You named your band Small Multiples after the visual

Read more @ thedelimag.com/artists/small-multiples

By Paul Jordan Talbot

enitia and Sene. keep themselves busy making chilled-out beats, with seriously hot R&B vocals. Denitia’s smooth voice is irresistibly attractive to the ear, and Sene.’s beats help both of them groove effortlessly. Most impressively, they never stray into the gaudy area in which so much pop music lives and breathes, while still being as smooth on the way down as top shelf liquor. The band release a Barrage of singles over the past couple of years and most recently a full-length album “His and Hers.” This duo of Brooklyn natives is just what the doctor ordered, keeping us all cool this summer. You have really gone back to the basics with your sound. Do you find yourself holding back in order achieve that stripped down, minimal sound? Yes and no. We still go all out at times on the production side… but when we get to the drawing board to plan what is coming out and how it’s coming out, we can curb ourselves there instead of during the creative process. Your strategy so far seems

Photo: Mats Bakken

math concept. Is your music like an equation? The term “small multiple” denotes a method that allows for quick visual comparison, exhibiting variety and scopes of alternatives. Similar to this concept, our music merges inspiration from an eclectic array of musical influences, melodically combining them while still maintaining each influence’s integrity.

to be releasing a single at a time, like ‘The Nude’ and ‘breathe.scream.dream.’ Are you going to stick to this strategy? We dropped the “His and Hers” full-length album this year. We are working on our next project with the label Rinse FM. Some singles that we are dropping are put out of excitement, but we are always geared towards making a full body of music. We just don’t want to over saturate.

Read more @ thedelimag.com/artists/denitia-and-sene

More electronic artists

More news at nyc.thedelimag azine.com!

NYC Electro News By Paul Jordan Talbot

manican party By Bianca Seidman

anican Party is anything but stuck in one pose, shapeshifting through all manner of synthpop. Long-time collaborators Jessica Corazza and Patrick Morrissey produce haute couture pop that spans from Tribal to Top 40. A mixture of diva-level vocals with deep dance textures and affecting electro-ballads gives Manican Party a mainstream pop feel, with an indie edge. Their following grew through a handful of changedby-love pop anthems like ‘Bow Through My Heart’ and ‘Monarch,’ plus a slow-burn cover of Miike Snow’s, ‘Animal.’ The duo is currently putting the last touches on their first album, slated for September.

Your style is pop, but you’re pulling in tribal rhythms, some hip-hop effects, a few moments of industrial. Are you working towards a trademark sound? Patrick: I don’t think we’re ever consciously working towards a “sound.” We show up every day and try to create some sort of magic and whatever happens happens. Jess: I think it all stemmed from the idea of having 12 of our friends in the studio one day to record ‘Rebels in the Light.’ We wanted this sense of community almost like what the essence of what a tribe is. At some point, I made

up the lyrics/melody “Vidagamma- nah-ma-ay-o.” We essentially created our own language; no true meaning to the words, but we all felt connected when we sang it together. Your EP has a precise, smooth production quality and you’ve been working on it for a while. What has the whole process been like? Patrick: Process is a great word for this EP. It has been the most amazing thing that’s happened in my life so far. Jess: It was kind of like therapy. This project has really been an emotional journey.

Read more @ thedelimag.com/artists/manican-party

the deli Summer 2013

Cardiknox debut single ‘Hold Me Down’ is an edgy twist on the massive amount of 80’s influenced electronic artists. Dark and heavy, saw bass lines and a real chord progression (rare these days) make for a standout dance track.

Industrial and pop seem contradictory, but not to Futurebrite. The tunes are straight pop, but with gritty synth basslines and MPC style sampling in the high end of the mix. Check out their debut EP “Futurebrite Part 1.”

Berlin ex-pat Candide makes music goth and club kids can agree on. She stirs up memories of Razed in Black with four-on-the-floor electro dance beats and emotional subject matter.

Edgy vocals on electro tracks separate the proverbial men from the boys, and Azar Swan has ‘em. Primal with an intensity of a mad woman, “Witch House” seems like a better descriptor than any for the new single ‘In My Mouth.’

Songstress Erin Barra is a singer-songwriter opting out of the acoustic guitar and choosing a Moog and a Macbook. Her tasteful synth choices and soulful voice provide us with some groovy but contemporary R&B tunes, minus any of the expected stale synth sounds. Today’s electronic artists seem to have an aversion to Reggaeton beats. Dance-pop stars-in-themaking Junior Prom embrace and improve on the recognizable beats in their new song ‘A Little Time.’ With the release of their debut EP due this fall, we can go back in time to junior prom. Don’t worry; the music is actually good this time around.

Pajama People mixes familiar synths with Best Coast-esque vocals. The result: songs that both dance and drift off into space. Their aptly named album “Cool Intentions” is out now.

The Kickdrums’ new EP, “Inspiration for Conversation,” really grooves. They pick just the right tempo, triphop heavy beats, and more washed-out psychedelic synths up top. Phaesone’s new

single ‘Bianca’ is a chillwave number with simple floating melodies to dance and dream to. It’s perfect timing for this summer’s chill-dance craze. Their debut album, “If I Tell U,” sets the bar high for this emerging electro-pop artist.

Safety Scissors take more risks than their name implies. It’s a struggle to indentify the synths from the samples, and by not quantizing their beats, the single ‘Progress and Perseverance’ sounds completely organic, lush and atmospheric.

Listen to all these bands + more on The Deli NYC’s Electro playlist at thedelimag.com/electro.

avant pop

avant pop Top 20 1. 2. 3. 4.

Yeasayer Animal Collective Grizzly Bear Yo La Tengo

5. 6. 7. 8.

Marnie Stern Delicate Steve Dirty Projectors Gang Gang Dance

brazos

By Bianca Seidman

razos, meaning “arms” in Spanish, is a band that wants to touch you. Inspired by visual art and literature almost as much as blues-based rock, country and classic alternative, Martin Crane, the creator of Brazos, is spinning short stories.

9. Eric Copeland 10. Department of Eagles 11. Kaki King 12. Buke and Gase

Full Deli Web Buzz charts here: thedelimagazine.com/charts 13. Emily Wells 14. NewVillager 15. The Fiery Furnaces 16. Son Lux

“Saltwater,” his sophomore album, marks Crane’s move from Austin to Brooklyn, with new collaborators and a shift from simpler songwriter fare to more layered, propulsive jangle-pop. Crane not only writes his lyrics, he also writes liner notes and directs videos. Meaning is as important as the listening experience for Crane. Even with all that careful construction, Brazos sounds breezy and light. Your first full-length, “Phosphorescent Blues,” cited lots of influences – Adrienne Rich poems, different genres, even visual art. But “Saltwater” is a more personal, stylistically of-the-moment album. What brought you here? It’s just what I was feeling.

17. Rubblebucket 18. Avey Tare 19. Mice Parade 20. Black Dice

I moved, so that kind of uproots everything. Do you view your music as a form of poetry? No, songs and poems are different. They are both sensual, but so much is said in a melody. I like the idea that songs can be read as a poem, but I wouldn’t call it poetry. I think structurally, songs that are more like poems get at something different – like when you think about how a thought works, it’s more like a poem than a song. It unfolds, rarely repeats. You moved to Brooklyn pretty recently, which I read was to break a rut and make a change. Has the new location made a significant impact on your music? I can’t be loud in my apartment, so everything I write is on a computer now. All the ambient music in the neighborhood I live in is Hot 97. That’s definitely different than Austin.

Read more @ thedelimag.com/artists/brazos

By Devon Antonetti

With a vintage, lo-fi quality in her voice – similar to that of Nico or Patti Smith – and lyrics that touch on her extensive poetry background, Pepi Ginsberg is an otherworldly figure in the New York music scene. The singer and current frontwoman of Companion, Ginsberg hails from Philadelphia, and has an Ivy League education from the University of Pennsylvania, crafting songs that are as intelligent as they are inspired. Since making the transition from poet/storyteller, to singer/songwriter in 2006, she has amassed a body of work that includes four albums and collaborations across the spectrum, including an album with Dr. Dog’s Scott McMicken and forming the Brooklyn Ladies Choir. In 2010, she enlisted some of her choir singers for Companion, a band of rhythm-minded friends from New York. Ginsberg will continue touring with the group through 2013, as well as working on side projects of her own. With a background in creative writing/ poetry, what was the transition like going over to music? At the time, it was bumpy and clumsy, albeit incred-

ibly liberating and fun. It also felt like it would never end, and I would always only write poem-songs. Now, I feel it’s almost impossible for me to write the kind

companion of non-linear, surreal storyscapes that once seemed to come so easily. The writing changed after my last solo record, a difficult moment in my life prompted me to want to communicate in a more straightforward way. I allowed myself to

Photo: Jordan Sullivan

write with greater focus on melody and song structure. I think it really changed the songs, not for better or worse, but lyrically, structurally, melodically: They’re very different now. I am not sure what will happen next. I have some ideas; we’ll see.

