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Album Review: Parenthetical Girls 12-inch "Privilege, Part One: On Death and Endearments"


Parenthetical Girls' new album Privilege is going to be released on five separate, limited-edition 12-inch EPs over the next 15 months, with the final LP coming out in May of 2011. The LP release will include a special collector's box to hold all five vinyl discs.

Privilege, Part One: On Death and Endearments came out February 23rd on Slender Means Society, through which the vinyl EP and accompanying digital download can be purchased for $15. Make haste on that; they probably won't be around for too long considering that the pressings come in batches of 500 for each EP released.

Just to add to the personalization factor (not to mention creepy factor), each release will purportedly be hand numbered in the blood of one of the band members. The first to lend his appendage to calligraphic phlebotomy is none other than vocalist Zac Pennington.

Their last album, 2008's Entanglements, has been met with considerable praise, though often prefaced with warning to its at times overwhelming orchestration. If this first installment is any indication, they are returning to a compositional restraint that holds the mark of song writing experience.

The first track and chosen single, "Evelyn McHale," is named after the famously photographed 1947 Empire State Building jumper who appears to be resting peacefully atop the automobile that cushioned her rushing descent. This mid-tempo, catchy number makes a good starter and does well to cement the motif that is so unsubtly written into the EP's title. You can check "Evelyn McHale" as a downloadable MP3 over at Sterogum or as a music video here.

The four songs unravel a theme, if not a narrative, of melancholy situation created out of past mistakes and losses. The tracks seem to draw beauty out of the sadness of  days gone bye, while leaving some room for hope in the future. The cuts should not be categorized as depressing, instead they're better defined as mournful and nostalgic, although admittedly saturated in the idea of the mortality of the human life in past, present and future.

Though it may be hard to convince someone who is not already a fan to drop $15 dollars on a four-song collector's edition purchase, as an EP, the songs are not only quality, but emerge as artistically coherent both musically and lyrically.

Should the Girls continue to be consistent over the next 13 months or so, Privilege will be something that cannot be contained on a vinyl limited release.

- Joel Sommer


Two Deli Sponsoerd parties at SXSW

Hey discerning eared people,

The Deli this year will sponsor two parties during SXSW:


The Music Tech Mashup Showcase is a two day/three stages event during SXSW's transition from Interactive Week to Music Week. Featuring a ton of great bands, brands, and emerging new technologies, the Mashup party celebrates the opportunities presented through the convergence of these industries.  Hosted by Shinobi Ninja and Coast to Coast Models & Events and presented by GreenShoeLace, HunnyPot, The Deli Mag and Planet Ill, this showcase will assemble the movers and shakers of these converging fields.

Artist shortlist: Shinobi Ninja, Vaxhaul Broadcast, McAlister Drive, Bamboo Shoots.




The Deli Magazine NY and CitizenMusic have teamed up to bring some of the best Alt Rock bands from New York to Austin for South By Southwest 2010! "NYC in ATX" will take place on Thursday, March 18, at Hyde Park Bar and Grill (South Location).

Music will begin prompty at 6pm!

Here's the kick-ass line up! 6.00: Blackbells
6:50: New Madrid
7:40: The Shake
8:30: Deadbeat Darling
9.20: Black Taxi

And, to make it rock even harder, it's FREE and ALL AGES. So, if you're heading down to SXSW or if you're already in Austin, come experience some of the greatest rock n roll, and best french fries [so we've been told] New York City has to offer!




Rock 'n' Metal: Red Fang @ Dantes Friday, March 12th


The time for crushing monolithic stones with our bare hands is upon us.

The big-tone rock 'n' roll metal destruction crew Red Fang will be stuffing Italians back down sewer pipes, sending nudist tortoises shuffling back for their shells and chasing squealing piglets into the safety of mother sow's sweeping tits this Friday at Dante's.

Those of us who can stand on two legs in the blast of awesome will be graced with the acumen of acrid axes, as they gristle away on waves of pounding metal. The group has recently just finished mixing their new album and is reportedly playing most of their new material at this show for the first time!

Definitely check out their music video for the song "Prehistoric Dog," which is truly one of the best and humorous local videos I've seen.

They will be joined by local metal magicians Salvador, and San Diego's The Long and the Short of It, the latter of which loves to devise speedy metal dripping with drones.

