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



New Yowler LP Available for Streaming

Black Dog In My Path, the new album from Yowler, officially arrives tomorrow via Double Double Whammy. Maryn Jones' (All Dogs, Saintseneca) songwriting finds a reflective, haunting place, where serenity and grit converge into a spellbinding, personal quest. You can join Jones and friends this evening at PhilaMOCA for Yowler's record release celebration. They'll be supported by fellow locals The Goodbye Party and Swanning.

Interview with MAYVE

Five-piece indie project MAYVE has been experimenting with genre blending since the release of their debut EP, West Coast (2016), emerging into the NYC scene with a strong grasp of their stylistic direction. Their sonic progression has coincided with the physical evolution of the band itself, having expanded from their original three-member group. Though their sound is largely rooted in the indie pop genre, it treks over a variety of influences that hover anywhere in between styles of the seventies and today. Last year, they released their first full-length LP titled Motion, which errs on the side of new wave pop but remains grounded in the catchy, highly accessible realm of contemporary indie-pop. MAYVE’s recent release of guitar-driven single, “Neon,” reveals their most recent style developments, having moved away from more synth-oriented music production towards a greater focus on clean instrumentals. We asked the guys a few questions in the following interview.


With the release of “Neon”, it sounds like you’re branching out of your past influences. What inspired this change?

We are always very much inspired by sounds from the eighties and late seventies.  Writing this song we were definitely influenced by more of the guitar focused sounds during that time (George Benson, Nile Rodgers) as opposed to more of the synth heavy artists which inspired songs on our last EP “Motion”.  I remember listening to Michael Jackson’s “Baby Be Mine” and thinking I really want to do something that sounds like that!

What feelings, people, records, events inspired this record?

I’d say the feeling of just being transparent and honest with yourself has inspired a lot.  As far as the people, it’s mostly who you share those feelings with and how they relate.  A lot of what we write has a coming of age undertone.  Most of the records we listen to are very commanding of feeling in general and have a way of making us move or come together.  When we listen to music we subconsciously forge connections to personal experiences, that’s how songs suddenly become important.

Was there any piece of gear that was particularly inspiring for your sound?

Our sound is really inspired by what we have around.  It’s important to first get inspired by what you have and use that to seek things you need.  We explore lots of effects as tools when writing, from lush reverbs and choruses to different types of echos.  We mostly like to let the instruments do the talking and then layer on top of that.  I do think we’re developing a vintage synth fetish. 

The visuals you add to your music, from music videos to artwork to press photos, are striking and vibrant. How important is your approach to aesthetics when it comes to crafting your sound?

Sound and sight are best friends.  The music usually plays a major role in dictating what we are going to start doing aesthetically and it tends to drive the perception of the music.  We like using cryptic imagery and usually have a sense for the visual after we listen to the song a bunch. 

The artwork for ‘Neon’ features a seemingly flawless woman who’s held back by the hand of something dark with the illustrative style and vibrance giving a playfulness to it.  The song very much touches on lust, letting go, and leaving things behind with the sound also being a bit playful. 

Your live performance seems to have nonstop energy that never runs out of steam. What did it take for you to get your concerts to a high level of quality?

You have to just have fun on stage.  We’re all really good friends having fun playing music together and make sure our set builds in a way that keeps the energy flowing and exciting.  We tend to think we’re still far away from our ideal live show.  Eventually, we’d like to incorporate some lights and visuals.  The goal is to create an experience for the people listening that’s tailored by us.

Your songs often have upbeat melodies and hooks, but tracks like “1924” feature darker and somewhat heavier lyrics. What was different about that song during the compositional process?"

1924 was written when I was experiencing episodes of sleep paralysis and lucid dreaming. My life was at a darker moment and I was using music as a creative outlet to express myself.  The chorus begins with the line “I think that when I feel something I’ll start to see I’m alive”.  I think we wanted the music to invoke the feeling of searching for that notion.  That’s why it ended up a bit darker and slightly more chaotic.   

What other local emerging artists are you a fan of?

You should check out 88 Palms, Argonaut and Wasp, and Strange Names. We’re fans of theirs. 

header image: 
Tucker Pennington & Rebecca Carroll
Subtitle (brief and awesome): 
MAYVE time has stopped and we are sill in 1980?
Excerpt (short interesting quote from the Q&A): 
"I do think we’re developing a vintage synth fetish."

Record of the Month: L'Rain - self titled (Live at Sunnyvale 10.19)

Brooklyn's Taja Cheek is an experimental singer/instrumentalist whose classical music education inspires her solo project L’Rain's rich, ambient sound. While creating her debut, self-titled record in 2017, Taja’s burgeoning music career was intersected by the passing of her mother Lorraine, which affected L'Rain's lyrical content with themes centered on the subject of grief – as heard in tracks like “Stay, Go (Go, Stay)” and “Heavy (But Not in Wait)”. Her tracks, however, wander through mystifying and dreamy territories in the aim to blend morbidity with cheery effervescence. Listening to L’Rain’s is the aural equivalent of gazing into a sonic kaleidoscope composed by a multitude of synths, samples, and effects, concocting a wistful carpet blanketed with her lush, whispery vocals. You can experience the L’Rain's poignant and dreamy music live, at Sunnyvale on October 19. -Rebecca Carroll

New mewithoutYou LP Available for Streaming & Purchase

Our appreciation for mewithoutYou has existed long before the inception of The Deli Philly. The band never ceases to astound; with its masterful songwriting, the group's ever-changing musical palate continues to refine/redefine its vast catalogue. [Untitled] is mewithouYou's seventh full-length album, and is available via Run For Cover Records. The Philly stalwarts are gearing up to hit the road once again on a national tour in support of their latest release, and won't be back home until Wednesday, December 5 at the TLA, where they'll be joined by The World Is a Beautiful Place & I Am No Longer Afraid to Die and Hold Down The Ocean.

New Track: "Myth of the Groove" - Kilamanzego

Kilamanzego recently shared a new single via Amsterdam based collective/label ZenSupremacy. “Myth of the Groove” crackles and quakes, as the warmth of synth invites, but simultaneously creates a mysterious atmosphere. Then, it finds its footing in vibrant, 8-bit matriculation. Step into that futuristic, funky, weightless beat, propelled naturally but not pushed. Kilamanzego will be joining a lineup that also includes Masie Blu and Gender Work, on Friday, November 23 at World Cafe Live.


- news for musician and music pros -