FREE Eventm RSVP here! Info about Day One here!

For our upcoming Austin Pedal & Synth Expo Showcase, we are excited to get to feature the music of a couple of NYC locals. The electronic music Beshken makes is meditative and complex, weaving between digital and acoustic instruments with dreamlike results. His latest track, “Cursed”, picks its way between honey smooth synths and dissonant vocal effects, reflecting on the mental revolutions between sleep and insomnia. On the other end, while their lyrics too reflect on sleepless thoughts, the music of CLAVVS is rather lucid. The production on their most recent single “Devils I Know” places the vocals at the forefront of a hypnotic and unexpectedly baroque electronic backdrop. The Expo will be held on March 16th at the Chugging Monkey - listen to CLAVVS, Beshken and the other artists who will appear below. - Sunny Betz 

March 07, 2019
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Posture, the sophomore EP by Brooklyn's atmospheric synthpop duo Haulm, features an aged desert landscape contained within a thick white border. It’s a perfect fit for the brooding, dark, and spartan work laid down over the release’s five tracks; one can almost picture an unknown beast slouching from the sandy landscape against the dissonant keys of Reed Kackley, as JT Norton’s distant, almost fugue-state vocals weaves in and out. It’s an EP oozing with atmosphere that’s curated using relatively few musical elements, and speaks volumes to Haulm’s penchant for fine tuning sparse synths and the human voice into engaging, mysterious soundscapes.

You can catch Haulm at SXSW on March 12th and 15th - until then, stream Posture below. -Connor Beckett McInerney (@b_ck_tt)

February 27, 2019
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Punishing isn’t the first word you’d think to describe Soft Kill, an official SXSW artist, but the more their gothic barrages of post-punk and shoegaze pummel into you, the apter the label becomes. On Savior, the Portland-based outfit buries most of their synthesizers into a thundering vessel of fuzz and shadowy guitars. Like streetlights quickly appearing and vanishing again as you drive past them, moments of joy appear only to get smothered in a wave of rumbling toms and a peal of crashing cymbals. It’s a relentless hail of gloom and doom, something akin to The Cure without reveling in any of the performative aesthetics of goth music; Soft Kill is purely here for the raw ennui.

-By Tucker Pennington

 

February 25, 2019
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Hola, peoples into emerging music!

The winter issue of The Deli NYC (our 56th!) is now up on the cloud (HERE), featuring glitch-soul luminaries altopalo on its cover!

The issue also tackles the current shift of everything cool from Brooklyn to Queens, and - as usual - highlights many local bands we dig (and their favorite gear).

There's also a special about the NAMM show, which we will participate in with our own Stompbox Booth featuring tons of emerging pedal manufacturers!

Fresh Buzz and NYC Records of the Month sections are never skipped!

Look out for the print version, out at the end of the month.

The Folks at The Deli

January 19, 2019
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If there's a turn of phrase we kind of detest here at The Deli is "taking the scene by storm." It's one of those generic prefab sentences that ring insincere. But then again, sometimes, some bands do that - kind of rare, but it happens, right? And sometimes, on a hot day like today, being lazy is kind of inevitable. So... yes! Brooklyn's Bodega are taking the NYC scene by storm with their blend of post-punk and pop and their super-fun live shows. That, and their somewhat familiar name, are the main reasons why they are on the cover of the new, spring 2018 issue of The Deli! 

The issue, our 54th NYC one, is now up online and you can read it here.

It's an issue linked to the biggest event for musicians we've ever organized, which will host a Stompbox Exhibit, a Synth Expo and a Vintage Guitar Exchange in a Bushwick art gallery called Absurd Conclave - hope to see you there!

The Folks at The Deli NYC

June 08, 2018
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No surprise, SXSW 2018 was busy. With over 2000 acts from 63 countries performing this year, Austin was jam-packed with industry professionals and music fans all week. Downtown was a human ocean in the wee hours, the crowds were rowdy at venues like Dirty Dog and tamer at the Central Presbyterian Church. I waited in line for many of our favorite NYC artists at venues that were filled to capacity hours before they were meant to go on (I'm looking at you, Anna McClellan). Here's a short recap of my favorite performances from this year's SXSW. 

Beshken's Ben Shirken adeptly took us far away from the noise of 6th street and into an ethereal world of eclectic dance music with a nifty setup and bassist/guitarist Ian White at Burnside's Tavern on Wednesday. 

Jukebox the Ghost is currently based out of NYC recording their fifth album Off To The Races at Studio G in Brooklyn. The band put on a stunning show at the StubHub Stage on Wednesday night, playing old songs such as "Girl" and "Somebody," and also debuting "Fred Astaire" and "Everybody's Lonely," two singles from their upcoming record. Their final song of the night was a cover of Queen's "Bohemian Rhapsody" that had everyone, sober and not-so-sober, singing along every word.

Soccer Mommy played songs from her acclaimed new album Clean in a great set at Cheer Up Charlie's on Friday, followed later that night at the same venue by Brooklyn's Topaz Jones, whose soulful, crowd-pleasing performance had us laughing and dancing alike. "Has anyone seen Stranger Things?" he asked, introducing his 2016 song "Winona."

Finally, my absolute favorite performance of this year's SXSW was Kitten's at Mohawk Outdoor (pictured above). Originally from LA, the band recently moved to NYC and enrolled local musicians BITS (Blu and Rex Detiger) in the live lineup. Kitten's frontwoman Chloe Chaidez was a delight to watch: an unusual burst of energy and incredibly agile gymnast, all without missing a note or a beat. She finished out the night with a 20-foot jump (more or less) into the audience and then sitting down at the drum kit, completely nailing the rhythm section of the last song and taking us all by surprise. -Geena Kloeppel

March 20, 2018
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