Read more @ thedelimag.com/artists/companion

indie pop

Full Deli Web Buzz charts here: thedelimagazine.com/charts

indie pop Top 20 1. 2. 3. 4.

Vampire Weekend Fun. MGMT Ra Ra Riot

5. 6. 7. 8.

Lenka Friends Nada Surf They Might Be Giants

9. Savoir Adore 10. The Drums 11. Broken Bells 12. Julian Casablancas

13. Fountains of Wayne 14. The Bravery 15. Cults 16. Freelance Whales

17. Oh Land 18. The Virgins 19. Rufus Wainwright 20. Darwin Deez

Free time By Corinne Bagish

year into its existence, fourpiece Free Time has accomplished a lot. They’ve released their self-titled debut in May, have several music videos under their belt, and were named one of L Magazine’s “8 Bands You Need To Hear.” This may be thanks to founding member Dion Nania’s music world prowess. The Melbourne musician has been around the proverbial block; after starting indie rock band Panel of Judges, he relocated to the US and dabbled with fellow Aussie bands Scott

and Charlene’s Wedding and the Twerps. Now that Free Time occupies Nania’s, ahem, free time, we can enjoy his melancholy tinged crooning in the context of pretty, twinkly indie pop. Although there’s a general sense of loneliness, Free Time is not a pity party – it’s set off by warm lethargy. The band doesn’t rely on dramatic peaks of sounds to hook the listeners, instead favoring a steady and relaxed progression that keeps them afloat. On your label’s website, it mentions that your songs tell stories of following love across the world. Are

most of your songs autobiographical? For the most part, though I feel free to get a little bit abstract… I mean, I’m not super concerned to give people an actual sense of what my life is like… that is a funny line from our press, but I guess I did do that! You recently released a music video where you’re walking around the city, having fun, eating food, exploring, etc. Good times! What was your favourite part of filming? Well there was a bit where we were driving around in two cars and Adrienne and I were standing up out of the sunroofs, which was big fun, but apparently

to end (it almost never happens), use the best take and re-record the parts that need attention. And if the singer simply can’t deliver... get a different one, because in pop music you are going nowhere without a good singer.

By Paolo De Gregorio

Recording Pop Vocals

for impatient people. It requires the singer to be “in the zone,” focused, confident, relaxed and inspired, and the engineer/ producer (if present) needs to be able to create an atmosphere that’s conducive to a great take. It’s important that the engineer is always aware of what parts of the song need work because he/ she should never end a session without the confidence of having workable material for every section of the track.

Don’t settle for one take. Recording vocals is not a job

Vocal warming up exercises are a good idea, but shouldn’t take too

If you could tour anywhere, where would it be? And who would be in your dream lineup for said tour? Oh Japan I guess. I toured there once with a band I used to play in, I would love for Free Time to tour there… it would be cool to play with Japanese bands like the Tenniscoats and Eddie Marcon and Maher Shalal Hash Baz and other bands from there I don’t know about too…

Read more @ thedelimag.com/artists/free-time

Production Corner The core of any pop song is in its melody, which implies that the vocals are this genre’s crucial element. While most listeners can deal with grungy indie rock bands singing slightly out of tune (Lou Reed style), that is rarely tolerated in poppier formats featuring a more polished sound, and musicians into pop music should take extra steps to make sure that they get the best possible vocals “on tape” - here are a few suggestions in this regard:

that footage was no good so it got cut… I love The Monkees a lot so I guess I was just trying to imagine that this was an experience somehow similar to a day in their lives, while they were doing the show…

long. Normally the singer’s performance deteriorates after 3-4 takes so it’s important to take breaks and avoid cold drinks while doing so. If the singer can’t deliver a really good take from beginning

After the session, the vocal tracks should be cleaned up with editing using the best possible takes in each part, making sure all the takes work well together and in the song’s context, and muting or taming dirt created by breath, lips smacking or feedback from the headphones. Slightly out of tune sections can be fixed with auto-tuning plugins, which sound very natural when the correction is minimal.

Find other recording tips at Delicious-Audio.com/diy

By Dave Cromwell

here is a playful element running through the speedy punk music of New York City’s Butter The Children. Revealing to be keenly aware of the irony all around us (as well as outright fans of classic comedy), vocalist Inna, guitarist Ray, drummer Jordyn and bassist Jon bring an intelligent approach to an often maligned genre. The more amusing elements of our television culture serve as a catalyst for the lyrical content running through much of the band’s self-titled seven-song EP. Angular guitar lines snake behind straightforward progressions, proving ample sonic hooks for your ears to latch on to. Having recently signed to the prestigious Downtown Records label, expect to see the group’s profile continue to expand in the coming months.

Interesting name… Inna: It’s a family name. Ray: It’s a Jonathan Swift reference. Jon: CHILDREN, PREPARE 2 GET BUTTERED Jordyn: Paula Deen - j/k. What inspired you to immortalize local legend, yet arguably fringe adult film practitioner “Robyn Byrd” in song? Ray: If you were born after 1985 and a dude and

checked out channel 33 after dark, then you knew that the commercials on the Robin Byrd show had the best whacking off material on basic cable. The show itself was kind of terrible, but the commercials were great spank-bank material for young minds. Inna: I just really like her, and thought she was someone worthy of a homage. Her show is just so bizarre. It’s got this gross, unflatter-

coastgaard By Michael Haskoor

hen it comes to describing a band like Brooklyn’s indie/60’s/surf-rock quartet known as Coastgaard who have tons of outside influences, it’s hard to pin them to one genre in particular. What’s sure though is that their poppy vibes serve as a great way to transition into summer. After struggling with the dark sound of their former endeavor, Sons of Sons, frontman Matt Miller and drummer Brian Dalessandro

butter the children ing lighting, and everyone is a total amateur, and it’s almost grotesque in a sense, but then Robin will come on and like – lick someone’s nipple and then tell you to be sure to brush your teeth before bed. “Rochelle Rochelle” is an amusing title as it namechecks a classic Seinfeld episode. Are you fans of

that show? Inna: We love “Seinfeld.” “Prognosis Negative” and “Flesh Wound In Ithaca” are actually “Seinfeld” references as well, and then we have a song on our upcoming LP called “Sacked Lunch.” Jon: I think it’s safe to say “Seinfeld” influences us in our day-to-day more than we can ever fully realize.

Read more @ thedelimag.com/artists/butter-the-children

decided it was time for a change. The artists recruited guitar/keys player Sean Glassman and bassist Paolo Codega and - blending all the talent together - Coastgaard was born. They seem to be a mix of their biggest influences, the Beach Boys and Neutral Milk Hotel, and maybe a bit of Smith Westerns (without as much synth). When Coastgaard first formed, was it hard to mold each member’s ideas of what the band should sound like? Yes, very. We began as one band with an entirely different name and sound. Then, in the course of three months we went in a completely new direction. It’s

more about knowing what you don’t want to sound like and what’s left over will mold into a sound... sometimes that sound works and sometimes it doesn’t. I’d like to think it works in our case! I like how there are three, each uniquely solid versions of the song Beach on your album, what inspired this? It was a bit of fate and a bit of experimentation. We had three songs with very similar chord progressions all brought to practice on the same day, that we just started playing in succession. By the time we got to recording, it was consciously a medley. It’s interesting how in pop music there’s a pretty limited menu of chord progressions to choose from, but there’s a seemingly endless palette of melody with which to color them.

