Though Oli Endless and the Possibilities' mellow folk rock and Bows and Arrows' pretty indie rock are done well, Murfreesboro bands Turtle Bangs and Gold Sounds are the ones who brought the heat at The End last Thursday.

Second to go on, Turtle Bangs, composed of Greg Stephen and Casey Carter, proved themselves as a capable duo. The hardest part about being a two-man band is whether the stripped-down nature of music produced only by two instruments can be enough; whether a set of drums and a guitar will achieve a sound that is whole and powerful, or fall short into the category of elementary.

It can take time to "get" Turtle Bangs' music. At first it may just seem like noise, but perhaps the living rooms at the house shows - where the band so often plays - don't do their music justice.

If given a careful listen, one can find an unexpected finesse to Turtle Bangs. The sound is somewhere between the punk and the polished, and while some listeners have compared them to the Pixies, the scratchiness of Stephen's guitar is really more reminiscent of earlier White Stripes, and the creeping melodies of songs like "Wolf" could even be compared to Tom Waits (his weirder stuff).

Gold Sounds opened an entirely different book after Turtle Bangs, stirring the indie and alternative rock melting pot from the '90s onward, bringing to mind bands like Pavement, Band of Horses and The Broken West. The bad news about Gold Sounds is that everything the band is doing has been done before. The good news about Gold Sounds is that they have chosen some of the best of it to replicate and morph into something of their own - plus they know how to write a memorable tune; there isn't a forgettable melody - especially in "The Slumberist" - on the album they have yet to release.

As a fairly new band, Gold Sounds have created a name for themselves playing Murfreesboro house shows, often with Turtle Bangs. And if they can fill a small house, they can most likely start filling Nashville venues. - Jessica Pace

Day 2 was the day of honing navigation skills. The Baeblemusic.com Party at the Scoot Inn lined up promising acts that alternated between indoor and outdoor stages. A park-style area was decorated with paper lanterns and framed by two bars and a food cart, and listeners relaxed on tree stumps and patches of grass. Seabear, a sextet from Iceland, melded strings and acoustic guitars into a pleasant and exotic folk rock. Inside, Washington DC’s These United States upped the energy with a Southern rock lilt and grimy Gospel flavor, and back in the sunshine, Australia’s Dappled Cities played avant guarde electro-pop. Off the main drag at the 21st Street Co-Op, a “clothing optional” shindig hosted Austin natives, MoTeL Aviv (pic below), in an abstractly painted dorm common room. I found the city’s friendliest taxi-driver en route to Hyde Park Bar and Grill (South) for The Deli’s second sponsored show, and completed my night with some 6th Street sight-seeing.

The Deli Magazine and CitizenMusic joined forces to educate Austin on some of the best artists from New York at Hyde Park Bar and Grill (South). A spacious restaurant and bar, home to the best French fries around, opened into a patio where a tent housed the live music for the evening. A SXSW suppertime party, the “NYC in ATX Showcase” entertained a group of all-aged diners, families, and rock ‘n rollers with five Big Apple acts, including Blackbells (picture below), New Madrid, The Shake, Deadbeat Darling, and Black Taxi. Blackbells offered guests free EP’s and a superb set after traveling thirty hours straight to Texas. The fiery New Madrid pushed forward with outstanding vivacity, and The Shake’s second evening at Hyde Park resulted in enthusiastic feedback and a new population of fans. The wind picked up and carried Deadbeat Darling’s blissful and stirring reggae-rock throughout venue, and Black Taxi almost blew a fuse with their high-powered instrumentation and charisma. Mission “Rock Austin” accomplished. - Meijin Bruttomesso

The best thing about going to a 3rd and Lindsley show is seeing the people who aren't there to watch the scheduled artists, so you can imagine how the sorority girls and country music fans reacted when they sat through Kendall Morgan and Bitch (formerly known as Bitch & Animal) on Monday night.

Kendall Morgan started things off with an acoustic set of melody-driven indie pop. If anyone was fortunate enough to witness a cat fight between Leigh Nash, Eisley and Karen O., their combined voices would probably produce something similar to Kendall's And anyone who would enjoy witnessing that fight is probably the kind of person who would enjoy a Lilith Fair concert, which is what Kendall's music tends to remind us of. Her songs had Alanis Morissette's melodies, Beth Orton's chords, the smooth vibe of The Cranberries and a little bit of KT Tunstall's folksyness. Some choice songs included "Gone Away," "Numb" and "Theif," whose lyrics made us take a hard look at ourselves and the state of our world.

