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

Go to the old Top 300 charts


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Bodega premieres debut single, plays Union Pool on 03.10 + heads to SXSW

To make it into the crowd for Bodega’s set when they play Jonathan Toubin’s Soul Clap at Elsewhere requires a fair bit of effort, strategic movement, and patience. But it’s worth it. On stage the New York quintet is a fluid sea of movement darting along to pointed rhythms and shouted post-modernism. That was two weeks ago, when searching for the band’s music revealed only outdated links to its predecessor Bodega Bay. On Wednesday, the band premiered its first single under the shortened name, a staccato post-punk piece called “How Did This Happen !?,” produced by Parquet Courts’ Austin Brown. The art punk influence is apparent, with vocalist/guitarist Ben Hozie half-speaking half-shouting monotone lines like “this machine you know it don’t kill fascists, this machine just softens its heart. This machine it killed the dream of the ‘60s, this machine you know it’s just a guitar.”

What’s Yr Rupture? is set to release the group’s debut album this summer. To accompany “How Did This Happen !?” Bodega has released a 360-degree interactive video, describing it as “a simulacrum of a typical night at our favorite Brooklyn venue, ALPHAVILLE. Some audience members scroll on their phones, others half listen (waiting to play), [sic] and those with light to spread join the show.” You can watch the video below and catch Bodega at Union Pool on March 10th, before they head to SXSW to play Pianos' SXSW party on 03.17. – Cameron Carr

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The Deli Philly’s March Record of the Month: Wish You Hadn’t – Corey Flood

Philly four-piece Corey Flood’s debut EP Wish You Hadn’t (Fire Talk) is the perfect mix of sincerity and cynicism. Whether scathing, gloomy, or endearing, each song emotively pays homage to their 1980s namesake.

Opening with the ominously titled “Crypt,” Corey Flood’s record unfolds with heavy bass and hushed but brooding vocals. The lyricism, though sparse, enhances the beach-y melody, which ends abruptly, leaving listeners with a nearly tangible sense of urgency. From the very beginning, Wish You Hadn’t christens Corey Flood as the deserving successors of All Saints Day, Frankie Rose, and Veronica Falls. Melancholy without being maudlin, “Crypt” reflects on the ephemeral – whether it be literal or metaphorical – in an emotionally memorable way.

The EP’s second offering, “Soft,” is romantic and deliberately tempered. By pairing the repetition of “You’re just so soft to touch” with sanguine riffs and reverb, the recording is a lush declaration of desire. Reminiscent of Colleen Green’s early B-sides and the moody ease of Best Coast’s Make You Mine, “Soft” is a relatable glimpse at yearning and human closeness.

Similarly, “Feel Okay” explores the weight and impact of intimacy on the psyche’s perception and the limitations of language. Through steady chords and lines infused with fervent transparency, “Feel Okay” isn’t just a confessional. It’s a testament to erosion of a relationship and all that’s left in its wake. By the song’s end, it becomes clear that Wish You Hadn’t is most likely rooted in the lived experiences of Corey Flood’s members, which makes the authenticity of “Feel Okay” all the more meaningful.

The final track on the EP, “Causeway,” is an alluringly direct ballad awash in pensive ruminations and despondent brilliance. A moving reflection on truth and the necessity of being heard, the song is a satisfyingly unnerving anthem for jilted lovers and introverts alike. Whether devoured digitally or via cassette, Wish You Hadn’t is a refreshingly candid although brief meditation on what it means to be real about your flaws and feelings. – Dianca London

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New Hour LP Available for Streaming & Purchase

Friendship’s Pete Gill, Mike Cormier, and Evangeline Krajewski forge a musical bond with Jason Calhoun (Naps), Matt Fox, and Abi Reimold as Hour. The instrumental ensemble recently shared a new LP Tiny Houses, which is available digitally as well as on limited cassette via Sleeper Records. Strolling in the crisp, cool air, the selection has a delicate intricacy. Hitting the relief valve in one’s mind, the songs quietly allow you to collect your thoughts. (Photo by Bob Sweeney)

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There's Talk returns with new EP 'bathed water moon' and live show at Rickshaw Stop (3/8)

When the San Francisco-based indie electronic trio There’s Talk first caught the attention of the Bay Area music scene in 2013, their EP Tiny Strands was lauded for its lyrical and melodic complexity. Now, five years later, the group has returned on the EP bathed water moon with the same perchance for intricacy, except with a heavier focus on the dreamy electronic sound that set them apart in the first place. The opening track “Give it Up” (streaming below) is an ode to dreamgaze, drenched in mesmerizing synths and suspenseful builds that leave the listener wanting more—a promise that the rest of the EP expertly delivers on. Despite a recording hiatus, this EP has proven that There's Talk belongs on the forefront of the DIY electronic scene. Make sure to drop by their next live show at the Rickshaw Stop on March 8th. - Lilly Milman 

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Record of the Month: Katie Von Schleicher

Late in 2017, NYC based singer-songwriter (and vocalist for Wilder Maker) Katie Von Schleicher came out with a poignant and plaintive album with the not-so-poetic title Shitty Hits. From the very beginning, opener The Image treats the listener to Von Schleicher’s unusual, yet elegant melodies, supported by an unexpectedly noisy production based on a new, intriguing approach to loud/quiet/loud. The results are spectacular. The perfectly controlled, vaguely industrial clangor keeps coming in the following tracks, together with Katie’s incredibly beautiful vocal lines, forging a record that’s as unique as it is enjoyable and moving. Perhaps it’s true, these songs aren’t hits, but, on the other hand, they are definitely art.

Katie is touring the US and Europe this spring, don't miss the 4.06 show at the Music Hall of Williamsburg and her performances at SXSW.


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