Read more @ thedelimag.com/artists/coastgaard

More indie pop artists

More news at nyc.thedelimag azine.com!

cosmonaut By Corinne Bagish

o-gimmicks indie-poppers Cosmonaut met at Fordham, and proceeded to craft a sound that encompasses the entire sonic spectrum from pop

to noise rock. Accordingly, the band’s debut EP “Hurry Up” was recorded with indie guru Kyle “Slick” Johnson (credentials include The Hives,

Read more @ thedelimag.com/artists/cosmonaut

By Corinne Bagish

ghost pal

hamber popsters Ghost Pal may not be particularly spooky, but they certainly recall the ghosts of artists from across the board. Beatles-esque psychedelic accents, pop sensibility reminiscent of The Beach Boys, plus doses of R&B make it clear that Ghost Pal isn’t afraid to blend unexpected ingredients. What ties their sound together is, ironically, that change is ever-present; their lineup, fronted by Oliver Ignatius, is always fluctuating in size. The band’s “open door policy” just adds to their

willingness to get weird – unique touches (glockenspiels, penny whistles) grace certain tracks thanks to this sense of adventure. Ignatius is also the brains (head producer and engineer to be precise) behind Brooklyn recording studio Mama

rooklyn/Boston hybrid Happy Lives is a shape-shifting monster of sorts… and we mean that as a compliment. Sometimes a duo, sometimes a trio – they’re part band, part computer: Thundering drum machine-wrought vibrations march tracks along. 14

the deli Summer 2013

Coco’s Funky Kitchen. In fact, Ghost Pal’s latest EP is aptly titled God Save MCFK and single ‘Circle’ released July 15 features a choir of MCFK regulars. Based on a hymn, this gospel-inspired rendition is full of soul in more than one sense.

Read more @ thedelimag.com/artists/ghost-pal

happy lives By Corinne Bagish

Modest Mouse, etc.). The release showcases melodic talent reminiscent of early Strokes in opener ‘Your Knife (My Side),’ but also demonstrates the ability to work with less standard formats, like in mid-tempo, bouncy and purposefully anti-climatic ‘Horse Drawn’ or in the surprisingly noisy and explosive ‘My Fair Lady,’ a pop song that attacks you with feedback and distortion when you least expect it.

In ‘Slacks and Slippers,’ off 2012’s self-titled debut, this pulsing drive mingles with garage-y guitars to craft some kind of ‘90s alt sound. The vocals, which reach a Cobain-like wail, drill a touch of nihilism into our skulls: “God said to me/you’re never, never

free.” Most interestingly, this isn’t where the story ends. May-released single ‘Feeling Right’ swivels 180 degrees. Eerily sunny, this one is creepy in the way that clowns and dolls are horror film fodder. Featuring both an exaggerated, Elvis-like warble and a childish sing-song, we might as well be hearing voices. It’s tough to take this one at face value… it seems like the band is toying with us. Whether bipolar or experimental (maybe both?), the unifying thread is the eeriness that pervades Happy Lives.

Read more @ thedelimag.com/artists/happy-lives

NYC indie pop News By Paul Jordan Talbot

After a long wait, Ski Lodge is set to release its debut album, and judging by the single, it was worth the wait. The ghost of Morrissey also pops up in this band’s preview single, entitled ‘Boy.’ It’s the summer issue - beautifully melancholic uptempo pop is what we crave.

Salt Cathedral is the

new name of the femalefronted band previously known as Il Albanico. They released an EP in late July – the preview single features sparser, more peculiar arrangements in a pop format incorporating influences as disparate as dub and jungle.

Leah Siegel’s Firehorse is back with a new EP. The new material confirms that the lady’s talent and unmistakable vocals – ok, we’ll say, it’s SULTRYYYYY! Check out the single ‘Good,’ and catch her live when you can.

Wet might be too generic

of a name for a band to be successfully googled, but their music – generic is not. Mixing soul and electronics in ways reminiscent of MSMR, the duo keeps things sparser and quirkier, leaving space for female vocals to fall for.

Taking cues from the mysterious airs of avant artists like Bat for Lashes or The Knife, and ethereal electronic visionary Enya, Nola Wren brings a challenge to the electro-pop genre, channeling a unique world cast through her scorching vocals and eclectic instrumentation.

Listen to all these bands + more on The Deli NYC’s Indie Pop playlist at thedelimag.com/indie.

mellow core

Full Deli Web Buzz charts here: thedelimagazine.com/charts

mellow core Top 20 1. 2. 3. 4.

Lana Del Rey Twin Sister High Highs Wet

5. 6. 7. 8.

Joan as Police Woman Lia Ices Chris Garneau Wilsen

9. Firehorse 10. Port St. Willow 11. Cheval Sombre 12. Jozef Van Wissem

13. Ida 14. Elephant Parade 15. Eddi Front 16. Belle Mare

17. Cassandra Jenkins 18. Will Stratton 19. Kaiser Cartel 20. Doveman

By Bianca Seidman

elle Mare is a Brooklyn-based duo made up of Thomas Servidone and London-born Amelia Bushell – together they write and record shadowy, cinematic tracks. Their music makes you feel like you are alone in an old hallway, after hours, where you can hear the echoing sounds of the janitor’s radio as he burns the midnight oil. With an 8-song EP “The Boat Of The Fragile Mind” out this past April and a new cover of ‘Beauty’ by The Shivers released last month, we decided to check in with Belle Mare, and hear what they had to say. All bands know the exact time when they initially formed, but many don’t really know when they made the leap to discovering their own sound. When was that moment for you? Are there any defining songs of yours that describe the “moment”? It’s really the combination of a few songs. When we finished the ‘The Boat Of The Fragile Mind,’

which was the first song we recorded, I think we both found our needle in the haystack, or at least, caught a glimpse of it. That song and ‘The City’... which doesn’t have as many dark strokes, but still carries this heavy weight. Who does your artwork... it’s lovely! Thank you!! That’s very kind. The artwork was done

mree

By Paul Jordan Talbot

s soon as Mree parts her lips to sing, you know you’re in for treat. Her breathy but controlled voice is perfect for the dreamy bedroom-pop she has been pumping out. With modest beginnings as a DIY YouTube success story, she has quickly grown and matured into a promising singer-songwriter. Her

belle mare by mother. She had it hanging in the house when I was growing up. When can we hear your next record? I want to say winter. This is a tough question to

answer because it’s hard to put a release date on your creative output. I guess I’ll defer to a Charlie Kaufman line – “you can’t rush inspiration.” And, you should reward yourself with banana nut muffins.

Read more @ thedelimag.com/artists/belle-mare

production and pop sensibilities are going to expand her audience far from the folk scene where many singersongwriters settle. Her new album “Winterwell” reveals how she will not be satisfied releasing a record simply made up of just guitar and vocals but rather a beautifully mixed and thought-out collection of soundscapes to accompany each track. Your music has tons of folk influences in it, but the production on “Winterwell” is far from simple, sounding like electronica at times. What ideas or artists inspired this blend? Imogen Heap was a big inspiration on this album. I love how she uses acoustic instruments like piano

and harps, and mixes them together with electronic sounds and beats. I can get completely lost in her music. I’ve also been listening to M83, Neon Indian, and Daft Punk’s “Discovery.” You started your career on YouTube. How would you say that beginning online has affected your career as an artist so far? I’m lucky to have been born in a time where the DIY approach to beginning a music career is becoming easier, and the online world has made that possible. Of course, there is the downside of it being available to more and more people, as a quote from Moby in the documentary, “PressPausePlay,” would explain, “Eventually, the world is just covered with mediocrity, and people start to get comfortable with mediocrity.”

Read more @ thedelimag.com/artists/mree

the deli Summer 2013

indie rock

Full Deli Web Buzz charts here: thedelimagazine.com/charts

indie rock Top 20 1. 2. 3. 4.

The National Yeah Yeah Yeahs The Strokes Matt and Kim

5. 6. 7. 8.

Interpol The Rapture The Walkmen White Rabbits

brick + mortar By Michael Haskoor

ew Jersey pop rockers Brick + Mortar are a refreshingly new sounding indie band bent on visual elements and electronic samples, which – combined with their abrasive vocals – makes them stand out from the rest. Their clever and unique video for ‘Bangs,’ released last summer, brought them a lot of attention. The band is big on focus-

9. Yellow Ostrich 10. Blonde Redhead 11. Eleanor Friedberger 12. Parquet Courts

13. The Men 14. Paul Banks 15. Guards 16. The Front Bottoms

ing on bass, percussion and electronic samples rather than highlighting the guitar work that’s always front and center with your standard rock band. This personal approach, as well as a new major EP release on the horizon, gave us more than a reason to ask the duo, made up of Brandon Asraf and John Tacon, a few questions. What does your video for your song ‘Bangs’ mean to you? It means community. So many people came together and volunteered to make that music video – we lucked out man. I am just proud that my friends have grown into these amazing artists, and we have figured out how to stick together. So in a way,

17. French Kicks 18. Julian Plenti 19. We Are Augustines 20. Les Savy Fav

that’s what it means to us. Where did your passion for audiovisual elements come from? All of our friends are either videographers, editors or artists. It seems like if you are not finding people to create the visual side of your band, you are (A) wasting an opportunity to create an amazing visual aspect to your music and (B) missing a chance to give exposure to local videographers/artists who would be more than willing to collaborate with you. So don’t be a lazy fuck. How is your upcoming EP going to be different from your other material? This EP is going to be our first major release. It’s going to have a couple older gems and a couple of brand new songs.