It wasn't too tough to take a look at what happened next, though, because we got to feast our eyes on Bitch and her New York entourage. Girl duo, The State Of, gave us some straight up pretty indie pop/rock with super tight harmonies. Next, we watched a short video by Billie and the Violent Kids, providing us with a quick glimpse into Billie's mind and some erratic footage of skateboarding, football and other ... things ... all set to some electro-trancey tunes produced by Bitch, (silliness provided by Billie).

Things came to a close when Bitch sashayed on stage wearing her prom dress - a black cloak with a stout golden collar - wielding an electric violin. Backed by The State Of, she performed a variety of songs from her new album Blasted, and other old favs, some of which were in her speak-singing manner - (think pervy Ani Difranco at her snarkiest in the interest of efficiency) - but all of which were dedicated to Jesus Christ. God bless Bitch for singing songs like "My Clit Is A Bitch," "Kitchen," "Indian Blood" and this one chant about crystal meth. Despite the tomfoolery that encompassed her set, it was hard to shrug off the sneaking suspicion that Bitch is waaaay smarter than the rest of us, and for that, I bestow a personal blessing upon her.

Monday night was certainly a gay old time, (no pun intended), so dare to dream, and go check out all of these artists. True gems. - Erin Manning

The first day of SXSW is like the first day of school; you’re excited, nervous, and seemingly prepared. Unlike school, however, SXSW is never boring. After my first ever flight through Detroit and an early morning dash to registration at the Austin Convention Center, I scampered off to Rusty Spurs for Deli sponsored Music Tech Mash Up party, where line-up improvements kept me corralled. The event spanned two days and squeezed in fifty bands at Rusty Spurs, a tri-room gay saloon (how cool is that?) decorated with cowboy boots and Texas trinkets. The Mash Up party celebrated the collaboration of various industries, music, merchandise, and new media technology. Upon arrival, sound spewed from every corner of the venue as bands performed on the main indoor stage, in the lounge, and on the outdoor patio. Mid-day, the barbeque was fired up to feed South by South West goers with free burgers and chicken while they enjoyed the second day of the extravaganza’s hefty line-up. Some of the early-morning performers included LA-based, disco-influenced pop-rockers, Foster the People, dancey R'n'B from Toronto, Curtis Santiago, and Las Vegas’s new-wave, electro-pop, Imagine Dragons. Pleasant surprises added at the last minute, such as Brooklyn’s Black Taxi, and Washington D.C.’s alternarockers, Hotspur, caught the ears of those passing by and reaffirmed excitement for SXSW.

Following a quick Tex-Mex bite and nearly sun-burning in a line for the Paste Magazine Party at The Galaxy Room, I witnessed the last of the Suckers’ (top pic) set and the first part of rock-meets-singer/songwriter Austinites, Roky Erickson with Okkervil river (bottom pic). The day pushed on as I went off the beaten path to Hyde Park Bar and Grill(South) where The Whiskey Rebellion’s evening of music and literature featured NYC’s The Shake who enlivened the venue’s calm St. Patrick’s Day. Due to overcapacity venues back on 6th Street, my night was curtailed. Tomorrow would be a new day with much music to hear. - Meijin Bruttomesso

The Grayces' vinyl release show on Saturday night at The End proved to be one of the stranger nights we've witnessed. First, there was an inspiring performance by The Mattoid, who treated us to some sensible, nonsensical rock, one straight-faced, faux-Communist monologue, and several melodramatic ramblings by the lead singer/Pavarotti-lookalike, Villa Kiviniemi (of Finland). After he managed to get everyone in the room to listen to his dream about wishing that there were "a crack whore in heaven who can sell [him] pussy and crack," it was time to sing along to the infamous "Party Time."

Burlesque dancer, The Violet Vixxen sidled onstage for a short, sultry striptease, and then it was time for the moment that everyone had been waiting for.

The Grayces rocked everyone's faces off, (not surprisingly), grinding their way through ten energetically raw wailers, and one persnickety encore. They played their usual crowd pleasers with additional flare; we were certain that "Yep's" yodels were  shriller, "Opposite Day's" screams were lengthened, and the extra smarminess of "Needer" left the crowd lusting after lead singer Murielle Rae, and needing to hear more.

Naturally we had to get a copy of their record, whose A and B sides consist of all three of those songs. Jackpot! There were also some tunes we hadn't heard before, including the cheeky encore, whose hook consisted of lots of "la la la's," which Miss Murielle smirked through the entire time.

The Grayces truly packed the pizzazz into their performance, and after seeing more of their brilliance through a longer set list, we look forward to listening to their record, and seeing what they will do in the future. It's fairly obvious they are going to do something.