Show at 9:30 p.m, $8 in advance, $10 day of. 21 and older.

- Joel Sommer


Album Review: Archeology's "Memorial"


Archeology band mates, Daniel Walker and Jason Davis, have had quite a busy year. The pair released five EPs in the last year, and are now celebrating the release of their first LP, Memorial, out March 16th.

The interesting thing about Archeology is not necessarily their sound, but the story they tell in their songs. The two vocalists met at an archaeological research site in Eastern Washington. They discovered that they shared not only a love of ancient artifacts, but of music. They also were surprised to find out how similar their backgrounds were. Both were sons of preacher men, suffering from what they describe as “hypocrisy and malevolence” at the hands of the Christian church.

They sing about their journey from men of faith to men of science in songs like “By the By” (which you can check out here) and “Altar Song.” They might have lost their faith, but they haven’t lost their altar boy sound, and many of their songs have an a cappella, solemn tone to them. The band shines when they steer away from the dreary, though, and show their fun side, like in the drum-heavy “White Walls” and the catchy “New San Salvador.”

These guys have impressive writing skills, and clearly enjoy discovering themselves and their musical style, but I'm not sure if they have quite pinpointed just what that is yet.

You can catch Archeology's album release party on Saturday, March 20th at Backspace with Yarn Owl, The Ocean Floor, Oh Captain, My Captain, and Autopilot is for Lovers. $7, 8 p.m.

- Deanna Uutela


I Can Lick Any Sonofabitch in the House Cook Dante’s in Reunion

[Editor's Note: The below live "review" is most likely addled with hyperbole due to the author's unbridled passion for the subject of said "review."]

It’s probably a good thing I had been looking forward to last Friday’s reunion performance for country-punk rock pillagers I Can Lick Any Sonofabitch in the House for nearly three months. Countless hours were spent listening to their 2006 live album, Live at Dante’s - with its impending trail of dirty allegory and largely armchair-leftist musings vocalized up front by singer/guitarist Mike D’s greeting “How the fuck y’all doin’ tonight?” The palpable measures of excitement were all in place. The bar would be open. The band would be there. The instruments and PA would work, and they would use them to parlay their ruckus.

What I forgot was how goddamn popular this band is.

Before they were even a glimmer in the collective booze-soaked macula of the audience at Dante's March 5th, SOB had already commanded a fever-pitch of some parts nostalgia, some parts anticipation, some parts anxiety. Would they be as good as they were? Of course they would be. It’s not as if the band had severed ties with society altogether, punishing their instruments into isolated time-outs in the corners of their basement. But there were a shit-ton of people there to find out first hand anyway.

Mike D has performed consistently in varying incarnations (solo as Michael Dean Damron, as well as with Mike D and Thee Loyal Bastards), all beginning and ending with his no-holds-barred lyricism and Southern-speckled, neat Jack Daniels gruff. Throw in the energy and obvious onstage camaraderie of guitarist Handsome Jon, bassist Mole Harris, drummer Flapjack Texas, and harmonica-genie David Lipkind, and the evening’s dense brood of patrons was only more understandable.

Coincidentally, the band kicked the evening off with the opener from Live, “Gone,” a rock ‘n’ rollin’ blues revue that showcases pretty much all the facets of SOB’s arsenal, including D’s willingness to cross the threshold into outright pissiness (a blurry, shaky, feedback-bedecked video is available here of the first moments of the show...eerily the amateurishness of the footage sums up the ambiance of the show better than were it stationed center-back and filtered through the sound board). “Westboro Baptist Church” resonated just as angrily as it did on 2004’s Menace with a spirited sing-along and plenty of raised fists…which translated into lots of spilt beer.

Lots of things happen at live shows; and it’s rarely interesting to read the details of them – that frail marrow of fact, set list, vibe, smell. In testament to that, I stopped taking notes at a certain point, and decided to hash out what it was that people wanted to see so badly, in such numbers, on this night.

I think it had nothing to do with which songs they would play; whether or not the convergence of bull-riding dive bar owners, rockabilly-slick Dry County Crooks fans, and Joan Jett retro-lite revivalists on hand to see Kleveland would get along; or even whether Handsome Jon would use a Budweiser bottle as a slide (he did). I think people wanted to remind themselves that the things that make you happy, once absent, are not gone forever.

The proof was right in front of us, if only for one night.

- Ryan J. Prado


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