Read more @ thedelimag.com/artists/brick-mortar

By Michael Haskoor

rooklyn’s Aye Nako is as raw as they come, claiming their own sound and giving it to you as is, whether you like it or not, all the while grabbing your attention with catchy vocals and entertaining riffs. The band, who are openly gay and proud to express their sexual identity, recently self-released their first full-length debut album titled “Unleash Yourself,” which was unexpectedly reviewed by Pitchfork – and given high marks. The record is filled with energy, passion and a sense of sound that is rarely found. Joe McCann, Mars Ganito, Jade Payne, and Angie Boylan are simply local music gone right! Here’s what they had to say.

I notice an overlapping theme with Aye Nako of sexual discovery for yourselves and your listeners. I think what you are maybe asking about comes off more in our aesthetic than in the music or lyrics. We’re gay. We make queer art. Sometimes it is sexual. It is who we are so it’s kind of important by default, you know? We don’t have to try very hard to achieve those themes because it’s

just our experience. We’re just 4 people having similar weird/difficult/exciting experiences as thousands of others. It’s all a marker that attracts people to our band, and why our experiences and themes overlap with people who listen to us. You were recently given a great review by Pitchfork. Were you pumped about that? I don’t think so. I think they liked the record OK (and

aye nako they did say some nice, thoughtful things about it), but the review had a few too many backhanded compliments and personal jabs about our sound and how we run our band. It is great to challenge a band to grow, but there is a fine line between critical and meanspirited. We tried to take to heart any helpful criticism

for sure, but it kind of came off as sour grapes from somebody who engages with music in a completely different environment than we do. No hard feelings though. ;) For what it’s worth, it does seem like a decent amount of people discovered our band through their review that might not have otherwise.

Read more @ thedelimag.com/artists/aye-nako

Production Corner

By Jack McGovern

easick Mama, the alter ego of singer/songwriter/performer/ model Marial Eve Moon, plays an inspiring brand of orchestral indie pop that is hard to define with its many varying influences. Her music is very loose and unselfconscious, with its ecstatic vocals, expressive lyrics, and danceable riffs. Marial has no qualms about being in the spotlight, and embraces many forms of self-expression within her music. In part, its power derives from her lack of sensitivity and brazen attitude. Many “seminal” bands – I use this hesitantly since, as Chuck Klosterman wrote, no band can be seminal in the way that food or water is – become iconic due to their lack of adherence to musical trends or for their break from a tradition. And, as is often the case, really good

By Paolo De Gregorio

The Rocking Drums: UREI 1176 “All Buttons Mode” I don’t really know if the engineer who mixed Metz’s self-titled 2012 album used an UREI 1176 compressor in “All Buttons” Mode on the drums bus when mixing, but those subtly distorted, incredibly punchy drums you hear all by themselves on the first 12 seconds of opener “Headache” can definitely be delivered by that compressor (and also by most of the plug-in versions available on the market).

By Devon Antonetti

A true industry standard, the UREI 1176 is one of the most popular compressors in the world, and it’s famous for shining on snare sounds and vocals. When used on the drums bus though (i.e. on the stereo bus where you send all your drum tracks), it works wonders in enhancing the instrument’s “roominess” and punch, and when you press down all the four ratio buttons (activating what’s called “All Buttons” of “British” Mode), something unexpected and semi-mysterious happens: the unit’s circuit starts responding in a much edgier way, which on drum tracks produces an explosive “pumping” effect and sonic artifacts that give the impression of a distorted sound.

UREI 1176

seasick Mama artists have no diehard allegiances to their influences. Seasick Mama is hard to categorize, and that may be why her music works so well.

Read more @ thedelimag.com/artists/seasick-mama

he six members of Great Caesar, a big band with brass to spare, are tri-state area connoisseurs. They hail from Connecticut, they’ve recently relocated to Brooklyn, and their recent release “Scattered Air” was recorded with Eric Bennett (whose credentials also include Screaming Females and Laura Stevenson & the Cans) in New Jersey. Great Caesar’s strength is in the explosiveness that they can pack. Brassfueled oomph and joined in voices add extra horsepower, and elevate pop moments to high heights.

A similar, less extreme sound can be achieved with fast attack and release settings using a different ratio (i.e. pushing down only one of the four buttons instead of all of them). You should use the compressor’s input knob to dial in the right amount of signal so that the compression is not exaggerated.

great caesar

Read more @ thedelimag.com/artists/great-caesar

NYC indie rock News Upbeat with a post-punk edge, Drowners’ new single ‘Long Hair’ has all the ingredients for a hit. The chorus has a memorable melody and lyrics, while the band plays with an honest, rugged sound. Drowners is a band with enormous songwriting potential, that will appeal to your inner fan of The Smiths. Indie’s psychedelic sweethearts Walking Shapes’ new single ‘Pusher’ is a refreshingly groovy tune with an exotic beat. The vocals are

By Paul Jordan Talbot

gorgeous, with a light effortless falsetto tone and disco sensibility. Check out their new mixtape of nine originals, a Frank Ocean cover, and three remixes. Simultaneously sensitive and energetic, NYC art rockers ARMS just released a new single “Comfort,” for the aptly named “EP2” due out in September. The single has typical indie clean tone guitars in the verse, but once the chorus comes around ARMS pumps you up by dropping a heavy distorted guitar right in your lap.

I honestly can’t think of any other compressor available in plug-in format that sounds like the UREI 1176, so broke musicians who are trying to recreate those fiery sounding rock drums should probably get their hands on one.

Find other recording tips at Delicious-Audio.com/diy

More news at nyc.thedelimag azine.com!

Gross Relations’ self-titled album is

coming out next month, and we just got the new single, ‘Cut the Final Scene.’ Their playful garage-pop sound and very intentional lo-fi vocal and guitar effects blend to make a refreshingly raw sounding band in a scene sometimes oversaturated with attempted perfection.

Listen to all these bands + more on The Deli NYC’s Indie Rock playlist at thedelimag.com/indie.

Full Deli Web Buzz charts here: thedelimagazine.com/charts

psych rock Top 20

psych rock

1. 2. 3. 4.

Crystal Stilts TV on the Radio The Antlers The Raveonettes

5. 6. 7. 8.

Panda Bear Woods Bear In Heaven White Hills

9. Psychic Ills 10. Teen 11. Heliotropes 12. Suckers

13. Naam 14. Love as Laughter 15. The Stepkids 16. The Vandelles

17. Baby Alpaca 18. Apollo Sunshine 19. Royal Baths 20. Amen Dunes

heliotropes bambara By Jack McGovern

D By Dave Cromwell

013 has already proven to be a most productive year so far for Brooklyn’s female-fronted, heavy psych rockers Heliotropes. Releasing their debut full-length album “A Constant Sea” via Manimal Vinyl to widespread critical acclaim and audience support, the band appears to be on a steadily rising trajectory. The record is a high-level accomplishment of quality songs, inspired performances and impeccable production.

Is there any sense of irony being presented in your heavier, ’70s style groove-metal tracks? No. That is just how we wanted those songs to sound.

‘Good and Evil’ is one of the heavier tracks, with significant lyrics that go “who wanna corrupt your heart? Destroy your mind?” It’s a general commentary on how good and evil is a hackneyed dichotomy.

Read more @ thedelimag.com/artists/heliotropes

the deli Summer 2013

reams often reveal desire. And although our desires are not always pleasant, the word “dream” often has lofty connotations. Violence is often left out or ignored. Grappling with this conflict takes on many forms, since it can never be resolved. The eerie odyssey that is BAMBARA’s album “DREAMVIOLENCE” does not back down from these primal conflicts. The result is a haunting album that finds beauty in disturbing places.

A lot of the vocals in your lyrics are muffled and hard to understand. How much of an emphasis (if any) do you place on lyrics? There is actually a much larger emphasis on the lyrics than the recording’s sound suggests. Themes and recurring images run throughout the album. The vocal sound is more a style choice. What albums and bands

have you had on heavy rotation lately? Our van has a CD player so whenever we go on tour, we stop at dollar bins at record stores from town to town or just make mixes. The solid CD bin finds this last tour were Chris Isaac, Garbage 2.0, and a Scott Walker, Nick Cave and Blixa Bargeld soundtrack. Aside from those, we listened to a bunch of These New Puritans and Big Black.