As the night came to a close, Hans Condor flew by us with such vigor, and kicked our asses so hard that we didn't have time to think about when the last time was that we saw them play. Their lineup was different, although everyone still seemed to enjoy the Detroit garage rock, and Charles' mass of hair. He and his guitar barreled off of the stage into welcoming arms during one particularly wild number - couldn't understand the words enough to guess at a song title - with just the kick drum blasting away and the distortion from his guitar seemingly propelling him along as he whirled and twirled through a solo in the middle of the crowd. Catch them playing at Foobar March 20th.

Also make a point to see the Grayces at Springwater on April 17th and the Mattoid at Little Hamilton on March 19th. 

After seeing the sights and hearing the tasty treats at The End on Saturday night, everyone can say they went to bed with "just desserts." - Erin Manning

Hey discerning eared people,

The Deli this year will sponsor two parties during SXSW:

MUSIC-TECH MASHUP PARTY!

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.

MORE INFO HERE!

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!

MORE INFO HERE

Tuesday night at the Rutledge served to transport audience members into a folk oblivion, as they listened to three memorable performances by young local artists Cruz Contreras, Angel Snow and Megan McCormick.

Cruz started the night off with a few rowdy numbers that drew from old-school country - (hot) - creating the perfect environment for Angel Snow to take the stage and smooth things out. Her velvety voice drew characteristics from the likes of folk music's most soothing songbirds, i.e. Emmylou Harris, Patty Griffin and Shawn Colvin (Snow's voice is more than appropriate for her name).

Her songs evocatively portrayed heartbreak in its many forms, using a surprisingly raw and organic sound - even for folk. One song in particular, "Let Me Go Tonight," sounded like Mary Timony's relaxing "In The Grass," proving to be a nice transition into the many pleasantries of Megan McCormick.

McCormick seemed to have slightly changed her sound over the past several months. At times, she has played the expected songs of a female, folk singer-songwriter, but at other times she has played straight up folk-rock. Tuesday's performance, however, featured pop- and jazz-infused folk numbers, reminding audience members more of Shelby Lynne than Grace Potter. Of course, with the way she shredded on her electric guitar (while somehow managing to effortlessly create an ambience that is rarely created by a lead singer during a performance), there were still hints of Bonnie Raitt and the old Megan McCormick we all know. And, of course, she played some of her popular ballads that never fail to make people shut the hell up and listen - or cry - including "Wasted" and the wistful "Driveway."

Both Megan and Angel Snow willb e on tour for the next several months, but until you have a chance to catch them perform live, check out their Myspaces, and also be sure to vote for The Deli's Artist of the Month Poll. (Both McCormick and Snow are in the running right now). - Erin Manning

Paper Not Plastic - common grocery store phrase and quirky moniker for a Murfreesboro band which has just released its debut album, Road to Lethologica. Recently the five members spent a few sessions recording in MTSU Studios to produce a six-song compilation that combines the sweet and innocent with the slightly bizarre.

Everyone remembers Modest Mouse's 1997 sophomore album The Lonesome Crowded West, right? Lethologica opens with a bang with "Human Nature," a sunny melody whose danceable percussive rhythm and simple, playful guitar parts bear a strong resemblance to Crowded West as well as the Killers' earlier endeavors. The second track, "Unfixable," contrasts with an angry riff coupled with popping bass, but upbeat melodies persist throuhgout, even when the pace slows, as demonstrated in the lazy jam "Construction Failure." It meanders for five minutes with a steady drum snap amidst front man Jessey Clark's boyish vocals proclaiming, "I'm a wrecking ball/can't keep me together/don't push me too hard/or you'll break the concrete keeping us together." In spite of a youthful sound, Lethologica demonstrates a lyrical maturity; even if the similies and metaphors sometimes border on smug, the band is refreshingly capable of exploring subjects other than relationships.

In "The Café Song," cello  and acoustic guitar are introduced into the mix in a proclamation-of-love-outside-the-window sort of ode, ending the album on a softer note that still manages not to divert drastically from the other five tracks. Paper Not Plastic knows how to line up its tracks - the band has done so with precision, in a manner that flows, and the production is polished. As opposed to the first-come-gigs, then-come-albums approach, the band has been relatively scarce in area venues, only recently beginning to book more gigs around Murfreesboro. But judging from the ever-present dancing crowd up front, it can be said that Paper Not Plastic puts on a solid performance at Murfreesboro house shows. There is nothing threatening or dangerous about the sound; it's all familiar. But Paper Not Plastic's appeal is not meant to b e an avant-garde or exotic one. Rather, the charisma comes from a whimsical and optimistic energy in the band's live shows that transcends the recording. - Jessica Pace

Down the Rabbit Hole:

Last Saturday night (the 27th) I had a little rendezvous with a March hare. In honor of Tim Burton's upcoming film, "Alice In Wonderland: The Party" invited all to escape through an alternative dimension where music and mirrors made it a tea party to remember 2010 by. 

