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Lost Boy ? Releases New Album 'Paranoid Fiction'

Behind the Lost Boy ? moniker, Brooklyn-based rocker/guitarist Davey Jones draws a character from tales of the late ‘60s through the early ‘90s in Lower Manhattan and Downtown LA. Inspired by memoirs, literature, and music from this era, Lost Boy ? tells the story from this retro vantage point exploring the trials, tribulations, and sounds of the Sex, Drugs, & Rock N Roll era. Today, he’s back with a new record titled Paranoid Fiction.

Jones’ grizzled vocals, paired with rattling guitar licks, make for a truly vintage sound beholden to '70s garage rock. Each track plays like it’s been dipped in whiskey. On Paranoid Fiction, Lost Boy ? hones the ability to write sticky melodies that are equal parts aggressive and fun; Jones rips through 13 tracks and keeps you in the palm of his hand the whole time. Listen below. 

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New Track: "Center City Blues" - Kelsey Cork and the Swigs

Kelsey Cork and the Swigs just released their debut single, “Center City Blues,” via Good How Are You Records. The song gradually revs up on a blues-rock path, while contextually delving into the hierarchal power structure and where we, as individuals, all fall or fit in. Hopefully the recent election results will mark a step toward improvement, and as the song suggest, no matter what your standing is, it's important to truly enjoy yourself. You can get down with Kelsey Cork and the Swigs this Friday, November 16 at The Bottom, with Slomo Sapiens and Trash Boy. (Photo by Alyssa Resh)

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Rotten Mouth @ Subt (11/11)

Rotten Mouth has released a new single called “Steady Hand”. This is the “Dirty” Rock band’s first new released since their 2016 album A Brave Refrain.

Rotten Mouth is the work of Josh Guelzow (Guitar and Vocals), Ryan Wade (Guitar), Clay Mutert (Bass and Vocals), and Chris Mutert (Drums).

You can catch Rotten Mouth at Subterranean on November 11th with Laurel & The Love-In, The Footlight District, and Myrcenes.

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Dirty Work - Classic Street Punk, Coalition 11.16

Dirty Work is a 3 piece straight up street punk band. They scream Oi! and don’t care about you. They have the energy of all the old school punk bands from the 70s and 80s. Their new record “In The West End” was released earlier this month and consists of 12 ripper punk tunes. Get in, get dirty, get out. Crank up the opening track “Ready To Go” and enjoy the cameo appearance from two legends at the very beginning. Dirty Work plays Coalition on Friday November 16 with Dayglo Abortions and The Nasties. – Kris Gies

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The Deli Philly’s November Record of the Month: Maybe I'll Feel Better When I'm Dead - The Vernes

Maybe I’ll Feel Better When I’m Dead, the sophomore LP from The Vernes, is the band’s first official studio album, which was produced by Joe Michelini (American Trappist, ex-River City Extension) at Berlin Studios. Building off the skillful songwriting and lyricism, found on the project’s self-titled debut full-length (on which frontman Matthew Gragg also wrote and played all the instruments himself), this is the quartet’s first collaborative effort that features Fabian Mera (lead guitar), and Cole Berggren (bass), and Pat Degan (drums).

Its opening/title track is an ideal representation of Gragg’s songwriting style, as he tends to tackle shadowy themes amid the backdrop of rather upbeat instrumentation. That dichotomy finds a lovely balance between sadness and hope, making the deeply personal and introspective tales feel universal, while taking on struggles and thoughts that we all most likely have conjured up, at one point, in our minds. The themes of maturing and not exactly knowing where one belongs are reoccurring ones throughout the record. “Maybe I’ll Feel Better When I’m Dead” is followed by “1994,” the first song that was actually written for the LP. Inspired by a visit from his brother, while Gragg was living in San Francisco, and the positive changes that he had noticed in him during their time together at Big Sur, the guitars find a sweet spot between its textured layers and fiery conclusion that ultimately makes for the heaviest rocker on the album.

“Zurich 1953” is an acoustic instrumental that’s a fitting prelude to “Untitled, No. 2”. The songs seem to easily flow together on the album. “Some say that you’re the chosen one/But I don’t look at you that way/Say that you’re the only one/I’m sort of hoping that you go away” – that “chosen one” reference finds its way later on among the crunchy guitars of “Bug(s)”; however, “you are not the chosen one and I am not the chosen one” is realized, casting a melancholy that seems to blanket the entire collection. An ominous rumble introduces “Everything Goes Away,” before hearing the nostalgically poignant verse – “In this city that I call my home/Well they’re cutting down trees and they’re building new roads/And they name all the streets after all of the trees that they cut down to build all the roads that we see.” Change seems inevitable, though our protagonist refuses to give into it.

Closing out the album is “Tired Shoes,” with what sounds like a ballad being played on a lonely player piano to a melody reminiscent of “Auld Lang Syne”. Like the New Year’s classic (and the record's title track), there is a hint of sadness and hopefulness for the end. With that existential struggle rearing its head throughout the LP, we can only hope to be “proud of the roads that we choose.” The Vernes definitely have the right to be proud of the choices that they’ve made on their latest release. (Photo by Bob Sweeney) – H.M. Kauffman


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