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Orchestral

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Mother Falcon Does the Big Band Thing with Grace on "Kid"

Mother Falcon is Austin’s premier big numbers band, which you likely already knew, but they’ve just released a new track whose strength comes from its efficiency and its singular elements, rather than from the amount of noise that a big group can make. A lot of the energy in the just-released single “Kid,” in fact, comes from the lone female voice doing the largest portion of the singing, which is all lightness-leaking breathy tones that kick the track off with just a few strummed chords and an egg shaker beat in accompaniment.

This being Mother Falcon, however, layers and instruments are quickly added, tossing in at some point everything from horns to chanting to some really nice background drones that waver from right in pitch to just off to completely dissonant and give the song a lovely off-kilter texture. There are moments where MF does do the Arcade Fire/Broken Social Scene pioneered “all of our giant band playing at once” thing, but the restraint they show as a group throughout the song and even in these moments, and the benefits that each piece in the group adds to the overall song in these cacophonous parts has Mother Falcon resembling those other influential big bands at their thoughtful song-engineering best.

Speaking of seminal 2000s bands, MF also seems to be channeling something that was going on at that time in North American music (and is much murkier these days), which was a sense of just wanting to get together with other weird kids and have a lighthearted, happy time. “Kid” has that same kind-of “temporary refuge from the suburbs,” sunny-day in the park flying kites and drinking stolen vodka in plastic cups with your also-loner friends kind-of feel to it. In this age of endless online outrage clashes and what seems like just a whole damn lot of divisions between people, this is a feeling that’s nice to see it not only expressed in MF’s newest work, but downright nailed.

The track sits here below for you to get your feel-goods from, and you can keep up with the MF at their Facebook here. This is music that’ll help you remember that sometimes it actually does stop raining, which even some of us Texas storm-lovers might need right now, and it precedes the full album release on 8/14.

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The Living Sleep Release Remnants

Remants, the latest album from Cambridge/Boston’s The Living Sleep, is one of the most calming, beautiful collections of sounds I’ve heard all year. The tracks that incorporate viola and cello are the most impressive, reminding me of a more modern, less-stuffy version of chamber music--something you’ll actually want to listen to for more than twenty seconds.

The piano melodies are wonderfully arranged throughout the entire record, each played more delicately and deliberately than the last. When accompanied by the strings (ex: “The Last Serenade”), the result is a soothing composition capable of dissolving even the most stressful of days.

For updates about The Living Sleep, check out their Facebook page.

-Dan McMahon (@dmcmhn)
Photo credit: 
Adem Dayıoğlu

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Deli Premiere: "No Moon" by Doug Wartman

I was always told that the standard release date for music is supposed to be a Tuesday--who came up with that? And why? Anyway, I just saw an article in Rolling Stone today that said the “global standard” will now be Fridays, so this post won’t stand-out so much. In fact--I’d say this is cutting-edge. You heard it here first--The Deli New England is paving the way for Friday release coverage.
On that note,  “No Moon”, the title track (and first single) from Doug Wartman’s new album is--for lack of a more profound phrase--a beautiful piece of music. The guitar work sounds like Nick Drake if he played Explosions in the Sky--definitely a very soothing listen. I was most impressed by the “strings” that are played throughout the piece. I was surprised to learn that the cello-like sound is actually a bowed guitar, which I find very unique. This effect, coupled with well-timed dynamic shifts, adds intensity and a bit of tension to the music as well. Overall, I’d say Wartman is damn good at writing a complex piece of music and I’m excited to hear what the rest of his album sounds like.
The record comes out April 10 via Eye Design Records and will be celebrated at O’Brien’s in Allston, along with guests Ghosts of Sailors at Sea and Sand Reckoner.

For more information, check out Doug's Facebook page. Updates about the release show can be found here.
-Dan McMahon (@dmcmhn)
Album Art: Lynne Wartman

 

 

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Deli Premier: Diana DeMuth's "Albuquerque" Sneak Peak

A product of woody Concord, MA, Diana DeMuth’s dark voice croons over funky but varied instrumentals on her new track “Act like a Stranger.” With both a voice and lyrical wisdom that sound beyond her years, DeMuth’s new record is packed with the classic themes of a young songwriter; the joys of love, traveling, the pains of love, traveling again, and the ever poignant nod to your home town. “Act Like a Stranger” breaks away from the mostly acoustic record “Albuquerque” with an energetic percussion intro and bright back up vocals out of some early 60’s pop tune. She’s already a force to be reckoned with solo, but Alain Mallet’s production props her up while never out-shining that voice. Some singers blow your hair back with their power, but I prefer those like DeMuth, smoothly pulling you in for a closer listen. Her new album Albuquerque will be coming out later this month on March 17th, be sure to keep an ear out for it. - Paul Jordan Talbot

Photo by Chris Macken

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Pompeii Graffiti tugs at your "Heartstrings" on Valentine's Day single.

You know when you're at a house-show in DC, for a "DIT" festival, and you run into that special someone? That someone who plays some sort of custom-looking 6-string with flatwounds as a bass (when he's not on the pedal steel) in a band with a killer cellist? It's one of those "at first sight" things you hear about from the motion pictures. 

Ahren Buchheister isn't the only member of Pompeii Graffiti, Pony Bones (the band I saw at The Paperhaus on that glorious day), or Black Rhinoceros, but he's the common factor that binds this Annapolis supergroup, like (dare I say it?) heartstrings, together in this lovely video. Ahren himself is on lead vox and guitar. Fret not, Ahren, I dig you "not only for your music skills."

But they are, like, a huge deal. Happy Valentine's Deli readers! --Natan Press

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