Read more @ thedelimag.com/artists/bambara

rootsy/songwriters Top 20

rootsy

1. 2. 3. 4.

Cat Power Norah Jones Phosphorescent Devendra Banhart

5. 6. 7. 8.

Regina Spektor Ingrid Michaelson Deer Tick CocoRosie

9. The Lone Bellow 10. Titus Andronicus 11. Citizen Cope 12. Theophilus London

Full Deli Web Buzz charts here: thedelimagazine.com/charts

13. Sharon Van Etten 14. Ron Pope 15. Antony and the Johnsons 16. The Pierces

17. Lucius 18. Waxahatchee 19. A.A. Bondy 20. Nicole Atkins

By Paul Jordan Talbot

By Sam Kogon

t 25 years old, Lora Faye is already at a crossroads with her sound, and she still hasn’t released her debut EP yet. Born and raised on country, Lora began playing music that Pop Montreal describes as: “Edith Piaf meets country.” The singer claims to now be on a diet of a complex variety of genres, sounding more like a female Tom Waits than another June Carter Cash. In our interview, Lora Faye answers some questions in preparation for her debut EP, “Waltzes.”

Who are you’re biggest inspirations? What/who first got you interested in music? My family is super into this old school Canadian country dude, Hank Snow, for some reason, so I grew up listening to a lot of really obscure, but well-written country tunes. But I’ve lately been undergoing a transformation in terms of the sounds I’m hearing in my brain, which can be heard on the EP. I dig that, though – as one of my bandmates pointed out to me as we were listening to “Hejira” on tour – every single one of

Lora Faye

Joni’s records felt like a transitional moment. That’s what’s so great about her. Do you mostly write alone or collaborate with others? I mostly write alone. Andrew Sheron, the producer/songwriter/multi-instrumentalist force of nature who has played pretty much every instrument in my band at one point or another, is a big collaborator when it comes to thinking about arrangement, so is my backup singer, Rachel Brotman, and my lead guitar player, Nick Lerman.

Read more @ thedelimag.com/artists/lora-faye

The Dough Rollers By Dave Cromwell

aving started out as a duo focusing on a sparser acoustic sound, The Dough Rollers now find themselves expanded to a full-time quartet, giving the band more power and force. The recently released track ‘Little Lily’ taps into a late 1960s/early 1970s blues-rock feel. Those familiar with the work of Steve Marriott and Humble Pie, Rick Derringer, Johnny & Edgar Winter, and Leslie West’s Mountain will recognize kindred spirits here.

ild Leaves bring comforting, warm songs into an often fast-paced and cold city – it’s quite a welcomed sound. Sharing some semblance to folk stars Fleet Foxes, these Midwesterners already have a strong foothold in the NYC scene. Their blend of psychedelic music and folk allows them to play both folk and indie-rock bills alike. Your music doesn’t sound like it came from the city. We were all raised in very rural areas. Like many people our age, we were shepherded into metropolitan areas as we grew up. But, with all of that comes noise, distracting us from what’s truly important. There’s immense value in silence. For us, the music is a reminder to slow down, to spend quality time with the

wild leaves ones we love, and to learn from struggle rather than succumb to it. Do you prefer to write in NYC or out in a quieter environment? We try and get out of the city, but we moved here to be immersed in the culture and to see what it’s like to feel the world spin. Most of our writing is done in our living rooms. The intimacy of those spaces bridges the two worlds.

Read more @ thedelimag.com/artists/wild-leaves What were the motivating factors in stepping over into a more hyper-rock-blues based sound? Malcolm: A few years ago, we got the call to go out on tour with Queens of the Stone Age. Before that, it had been just Jack and I with acoustic guitars and maybe the odd small amp. We kind of felt like in order to really move that crowd we’d have to turn up. It worked pretty well, and then we just kind of fell into a groove of writing songs for a rock band setup, and stuck with it. Josh: Musically, change is always good. I feel like we’ve been developing in the direction of increas-

ing relevance to modern sound. Kyle: A lot of it is also what comes out when we start writing. We all love certain sounds, and are attracted to certain ideas. How did you come to be involved with Jack White’s Third Man Records? Jack: When we were on the Queens tour, we played in Nashville, and wound up meeting him after the show. Then a couple years later, we got a call to go down there and make a record. Needless to say, we were all really excited. It has really been a great experience.

Read more @ thedelimag.com/artists/dough-rollers

the deli Summer 2013

n y l k Broo s r a o R rom F s e g r e m e Re N Y C H ip H o p gle n u J e t e ncr the Co eer n / Il lu s t r a t io By BrokeMC

b y J .P . P

ew York is not a quiet city. From the thunder of the trains, to the howling sirens, to the ceaseless din of its inhabitants, the soundtrack of the rat race is a celebrated cacophony. It can be loud and it can be soft, but that golden fleece of silence is nowhere to be found. Summertime brings the added instrumentation of music blasting from the open windows of passing cars and stoic apartment buildings, cyphers on street corners, breakdancers on trains, and the outdoor concerts large and small. Hip hop is everywhere in New York; itâ&#x20AC;&#x2122;s in your face and on your skin as well as in your ears. Even as the landscape changes and familiar haunts erode and fade, this highly adaptable culture remains indelible and vibrant. the deli Summer 2013

Rap listeners revere New York City as a sort of Mecca to which a pilgrimage is a sacred rite. Fans come here to experience some hint of the life that their favorite emcees have espoused and glorified, rappers come here to test their mettle on the same streets of the art form’s genesis, and even some scholars come here to seek credible footing for their academic hypotheses and prophecies. But where is the Wiz at the end of the graffiti-brick road? Is there a heart into which all the veins converge beating some ultimate breakbeat? Do the B-boys in Union Square know the right steps to take? For a culture so varied in its depth and scope, the answer will depend largely on whom you ask.

Arlene’s Grocery, is less an open mic and more of a jam session. It boasts a rotating collective of adept musicians, seasoned emcees, singers, and other various performers who are as happy to perform as to spectate. Founded by Lenny “The Ox” Reece and his band Gentei Kaijo, it’s an event where, as Lenny puts it, “You can learn as much off the stage as on it.” For those who prefer to stay uptown, every first Friday of the month the Boogie Mics Open Mic is hosted by the indefatigable Warren Britt and John Mega. With connections to both the Rebel Diaz Arts Collective as well as Ghetto Transcends Potential, it is an event definitely worth a visit for any hip-hop aficionado.

The frontlines of the New York hip-hop scene are the open mics. Some have been around for years; others are fresh on the scene, but each has its own flavor and demographic. The emcees you encounter at these events run the gamut from greenhorns to celebrities, and many of the celebrities started their careers on these small stages. Further insight can be gleaned from the small labels, imprints, startups and collectives that have taken root across the landscape. They represent the more organized members of the community. If these collectives manage to create enough buzz, then the blogs start tittering back and forth, and small names quickly become internet superstars. And it is the blogs, finally, which decide who are the modern stars of any scene. Regardless of starting point, the only way to gain any perspective is to join the cypher.

Wiseguy and Gaston, who have hosted and co-hosted the Nuyorican’s hip-hop events since taking over for Bobbito and Barber in 2000, note that many of their contemporaries have taken time off from the open mic scene to focus on their solo projects. This is indicative that for a time, the NYC open mic scene was the primary resource for the emergence of up-and-coming emcees. Artists like the Queensbased Homeboy Sandman, however, show that this method is still relevant. Homeboy Sand jump-started his career by attending pretty much every open mic in the city, sometimes several in a night. Signed to LA’s Stones Throw Records in 2011, he is universally respected throughout the NYC open mic scene as a bastion of independent hip hop.

