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Ticket Giveaway: Death Cab For Cutie at Tower Theater Next Wednesday

Who wants to cuddle? Join the final evening of Death Cab For Cutie's cuddle party at the Tower Theater next Wednesday, October 10. They'll also be supported by NYC powerpop quartet Charly Bliss. To enter for a chance to win a pair of tix, just send an email to thedelimagazinephiladelphia@gmail.com with the subject line "Thank You for Today" Please also include your cell number in the body of the message (in case of an emergency). Good luck!

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New Swearin' LP Available for Streaming

Fall Into The Sun, the new album from Swearin', officially arrives on Friday, October 5 via Merge. However, thanks to NPR’s First Listen, in a way, it’s already here. Reflective introspection and a gritty, melodic pulse create a deeply personal yet accessible return. As thought processes are revealed and given the perspective, afforded by time, the album has the ability to sit in the moment yet move freely in energetic motion. Catch Swearin' with Empath on Wednesday, October 10 at the First Unitarian Church!

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New Track: "Something I’ve been meaning to tell you" - Hour

Below is a new composition, "Something I’ve been meaning to tell you," from Philly instrumental collective Hour, which is made up of Abi Reimold, Peter Gill (Friendship, Free Cake For Every Creature, Florry), Michael Cormier (Friendship, Russel The Leaf), Jason Calhoun (naps), Evangeline Krajewski (Friendship), and Matt Fox. The lead single from their forthcoming sophomore LP premiered earlier this morning via Stereogum. Anemone Red, whose title was plucked from the Greek myth of Aphrodite and Adonis, was co-produced by the band and Francis Lyons (Free Cake For Every Creature). The title for their latest track was also inspired by a book of short stories, which was authored by Alice Munro. The record is scheduled to come out on November 11 via Lily Tapes, and they'll be celebrating its arrival on Thursday, November 8 at Beacon Church. (Photo by Dan Wriggins)

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Krust Toons: "Stupid Kavanaugh" by Tedd Hazard

Krust Toons: "Stupid Kavanaugh" by Tedd Hazard - please feel free to drop him a line at teddandthehazards@gmail.com if you dig or have any funny ideas. You can also check out more of his illustrations and animation shorts HERE.

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The Deli Philly’s October Record of the Month: I'll Sing - Shannen Moser

Berks County native Shannen Moser’s I'll Sing (Lame-O Records) is an unexpected yet melodic balm. A timely follow-up to 2017’s Oh, My Heart, her sophomore release reveals not only her depth as a singer-songwriter but her strength as a storyteller. From start to finish, it’s an immersive homage to coming of age, framed by delicate chords, earnest vocals, and truth-laden lyricism.

Beginning with “47th Street,” I’ll Sing’s emotion is unabashed, even in its earliest moments. The track opens with a stripped-down subtlety that builds into a fuller soundscape and further crystallizes lines like “I don't cry anymore” and "It’s just a feeling, that’s what feeling is for.” When Moser sings, “If I could feel something good, I would share with you, you know I would,” listeners will believe her without a shred of doubt. A noteworthy anthem about desire and the way the past can shape a person, “47th Street” is the flawless start to a deeply personal LP.

In a similar fashion, “Haircut Song” centers around a memory and an intimate request that becomes a two-fold remembrance of how caring for another person can reveal the beauty and damage that go hand-in-hand with human closeness and the unreliable nature of a broken heart. Amplified by steady strums of acoustic guitar and the hiss of snare, Moser’s song manages to be sincere without resorting to melodrama. The album's third offering, “Joanna,” brings to mind Chan Marshall's earliest cuts and the heartfelt harmony of First Aid Kit's The Big Black and the Blue. Here, Moser turns a plea into a praise song of yearning and transformation. It’s a stunning example of songwriter’s ability to turn even the most ordinary of moments into a vivid melody. Through her voice, the personal becomes universal.

“Everytown” continues to showcase I’ll Sing’s emotive relatability through the swoon-worthy swell of guitar and Moser’s steady diction. When she sings, “It’s easier to feel in love when it’s warm,” and insists that “in every town there’s someone just like me missing someone like you,” the tune feels like the biography of anyone whose life has been shaped by friendship and romance. It’s an ode to small towns and the transformative power of kindness and intimacy. “Baby Blue” is like a contemporary riff on country classics like Loretta Lynn’s “Color of the Blues” and  Skeeter Davis’ Here's the Answer, while “Arizona (I Wanna Be Your Man)” brings to mind the unforgettable passion of cuts by Lucy Dacus and the equally affecting Julien Baker.

“Hallelujah” possesses an instantaneous warmth that amplifies its disillusioned honesty. A ballad for modern cynics and believers alike, Moser’s hymn appears most holy when it captures the duality of the world that surrounds us. As she sings, "Hallelujah the world is all broken and bad, Hallelujah for love and caring for this land," it is difficult not to experience a sense of revival from the searing truth of her chorus. “Blacktop Mountain” and “The Ballad of Freddie Jones” are audibly haunting and bound to bring to mind the instrumentive progression of old favorites by The New Amsterdams and the confessional candidness of Lissie’s “Shroud” or Jenny Lewis’ quintessential Rabbit Fur Coat.

In “Your Window Seat,” the necessity of communication and connection comes through with each line Moser breathes, undoubtedly reminding her audience of the people in their own lives who they turn to, whether it be in times of need or joy. An understated hint of vibrant sorrow echoes throughout “West Texas Blues,” making the track memorable in a satisfyingly unshakable way. The vibrating strings and striking lines of “One for Mama” are similarly gripping, proving that although Moser is still in her twenties, she is aware of the way the world can weather a person. “Trouble” and “Pleasantville” feel urgent yet timeless, while “I’ll Sing,” the LP's title track, leaves listeners transfixed by the artist’s wisdom and her dedication to sharing her songs with those who are willing to listen.

Unarguably stirring and profound, I’ll Sing should be considered required listening for anyone with a heartbeat. It will transform you for the better.  – Dianca London

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