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Bitch’n Releases New Political Single

Bitch’n just released a single off their upcoming album Let's get Easy, motivated by the “collective feminine growl that is sounding across this country and world.” The song, “On the Edge” is packed with a taut anxiety that makes your back stiffen and your fists clench. Dissonant beats and jangling chords reproduce the pain and frustration left over from this past week's political turmoil. Chanting the lines in unison, the members present a forceful unified front. "On the Edge" is a battle cry made for screaming at the frontlines of this war.

Bitch'n will be at the High Water Mark Lounge along with Nasal Rod and Wild Powwers (Seattle). 

 

  By Avril Carrillo





Former AOTM Helenor marries pop and psych on second single "Bloodshot Eyes"

Psych meets pop on “Bloodshot Eyes” (streaming below), the newest single from former Deli New England artist of the month Helenor. Irony runs through the core of this track, with the opening lines painting a rather dark image (“Lots of hate will form a crowd / you could get stuck below”) against an arguably more pop arrangement. At its midway point, with the introduction of the first chorus (“Bloodshot eyes / are my friends / they’ll stay with me / ‘till the end,”) the track dives into distortions that eventually give way to a reverb-laden realization (“Is this life / all about / the finish line? / I don’t think it is.”) - Lilly Milman

Listen to Helenor and other local artists on The Deli New England's brand new Spotify playlist, Cold Cuts: Sounds of New England. 





Brother Toaster and Tyler Arnott release wily collaborative album 'Recreational Landscaping'

Recreational Landscaping, a collaborative effort between Brother Toaster and Tyler Arnott (who contributed guitars and auxiliary sounds to Brother Toaster’s previous LP Chucky,) is a wonderful musing on what it means to make music out of the noise. Recorded on a mono microphone while a lawn was being mowed in the background, this project thrives off of the organic. Not only does the stripped back, minimalistic sound create room for both guitarists to riff of one another, but it also draws attention to the intimate details, like the sudden declaration of “I need to tune this” on the end of “Sunrise on the Flowers.” On this album, Brother Toaster and Arnott have tested their luck at trimming the fat and, as a result, created a surprising and wildly fun album that can be left on repeat for hours at a time. With each listen, there’s something new to be found and appreciated; discover it for yourself below. - Lilly Milman

Listen to more tracks from Brother Toaster and more local artists on The Deli New England's brand new Spotify playlist, Cold Cuts: Sounds of New England. 





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





New Pulgas EP Available for Streaming & Purchase

A beautifully twisted portmanteau of candescent pop and arrhythmic flux, Pulgas’ Simon Martinez and Zane Shields return with More Like Us (Astro Nautico). Released as a companion EP to an album coming in the spring, More Like Us takes the listener through four concise yet dense tracks that display a growth in their craftsmanship from previous recordings. Their sense of dynamism in musicianship is fiercely on display, while the production and quality of the recordings are vibrant and smooth. If you’re a fan of DIY-pop aficionados in the vein of Ryan Power or Jake Tobin, the new Pulgas EP will be a welcome addition to your musical wheelhouse. - Josh Kelly

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