The Open Mics There are hip-hop open mics in every borough representing every lineage of emcee. Nestled on 3rd Street between Avenues B and C, The Nuyorican Poets’ Cafe is a L.E.S. institution revered globally for its hip hop and poetry open mics. Celebrating its 20th anniversary in October, it credits itself as the “longest running open mic in New York City.” Its stage gave rise to artists like Mos Def and Talib Kweli, Company Flow, and Atmosphere, and is still a rite of passage for many emerging artists. The vibe is usually organized and serene, with a culturally diverse audience seated at little tables sipping beer and wine. Sometimes they clap, sometimes they snap, sometimes they throw their hands in the air, but they seldom rise from their seats. Many open mics have disappeared over the years – Freestyle Mondays, MINDSpray, Fourth Fridays, A Monthly BONDFire, Brown Bag Thursdays, etc. – many due to venues losing their leases as the City becomes more of a haven for affluent culture-haters who prefer a homogenous, quiet, dull Manhattan. But new ones inevitably rise from their ashes – each with its distinct style and opportunity for an emcee to test his or her skills. The Lesson, which takes place at

The L abels As many artists still clamber for representation from the crumbling majors, there are a number of independent labels and imprints that are making waves with their carefully selected rosters. From mainstays like Fat Beats Records, to underground heroes QN5, to the freshly minted Modern Shark and Reservoir Sound, there is still a huge variety of dope hip-hop music shaking up the five boroughs. Fat Beats was everyone’s favorite record store for rap music until it closed its doors in 2010. Besides its generous selection of in-store content, there would always be a smattering of emcees like the ubiquitous Creature buzzing around just outside the door trying to hawk their CDs to tourists and innocent passerby. These days, they are hard-pressed to find any record store to occupy. Fat Beats currently maintains, along with its online storefront, a label representing a concise slice of the NY scene including Kool G Rap, Masta Ace, and Q-Unique. Their support of certain new artists like the magnanimous Jesse Abraham keeps them current with the scene while enthusiasts worldwide await the store’s reopening. However, in a growing climate where records and specifically hiphop records are a niche market, the only storefronts to peruse new releases will undoubtedly be online.

Kris Gruen

New Comics From The Wooded World New Comics finds Gruen’s voice seasoned, soaring, and at the height of his craft. The spacious, textured production combines the sweeping sounds of classic rock and the intimacy of a Nick Drake midnight session.

“A tremendously gifted lyricist who weaves narratives and metaphors with ease.” –Seven Days “He has an unnerving talent to take sophisticated material and make serious, grown-up pop songs, that neither sacrifice intelligence or hooks.” – Rob F., Leicester Bangs, UK

www.KrisGruen.com

Cold Blood Club

Goodbye to All That The new single “Goodbye to All That” is an open love letter to New York City, friendship, heartbreak and making peace with the past. The video takes us along for the ride as the band embarks on one long, epic night in the heart of NYC’s East Village. Check it!

“A bright rock outfit with a bubbling dance groove, Their newest tune is a fantastic piece of pop confection, with just  enough melancholy to keep it grounded. It’s a free spirited romp that manages to make the best of hard feelings.” – Speak Into My Good Eye

www.ColdBloodClub.com

the deli Summer 2013

The Endangered mpc? By BrokeMC

s hip-hop music continues to evolve, so too do the tools utilized to generate that old boom bap. Though the first hip-hop beats were spliced together live by cutting between breaks on records, the genesis of the MPC sampler changed the game entirely. Producers could finally sample their favorite breaks, loop them, and include other samples to craft fully-formed compositions. However, modern audiences, craving new sounds and alternatives to simple drum loops, have new producers investigating new tools to reinvigorate the funk.

Heralded in the hip-hop community as the superlative tool for beat-making, the MPC is slowly becoming eclipsed by inexpensive software and sexy new interfaces. A used Akai MPC2500 starts at around $700. Though purists swear by its classic interface and beefy compression, it is bulky and impractical when it comes to bouncing stems and tracks to a session. Despite years of griping by producers in the modern arena, the only way to bounce individual tracks from a sequence in an MPC2500 is an “end-to-end” single .wav, which must manually be cut up and re-assembled or by soloing each track for rendering and then nudging it all around until it makes sense in your DAW. Akai addressed this in the MPC5000, but online complaints about bugs keeps the 2500 on top for most hip-hop purists. Alternatively, many budding producers, seeking greater flexibility at affordable prices, have turned to applications like Fruity Loops, Ableton Live, and Reason to craft their beats. For those seeking the tactile nature of the MPC’s signature drum pads, there are a myriad of options out there from Axiom keyboards, which feature pads as well as keys, to more sophisticated controllers like the Akai APC40 and Native Instruments Maschine. Akai has since responded with MPC Studio, which no one seems to like, and the new MPC Renaissance, which blends the best of the old with the best of the new. It’s a noble gesture, but for the broke musician out there, affordability may continue to trump historical significance.

Modern Shark, gestated in the belly of the now extinct Southpaw scene in Park Slope, has a sound entirely new and fresh. With charming art direction, a cadre of innovative artists and producers, and a reputation for packing venues for their label showcases, they remain a force within the scene. Artist and label founder Baje One strives to release music that is “challenging, but not so challenging that it’s not fun to listen to.” There are a lot of NYC rap purists who prefer their rap to sound like it was either produced in ‘88 or ’94, and this isn’t the crew for them. As Baje notes, “There’s a lot of rap being pushed forward that fits into the tradition of hardcore New York boombap, tough-guy rap. Which is cool, but that’s never been the place where me and my friends fit in. The artists I work with are more interested in pushing boundaries, in terms of both beats and rhymes.” Reservoir Sound, based in Bed-Stuy, is another indie label breaking the boom-bap mold. Though their strength lies in their ability to push the boundaries of the genre, they maintain a reverence for the history and the artists that paved the way for them. Principal producer for the collective A.M. Breakups says, “We take a lot of themes and re-contextualize them into a modern format. And no, I don’t mean dubstep remixes.” Their recent release, “Alea Iacta Est,” is a solid example of the strength of their myriad and diverse artists as well as their friends from Bushwick’s Backwoodz Studioz label. Also in Bushwick is Brooklyn Wildlife. Brooklyn Wildlife is “not a lifestyle brand, not an artist collective, [or] a management firm; [they] are two creatives that wanted to develop a platform for artistic expression in Brooklyn and folks in the diaspora.” They host wild events that feature provocative art, dope performances, and a vibrant slice of Brooklyn. Notable artists from this scene are Tyquan Sounds and Watercolor. Tyquan flows with a southern fervor, and is quick to rip up a freestyle during his sets. Though he shares similar qualities to the Beast Coast crews, Tyquan’s beat selection and masterful flow distinguish him as an entirely new type of animal. Watercolor’s MC Stonehenge Parnhashnakovsky (along with DJ Keith Edwards) is the co-mastermind of the Brooklyn Wildlife community. His events feature bands, MCs, live art, DJs, burlesque, and all manner of hedonistic revelry. His music is a part of his meticulous aesthetic, ranging from his photography, to his videos, to his carefully curated events. Despite his proven track record, he doesn’t always have an easy time. In the Bushwick/Williamsburg area, there are over 30 venues, but most of them are reluctant to book hip-hop shows. They cite violence and vandalism as deterrents of the genre, but readily book punk and rock shows that share similar detriments. Stoney notes, “Recently, a Brooklyn music

festival took place in Williamsburg, and out of three nights of events and 5 different venues, there was not a single event dedicated to hip hop.” This leaves the door open for his crew and companies like Brooklyn Bodega to put together events that showcase hip hop, however, it doesn’t allow for the type of genre-mixology that could expose supporters and audiences of different genres to new artists. If New York City and Brooklyn are supposed to be the world’s melting pot, then why does hip hop keep getting left out of the recipe? Luckily, there is still a virtual frontier where anyone can find whatever they’re looking for regardless of the commercial aspects that taint and limit the reality of venues, labels and promoters. Or is there?

The Inter net With the new generation of artists eschewing the labels that shelved the albums of many of their predecessors, ruining careers and stifling promising artists in favor of their already established (and stagnating) brand-name artists, the YouTube Generation (Generation Y?) relies on blogs and viral songs and videos to get music into their headphones. In this manner, fledgling artists with a little ingenuity can quickly establish themselves as heavy players in the game. Blogs right now are largely focused on the “Beast Coast” movement, a collection of collectives blowing insanity rhymes in basements clouded with blunt smoke. Taken from the cypher slang of “beasting out” with ferocious rhymes, The Beast Coast Movement is a collection of Wu-Tang-like crews based in Brooklyn. In response to the West Coast’s recrudescence of solo artists like Kendrick Lamaar, Pac Div, Blu, and Macklemore, New York is bringing the crew back, and evidently Brooklyn is going hard. Of the crews, the most prominent is probably Pro ERA featuring Joey Bada$$, Kirk Knight, Chuck Strangers, Nyck Caution, CJ-Fly, and the late Capital Steez. Vibe and flow-wise – they channel an early ’90s New York reminiscent of the Juggaknots. Lyrically adept, they flip concrete imagery in discreet metaphors seldom straying from the topics of weed, superiority and general braggadocio. These topics, as well as the “we don’t give a F@%K” attitude, are familiar characteristics of the Beast Coast Movement. The Underachievers from Flatbush pick up on similar themes, but give a nod towards the psychedelic. Signed to Flying Lotus’ Brainfeeder label, they come off a bit more polished and esoteric. As AK says, “What we got to say is that conscious wave with a little bit of ign’ant.” Their ‘Herb Shuttles’ video on YouTube features glimpses of the basement party lifestyle prevalent in Brooklyn, and has attract-

