Insulting other bands in the poll is very uncool - and will jinx your chances of rock stardom.
P.S. Cheaters are losers!
The Deli's Bands of the Month 2013
Crowd-funded through IndieGoGo, “Rattle Rattle” is the latest album by Dorian Wood. The work covers an impressive scope for an independent artist clearly creating art for art’s sake on their own terms. Overflowing with impassioned creativity, this is not an album for the faint of heart, or the single hoarders. An avant-garde piece that is more chill-inducing with each listen. Your ears are awakened by the very first notes and are held captive til the very last. Varied in style from western to choral to Baroque to the pure strange, it moves unstoppably like liquid through concrete cracks. The despotic operatic style of “A Gospel of Elephants/Hpssos” slinks maniacally into “The Lady”, which sounds like the voices of the dead crying out from the River Styx as Charon passes by ferrying the newest batch of souls to the underworld. The story-telling continues as a parlour style piano plays underneath the male/female duet (featuring the airy and mysterious vocal stylings of Angela Correa) that moves from sweet to bitterly sour as the thread of undergirding menace continues, this time supported by an ever-building mournful string arrangement. Acting like the soundtrack to a drawing room opera yet to be written, “The Useless Servant” showcases the shimmery tone of Nina Savary’s voice that seems perfectly suited for a re-telling of the original Grimm fairy tales. It is at this point in the record that the darkness fully shrouds. All sweet and tender moments are left behind and traded for pure absurdity and paranoia. Playing out like an even more twisted and disturbed version of The Decemberists’ Hazards of Love, “Rattle Rattle” is an undoubted masterpiece. There is a deep, richly textured story being told amidst the tensely developed instrumentation and sound palette. As the album closes with “O,” the 9 minute epilogue, you are left knowing that the beauty wrapped in tortured frustration unravelling into madness has only begun for this brave artist and his cohorts. This is a poignant and telling work of art that pulls from our uniquely American musical past to parallel our uncertain present. While his poetry may leave you politically unsettled, Wood is exercising his freedom to boldly share his perspective that is at times both nightmarish and delicate, elegant and disturbed, and well worth many undivided listens. Stream the entire album from bandcamp below. - Jacqueline Caruso
All My Everybody
Former Depreciation Guild and Pains of Being Pure at Heart guitarist Christoph Hochheim has created a new solo project called Ablebody, and will be premiering his new songs live at SXSW. Appearing to have put aside his primary instrument in favor of synths, samplers and a laptop, the most surprising aspect of All My Everybody is how the vocals are much stronger than anyone could have anticipated (since he never sang in either of those bands). The recently released 5 song EP’s cover image is a seated body with no head, placing clear emphasis on the band name's meaning.That of an able body, ready for instructions.
Chimes on the dominant beat accentuate the multilayered atmospherics of first single “Sally Hot Jazz.”With vocals that evoke Tears For Fears at their peak, (“Sowing The Seeds Of Love”) the chord progression does in fact touch the edges of actual jazz.Wonderfully streamlined at under three minutes in length, impeccably crisp synth textures share sonic space with a marching, natural sounding percussion (capably supplied by former Depreciation Guild band member and twin brother Anton) while otherworldly sine waves build to a sunburst conclusion.
“No Room For I” expands on this sonic palette as its near five minutes in length would allow.Brief moments of sparser instrumentation encourages focus on the emotion being conveyed. Curiously, this wonderfully strange and mysterious song’s title does not seem to be mentioned even once.However, hook sequences with the repeated lyrics “one more night” and “I can see your eyes” create the sense of wonder as to why it wasn’t called either of those. Vocal placement is artfully crafted here as deeper harmony cascades under the higher register lead.
The cleverly titled “Phantasy” pops along a synth bass and danceable beat with those wonderful chiming bell sound samples at the forefront.Using perhaps The Pet Shop Boys as a reference point this time, the bridges are still more sophisticated structurally, with minor chord passages lifting the track above mindless dancefloor fare.
“Quick & Painless” slows everything down significantly; with its near dirge-like pacing, the chirping synth textures evoke “The Man Who Fell To Earth” era David Bowie.The overall feeling is as reverential as seeing sunlight streaming through a cathedral’s stained glass window.
Closing track “Sister Marie” is a Harry Nilsson composition that surprises, not only as a cover choice, but also in its execution. Presenting this one as something you might hear on a post-Pink Floyd Syd Barrett solo album, it is perhaps a fitting conclusion to a most creative debut. - Dave Cromwell