Red Ribbon immediately hits with a wave of uncontrollable nostalgia; jarring loose fragments of hazy post-rock idioms that coalesce with the feeling of Codeine rippling over your eardrums. ‘Whatever I can get’ is a melancholic pastiche of the crippling affliction of acquiescence, and while singer Emma Danner yields to what ever she can get, she also warns that “you’re going down with me,” an admonition that is as soothing as it is eerie. Musically, the spindly guitar recalls 'Misery is a Butterfly' era Blonde Redhead, while the rhythm draws inspiration from an anemic Land of Talk rapping on the door to your Memoryhouse.

Find yourself overcome with glowing euphoria tonight with Red Ribbon and more at Vermillion. 8PM. Free.

Magma Fest 2015 is here! For the entire month of March the wonderful people at Hollow Earth Radio will be throwing shows at multiple venues and non-venues alike, all of which are all ages. Last week we saw Chastity Belt play at a boxing ring next to a community garden in the Central District. This week on Friday, March 20th we are brought an exceptionally well curated event at The Cockpit (an unassuming little alleyway in the middle of Capitol Hill), featuring some of Seattle’s most known unknown…

While there are definite nods to prog-rock in Bod’s sound they ultimately replace quantity with quality, a trait that prog-rock has a hard time doing. Gigantor begins by fooling you into thinking that you accidentally put on the soundtrack to Labyrinth, which is immediately, yet so casually, tossed aside when the verse introduces an organ and drum machine duet reminiscent of Clinic. Cue the mellotron and… ladies and gentlemen, we are floating in space, but not for long; incomes a chorus that has us exclaiming YES In a roundabout way…

A gazebo is both a symbol of elegance, while simultaneously being an outpost for bums and teenagers to smoke spliffs in. It’s in the disparate parts where we find the charm of this strange but alluring structure. Similarly, Gazebos the band creates a whimsical mélange of sweet AND savory powerpop. Singer, Shannon Perry croons like Exene Cervenka singing Strange Fruit, while the band dangles the jangle of Television personalities and dance around power pop ballads in a pair Black Vinyl Shoes, in a way only R. Stevie Moore knows how to do. So naturally, it’s no surprise to see that the great R. Stevie and Gazebos have, in fact, collaborated.

Great Spiders is the pseudonym of a guy named Omar. We imagine Omar as a shy kid with a bowl cut who listens to Steeleye Span, and Brewer and Shipley and other 70’s AM radio gems, while daydreaming about one day when a real girl will ask him to dance. On ‘Get Out of Love’ exactly that happens, and Omar finds himself falling for a girl who listens to Slade and The New York Dolls. She is embodied by a riff so classic rock it ain’t funny, which throws Omar’s song legs akimbo and has him asking how to get out of love. It leaves him wishing for something more in between, something more casual, like hanging out down the street with big stars in the sky and not in our eyes.

Closing out the night will be Religious Girls (the only non-Seattle band of the evening who are as equally amazing as the Seattle bands) and are not to be missed!

Ladies and Gents,

The SXSW 2015 issue of The Deli can be now read online here. 10k copies of this baby will flood the streets of Austin during SXSW Music Week.

It will be a busy time for us as usual, with the madness of the Stompbox Exhibit in full swing, joined this year by a sister expo called Synth Space!

So yeah... if you are attracted to nerds, come and see us at the SXSW Music Gear Expo inside the Austin Convention Center from March 19 to March 21 (11am-6pm)!

We'll also have a small live showcase, here are the details:

THE DELI'S SXSW 2015 SHOWCASE

FACEBOOK EVENT
WHEN: Friday 03.20, 4pm
WHERE: FLatstock Stage (Austin Convention Center)

4.00 Prinze George (DC Area)
4.45 Lazyeyes (Brooklyn, NY)
5.30 Roger Sellers (Austin)

See y'all in Austin!

The Deli's Staff

Tear off your scabs at the Black Lodge tonight with PC Worship and Chubby Rhapsody or catch them on tour somewhere else: 

Birth and decay are both moments of abjection, wherein the subject is removed from the great mother and becomes conscious of a unique identity devoid of interference from cultural perceptions. The phenomenon is no magical circumstance, rather a self initiated exile into a world of infinite possibilities -a moment that generally evades our grasp. However, some are able to embrace this state of reality and become the uncanny abject of our heart’s desire.

Nightspace is Seattle’s very own destroyer of the super-ego; using synthesized sounds to distance themselves from the status quo of pop. Though, you may find something familiar in the four-on-the-floor kick drum, don’t let it fool you; Eurythmics did it too and they set themselves apart from the synth-pop of the 80’s with darkness and gravity much in the same way Nightspace also does so fluently. Rejecting themselves from the same school of industrial cold-wave as Cabaret Voltaire, Nightspace combines the sex and death of a slowed down Belgian Hardstyle DJ with Ian Curtis’ cavernous admonitions of a completely dejected reality, jutting out from the walls of deviance that seem to be closing in on them. Concurrently, looming and distorted synthesized lines weave in and out of Nightspace’s techno-terror with sincerity, conjuring fake memories of Demdike Stare covering the Suspira soundtrack, an occurrence that has not happened (though we wish it would).

The abjection that occurs from listening to Nightspace is a beautiful fracture of reality that all should be aware of. Whether you crave the horror of love or the placidity of death, hearing Nightspace will remove you from both and surly enhance you as a person and a listener.