ed almost 3 million hits. It seems the “elevation” that they rap about is also a self-fulfilling prophecy. Coming from the same hood, the Flatbush Zombies bring something a little more contemporary. The beats hit harder, and the flows have sharper gold teeth. Meechy Darko channels some ODB, and his lack of self-consciousness is refreshing. Paired with the crisp delivery of MC Zombie Juice, their tracks maintain a dynamic that many of their contemporaries lack. Their “D.R.U.G.S.” mixtape has over 90K downloads on DJbooth.net, and they’ll be playing a few European festivals this summer spreading their zombie plague far and wide. The funny thing about the Beast Coast Movement is that no one from the open mic scene knows where they came from. They seem to have gone from cyphering in their neighborhoods, to making mixtapes, and finally investing in getting exceptionally well-produced videos to launch them into the public eye. This is emblematic of the future of music promotion. In lieu of actual stages and real-live audiences, more acts are turning to the internet as the venue du jour to showcase their material. Nuyorican’s host Gaston cautions that “it’s a whole other ball game performing for an audience, and open mics give you that outlet to make your mistakes in front of a forgiving crowd (speaking for our shows), learning from those mistakes, honing your craft and taking that experience to the next level.”

In Con clusion Hip hop in NYC is as alive and wild as ever. From Manhattan artists like A$AP Rocky, Ratking, and the young but widely revered July Quin and Dizzy Senze (Searching for the Truth Music), to Queens staples like Homeboy Sandman and The World’s Fair, to the newly resurrected Brooklyn Zoo, there is enough variety to suit any pallet. Whether you seek the raw flavor of the EOW open mic or the party dynamic of The Lesson at Arlene’s Grocery, there are open mics to either test your skill or simply marvel at the skills of others. And for all the minors and seasoned agoraphobes, there is always the internet to catch a live-stream of an event or the newest viral video showcasing all the weed you could have smoked if you had only been there. Baje One noted that you can tell hip hop is doing well in NYC when you “see the kids rapping on the train, dancing in the streets.” For most New Yorkers, this is an everyday spectacle. As the scene evolves and technology, lacking age restrictions and drink minimums, becomes the primary forum to scout new talent, the blogs will tout an endless supply of fresh faces, but the streets and venues of New York will always be home to hip hop’s heart.

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Celestial Shore Celestial Shore Confronts Its Sign

RIYL: Beach Boys with King Crimson’s math tendencies

By Stephen Biedrzycki / Photo by Josh Goleman

tanding tiptoe on Balto’s granite plinth, the three musicians of Celestial Shore squinted northward, looking for movement between the park’s June foliage. At the back of their minds were, as always, an imminent record release and its incident promotional work – flashes of exposure to curious strangers and friendly patience from a growing group of supporters. They were more and more conversant with the business of being a band, but there were still times like this, when stripped of their instruments, they naturally carried on with the business of being pals. For the nonce, they were happily distracted, having found themselves together in Manhattan with a rare afternoon to waste and smiles in their pockets. And, in these circumstances, they were affronted, here in the park, with an entity that manifests all the metaphysical quandaries that they tried all day to keep to themselves. What interrupted their leisurestroll was a vision of a vacant white gown, layers of white silk and lace accented with pearls, breezing down the path as if hung on unseen shoulders. The gown had insinuated itself into their field of vision only briefly before disappearing down the sloping topography of the park. There was no choice but to pursue it. So steadying themselves on the bronze coat of the husky, they scanned the landscape for splashes of white in the distance.

The three of them, Greg Albert, Max Almario and Sam Owens, spent years making music, and survived a move together from Boston to Brooklyn. Since then, they, and sometimes others, had called themselves Celestial Shore in order to make rock and roll, and release recorded music by coffee spoons – one to four pieces ago. A full-length record eluded them, hampered not least by their own cranky perfectionism. Their music demanded considerable rehearsal in order to convey the topsy-turvy charm effused by the people who made it – whimsical in composition, meticulous in performance, with ample room for hand-to-hand improvisation. But their teasingly small output belied the expansive repertoire evident at live performances, which were fueled by the brightness of their souls and the experience expressed in their fingers. But now, they were sitting on a real long-playing record. “Come September 3,” thought Sam frequently, “when our friends at Hometapes and Local Singles have offered 10x to the world, we will have finally become a rock and roll band, with the paperwork to prove it!” And this was a prospect whose significance all three men felt in their skulls. The record comprised of nine real rock and roll songs. But even more than that, it symbolized the trio’s doe-eyed, bare-chested initiation into the world of hit record making. In the park this day in June, they were in limbo between having finished a record and it being released. They had frosted the cake, and were in the delicate process of carrying it to the banquet. And they were captivated by the appearance of an animate white gown, leading them on an indeterminate chase for reasons not yet at the surface of their brains. All three felt an urgent desire to possess the gown, so they spoored the thing through patches of forest, espying broken branches and trails draggled into the earth. Meanwhile they conversed: “My,” said Sam, “it is quite a fine day for this anyway – the sun beaming on our necks through the leaves.” “And how,” said Max, as he twirled around his finger a white thread that had caught on a low branch. “Perhaps it’s imprudent to say,” suggested Greg, “but have either of you chaps any idea why we’re following a dress through the woods?” Greg was the first to summon the courage to openly question the unconscious force that was driving them. The others looked uneasily at him. It happened occasionally that one of them would offer a question without the inherent irony of their usual parlance, thusly disorienting everyone and forcing each to reconsider his assessment of life. “Well, it’s no ghost,” said Max. “Let’s dismiss that notion first and perhaps, by elimination, we’ll reach the logical answer.” “I’m inclined to believe,” said Sam, “that it may be a sign of some sort, celestial or otherwise, one intended specifically for us.” In this manner, they continued to talk for some minutes until the sudden emergence of the white gown from behind a thick elm stalk struck them silent, as if each man’s tongue had turned to stone. The gown glided toward them, freezing them in place out of fear or anticipation. It stopped roughly five yards from being able to reach out and touch Max’s beard, and the three men stared, plainly dumbfounded, for several moments. “What are you?” called Greg. Finally, cupping his voice for projection – “Are you a sign of some sort, celestial or otherwise?”

“We’ve heard it is a frantic metric medley featuring candy-coated heraldic harmonies, bewitching guitar filigree and a honeydewed pop sensibility, but frankly, we don’t know what that means...” “Rather fanciful to think it might understand you, Gregory,” said Max. “It’s no ghost remember – just a gown making its own decisions.” Perhaps in response to Greg’s query, or perhaps not, the gown lifted the empty wrist of its right sleeve, and held it against its breast. Faintly, music emerged from beneath the bodice, tinny at first, then fuller, gradually increasing in volume and spreading to the folds of the skirt. Sam, focusing all of his courage into his right foot, stepped forward, and angled his ear toward the gown. “I say gents,” he said. “Boil me alive, if it isn’t playing our record.” “Do you like it?” called Greg immediately. “We’ve heard it is a frantic metric medley featuring candy-coated heraldic harmonies, bewitching guitar filigree and a honey-dewed pop sensibility, but frankly, we don’t know what that means, and you seem like a reasonable article of clothing. What do you think?” The gown did not speak, did not budge, but continued, louder now, to play 10x through the folds of its material, oozing into the ears, noses and throats of the band the sounds of their own creation, and offering no sign of appraisal or commentary. “Come on,” Max said to his friends, and the three of them leapt forward, grabbed the gown and tore it to shreds. It deflated and sunk to the ground, and the music stopped. Later that evening, Celestial Shore played a concert back in Brooklyn for a cheering audience of earnest sons and daughters. When it was over, they took out their smiles, and wore them proudly on their faces.

Celestial Shore’s debut full-length “10x” is out September 3 on Hometapes/Local Singles Records.

Artist Equipment Box ”I guess I like the Peavey amp because it’s really loud and dumb, and it works if you kick it real hard.” Peavey Amp

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Pro Tools 11

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Review by Zach McNees

n June of this year, Avid released Pro Tools version 11, a huge leap forward from version 10. Chief among the new features is the newly designed Avid Audio Engine, which replaces DAE, as well as a 64-bit application re-written from the ground up and capable of true dynamic plugin and core processing.