Definitely not late for this very important date, I still found myself pushing my way into a mid-sized room where Nashville band Vermicious K'nids tipped their hats to the magical night. Their vibe was Costello-esque, setting the tone especially with a cover of Elvis's "Pump It Up." An enthusiastic listener told me, a bit later, that the band had made a delicious soup of "creative synth parts, cool harmonies, awesome drumming and tight rhythms." But most importantly, their set was just "really fucking awesome."

DJ Ocuban followed the K'nids with ease. I've seen a lot of DJs in Nashville, but never have I sensed that a DJ loved his dancers more than Ocuban. He mixed instrumental beats resurrected circa 1992. He gently roped everyone in, melting together a unified body of movers and casually muttering, "Have one on me," to the whole room. Friends and strangers crowded around him like New York tourists in a street drum circle, disappointed to hear his pad controller go to bed for the night.

Between sets, party people were not left without entertainment. What's a party without pics? Local photographers of Q Avenue Photography (couple Brad Butcher and Jennifer Eden) snapped shots (such as the above picture) the entire night, while two Mad Hatters served mixed chai and peppermint drinks. 

Local DJ Fan Fiction brought the night to its prime. Know him? He has probably played in your basement. Maybe you've seen him alongside other DJs at Nashville's mainstay dance parties. He's popular for mixing pretty tracks the hipsters love and making them irresistibly danceable. My favorite from the night was Beach Boys meets Marky Mark in "Good Vibrations." Fan Fiction always serves it up right, never playing the same set twice. He flows with the vibe of the crowd; and, as you know, no two crowds vibe quite the same way. This party was definitely a variety show, allowing FF to mix just about any Animal Collective or 80s track he wanted. Turning an empty living room into a zesty wonderland of pop, Fan Fiction, as usual, left everybody spinning.

Well, there ain't no party like a Nashville party, and this house-made Wonderland was proof enough. House party throwers around the city assure us that they're going nowhere fast.

Thanks to Kaitlyn Grom, Kit Canlas, Mikayla Lewis and Laura Beam for making this a night not to forget. - Sarah Marie

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Sunday night at The 5 Spot should have been titled "Night of the Female-Fronted 3-Piece Bands," rather than the Six Gun Lullaby Farewell Show, accompanied by Thelma & The Sleaze and New York band Tigerpiss. The evening was special for a variety of reasons, including, but not limited to, the following:

Grunge girls Thelma & The Sleaze - (formerly known as The Trampskirts) - opened up the evening with a skuzzy set of rock tunes, entertaining the crowd with lead singer/guitarist/Taco Party owner Lauren Gilbert's bikini-clad body and bluesy Janis Joplin groans. (They were, might we add, officially voted as Nashville Deli's Artist of the Month once the clock struck twelve).

New Paltz, NY band Tigerpiss graced us with their clever crassness on their fourth visit to Nashville. In between whiskey shots chased with gin and tonics, lead singer/bassist Lara Hope took everyone on a trip to "Vaginatown," animatedly hollering weird punk/rock songs about partying, good sex, bad sex and ... well, vaginas! (Audience favorite). The Tigerpiss sound was like old No Doubt meets Velvet Revolver (except actually good). They also had an odd sense of humor. They're currently on tour promoting their most recent EP "Shake It, Don't Fake It."

Six Gun Lullaby closed the night out with their most enjoyable performance as of yet. The wistful chords and melodies blared by lead singer/guitarist Claire Adams and guitarist/vocalist Martin Schneider seeped into one another, creating a wall of sound that made you want to melt your face off, and maybe cry a little at the same time. The most obvious comparison to Six Gun would be Sleater Kinney, but their newer songs - some of which were almost heart wrenching - were surprisingly reminiscent of the Yeah Yeah Yeah's and Weezer, even. The genuine emotion that was devoted to the music by the trio members was evident in their playing and their stage dynamic. This might have been because it was their last show together as Six Gun Lullaby. Regardless, their stage performance was intensely inspiring. Claire's vocals were passionately screeched, sometimes mumbled, other times uttered so convincingly that it made us wonder if she was going to have a breakdown right there on stage. The girl is a poet, and her insightful lyrics showed it. (And everybody knowed it). The close relationship between Martin, Tiffany and Claire was enviable, and made witnessing their final performance truly brilliant. While the band stated that there is a possibility of working together again in the future, they will be sorely missed until then, and we will anticipate their reappearance. - Erin Manning