What’s New: Pro Tools 11 is the first release to rely solely on the new AAX 64-bit plugin format, which is also its one downfall at the moment – with several plugin manufacturers still behind the curve on the release of their 64-bit AAX plugin updates. Pro Tools 11 brings with it a few great features that will allow the transition from previous versions to be as painless as possible. First, because Pro Tools 11 is a completely new application re-written from the ground up, users have the ability to install and use Pro Tools 10 and 11 on the same operating system (though not simultaneously). Pro Tools 11 (native or HD) also comes bundled with version 10, which serves as a bridge for those of us who aren’t able to make the transition to version 11 yet due to AAX plugin availability. As a 64-bit application, Pro Tools 11 can now utilize as much installed RAM as possible on an as-needed basis for computational tasks. All previous versions of Pro Tools are 32bit and by design can only utilize a maximum of 4GB of RAM.

the deli Summer 2013

The newly designed Avid Audio Engine (AAE) delivers greatly increased processing power for plugins and virtual instruments as well as ultra low latency record monitoring without compromising plugin performance. AAE also introduces new dynamic plugin processing in the playback engine which makes much more efficient use of multi-core processor computers. Plugins will now only use CPU cycles when they are actually processing audio. Easily the most requested new feature available in Pro Tools 11 is Offline Bounce, which provides the ability to bounce projects with multiple outputs and bus paths simultaneously up to 150 times faster than real time. For those mixing in the box, offline bounce alone will prove massively helpful and time saving.

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Novation Launchkey & Launchpad Controllers Review by Erin Barra Launchkey 49 keyboard controller (pictured is 25) comes in 49 key lengths and also includes 16 velocity sensitive multi-color launch pads, 8 faders and knobs, and several other buttons.

Launchpad S is a controller, which was created to function as a remote extension of Ableton, but also integrates with several other DAWs.

fter years of being an APC40 user and now an Ableton Push convert, I was curious as to what Novation had to offer with its new Launchpad S and Launchkey 49 that these controllers didn’t. What I discovered was that outside of a record/loop/launch function, all of these controllers truly are different beasts, each created with a different user in mind. I found the Launchpad S ($169.99 MAP) to be a tangible example of when less truly is more. The unit consists of 80 total pads -- 64 square pads in 8x8 formation, plus 16 round pads along the perimeter. Nuts and bolts, Launchpad S is a controller, which was created to function as a remote extension of Ableton, but also integrates with several other DAWs. It functions in four modes, each in a specific manner: In Session Mode, you can launch/stop clips and also navigate through large Live Sets without touching the computer; User 1 Mode is for playing drum racks and other instruments, but is also freely assignable; User 2 Mode is for assigning to any assignable

parameter in Live or for Max for Live patches; and Mixer Mode allows you to adjust volume, pan, and send amounts via a workflow that functions on both the x and y axis. It will also allow you to “stop all clips,” un-mute all tracks, unsolo all tracks, and un-arm all tracks. Launchpad S would be optimal for a DJ/Producer or anyone looking to launch/effect/mix clips live on stage. It has cool “lightbright”-esque visuals and has a playfulness to it that would translate well on stage. The Launchkey 49 is a more complex keyboard controller, catered towards the synth user or keyboard player. It comes in 25 (pictured), 49 and 61 key lengths and also includes 16 velocity sensitive multi-color launch pads, 8 faders and knobs, and several other buttons. You can still launch/stop clips and maneuver through a Live set, but with only 16 pads, the workflow isn’t as visual as the Launchpad S. That being said, you can do a much wider range of parameter adjustments, both macro and micro. The Launchkey 49 will also put you “InControl” if you so choose to use its faders, knobs, buttons and transport controls to adjust a number of things depending on the operating mode.

For more reviews, visit www.SonicScoop.com!

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kitchen recording equipment news

Eventide H9 Harmonizer

ew manufacturers can claim Eventide’s record in delivering top notch and lush sounding studio and pedal gear. Their latest product H9 looks and feels like a clear departure from their line of stompboxes: Whereas those black pedals immediately conveyed an intimidating feeling of depth of features (which can scare some musicians away), this brand new product, in its glorious white case, looks like an inspiringly simple device. What will make Eventide’s fans salivate though, is that the H9, which features stereo in/outs, expression input, and MIDI and USB connections, not only comes loaded with a set of Eventide’s most popular algorithms taken from each one of their 4 stompboxes – plus an exclusive UltraTap Delay – but it can actually run (on at a time) any effect from any of the Eventide line of pedals through a pay-for-patch system ($20 for any extra algorithm). It’s like a “Best of Eventide” + your own favorites!

For live performances, presets can be recalled using the footswitches (the big knob can also be “stomped” on for extra features), while effects can be edited in depth through the various Mac/PC programs and now also through an iOS app – a first for Eventide.

TC Electronic Ditto Looper

Review by Gus Green

s I said in my review of Pigtronix’s feature-packed Infinity Looper, there seems to be something in the water that’s making people gravitate toward the one-man-band setup. The proof is in the gear. Complex programmable loopers, in both hardware and software, are becoming extremely popular, but today’s subject, the Ditto Looper by TC Electronic, is all about the simplicity. As a matter of fact, it has a meager 1 foot switch, 1 knob, 1 input, 1 output and 1 multi-colored LED. Yet, it is still pretty darn feature packed considering the footprint and minimalistic interface.

The Ditto hardly takes up any space on your pedal board - so you don’t have to leave it at home for bedroom jams only. But what really amazes me about it is that despite its simplicity it still has everything I usually want in a looper. To accomplish this, TC has cleverly expanded the functions of the footswitch. For instance, you stomp once to record, once again to loop, and that’s ok but...

•One more stomp allows you to overdub. •Pressing and holding will take the last element out (undo), and pressing and holding again will put the last element back in (redo). •Press twice to stop, and press and hold while stopped to clear, once cleared it goes back into true bypass. It couldn’t be easier. The knob handles the loop level, and the sound quality is 24-bit uncompressed audio. It would have been nice to see a switchable stop mode option via an internal DIP switch or external toggle so one would have the ability to choose between a fade out, abrupt, or play-to-end stop mode. Other than that it’s perfect. If you take looping very serious and base your whole rig on it, you will probably want something with more features and the ability to save presets like the Infinity Looper or TC’s Flashback. However, if you appreciate the simple way of life the Ditto Looper does an excellent job of giving you the must-have features without hassle or confusion. I like it a lot and appreciate that it’s just so easy and fun to use.

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the deli's Pedal Board More pedal reviews at delicious-audio.com!

MI Audio Super Crunch Box

Chaosound Anti-Effect

Dawner Prince Starla Tremolo

• Updated version of the company’s signature crunch pedal, for expanded versatility. • 18V Internal Voltage Supply, External Presence Control, LO/HI Gain Modes + 3 compression modes. • At a street price of $149.95, it covers beautifully the full range of British distortions.

• An unusual pedal for noise lovers, it emulates electroacoustic signal damage and adds it to your tone. • Signal degradation can be controlled with Depth and Rate knobs. • Sequence knob gives you 4 different random rhythmic patterns.

• An incredibly versatile tremolo with 8 waveforms. • “Duty” toggle allows extra shaping of the waveforms. • Synch in/out allows to control/ be controlled by other units (drum machines, sequencers etc). • Speed can be controlled via the speed knob, tap tempo footswitch or voltage/remote via Sync port.

Enormous Door Foad Distortion • Classic distortion with amp-like realism for huge Rock/Metal rhythms and blazing solos. • With adjustable bias control gets you the cranked sounds of your favorite tube-amps. • Class A for smooth compression and responsive touch, Class AB for more headroom and tighter bass response.

if you are interested in reviewing pedals, plug-ins and apps for The Deli and Delicious Audio, ple ase contact delicious.editor@the delimagazine.com.

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Animoog • Professional quality synth and effects processor. • MiMidi in/out, save and record functions. • Bit crushing and unison voice detuning + many more effects. • 60+ presets, infinite customization possibilities.

Tempo • Best metronome ever! • 30 different time signatures. • Customize accents or turn beats off to create more complex rhythms. • Optimized for live drumming click tracks.

EverydayLooper • Loop machine emulator. • Stereo panning available. • 4 tracks with overdubbing (6 tracks on iPad). • Track merging in real time.

Magellan • 2 virtual analog synth engines running simultaneously. • ADSR Envelope controls. • 6 oscilators. • Traditional synth interface for easy transfer from analog.

App reviews by Paul Jordan Talbot