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February 2015
The Harmaleighs
""Pretty Picture, Dirty Brush"

College pals  Haley Grant and  Kaylee Jasperson bonded over shared musical tastes as students at Belmont University, . They were both also familiar with the hardships possessing the voices of angels; it was inevitable that a musical project would come of the union. The Harmaleighs formed in 2013, and the two proceeded to develop their sound, learning how to filter their shared experiences through an Americana sieve, until every heartbreak and setback sounded as though it occurred decades ago somewhere in the Appalachians.

The Harmaleigh's debut album, "Pretty Picture, Dirty Brush" will be released February 3rd. It covers the gauntlet of relationships that a young adult can encounter: partners, friends, hometowns. It also showcases the pair as the crackerjack musicians that they are. The same razor-sharp tightness that makes bluegrass so satisfying to hear is present in the entire album. Everything rings out as clear as a bell, and nothing is overdone or unnecessary. The girls have a healthy respect for the traditional, and can whip out a down-home rhythm as easily as a teenaged missive on heartbreak.  

Speaking of teenaged missives, a delicate balance is at work here. There are moments that the pair hit Watson Twin-levels of harmonies (like the ghostly intro of opening track "Hesitate") and there are times they turn right around with something more juvenille like "Got fired for dropping a glass of wine/ screw it I'm running out of time," in their recent single, "I Keep Ticking On." There's alot that can go wrong: their music acoustic guitar driven, with some lap steel and banjo thrown in, and they have a propensity to break into foot-stomping jags that recall the receding arena-folk wave. But it doesn’t matter. They’re so good, by grace of their conviction and clarity, that I’d probably be sucking this album down and singing along even if I were a 50-year-old truck driver.

That's the appeal of "Pretty Picture..." The album concentrates being young and new into something potent and delivers it with a little bit of sass; that's a combination capable of crossing quite a few boundaries. It's the emotional equivalent of four seasons of summer camp, thirty friendship bracelets, or ten viewings of "Milo and Otis." This album is bound to strike a chord within the most jaded of bastards. Keep up with The Harmaleighs at their website www.theharmaleighs.com

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


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Debut Ecstatic Vision Album Available for Streaming

Ecstatic Vision take us on a journey through the farthest reaches of space and time with their debut album Sonic Praise. With searing guitar shreds that are ready to burn all to the ground in their path, Relapse Records has another Philly gem on its hands. Sonic Praise is set to drop on June 29, and the group will welcome its coming this Friday, June 26 at Johnny Brenda's with heavy-psych brethren Creepoid, who will also be celebrating their new LP Cemetery Highrise Slum.


New Air is Human EP Available for Streaming & Purchase

Just in time, the duo of Jeff Lucci and Josh Aptner, a.k.a. Air is Human, has released its new EP Solstice 1. It doesn’t take long to hear how the pairing traverses an elaborate, forward-thrusting psychedelic sonic landscape with an attention to theme and transition that’ll take a strong hold. Catch them this Saturday at Bourbon & Branch as part of a lineup that also includes Sexoffice, Navigator and Author.


New Video: Tiny Desk Concerts - Hop Along

Hop Along strips things down a bit for NPR's Tiny Desk Concerts, which you can watch below. The intimate setting provided a stage for Frances Quinlan's personal lyrics and achy yet powerful vocals to stand in the forefront. Their set consisted of "Horseshoe Crabs" and "Well-dressed" from the band's latest LP Painted Shut, as well as "Sister Cities," which was first recorded for the group's Shaking Through episode.


Record Review: Cemetery Highrise Slum - Creepoid

Local psych-grunge rockers Creepoid’s latest LP Cemetery Highrise Slum is immaculate. The follow-up to 2014’s self-titled album, which just dropped today, marks yet another monumental moment for the four-piece: their first release with Geoff Rickly’s Collect Records.
Opening with the somber “American Smile,” Cemetery Highrise Slum’s start is instantaneously lush. Equal parts dissonance and melody, “American Smile” is comprised of just as much emotional juxtaposition as its namesake might suggest. Crisp chords paired with buzzing riffs bleed effortlessly into Sean Miller’s affecting diction as the track’s lyricism emanates a sense of decayed longing that is difficult not to discern. Reminiscent of Sunny Day Real Estate’s grittiest portions of How It Feels to Be Something On, “American Smile” is delectably heavy and persistently transcendent up until the very end.
“Devil In The Subtext” wastes no time, captivating listeners with a percussive pulse and jarring backbeat. The swirling psychedelics of the album’s second track are nearly tangible, showcasing Creepoid’s meticulous orchestration and sparing use of reverb. The song exhibits itself as a well-deserving successor to grunge anthems like Sonic Youth’s “Sugar Kane.” The enjoyably emotive downer, “Fingernails,” unfolds as hauntingly moody, while “Seams” swells to life with deliberate phrasings and lingering harmonies.
The noisy start to “Dried Out” revives the best of ‘90s alt without feeling cliché. The lyricism of the song is wrought with harsh realism and pragmatism with confessional lines like “We’ve been living a lie” and urgent pleas like “Show me the real you,” crooned out with a similar desperation as Cobain’s “Heart-Shaped Box.” “Shaking” is dreamy, like a gloomy lullaby or bittersweet ballad. It is affirming, vulnerable, and earnest, an unapologetic declaration in its own rite, and “Calamine” is charmingly melancholic - synonymous to earlier tracks from Creepoid’s previous LP, like “Baptism.”
The trippy tempo of “Tell the Man” brings to mind similarly mesmerizing cuts like The Pixies’ “Gouge Away,” while presenting itself as a plausible narrative extension of The Velvet Underground’s iconic “I’m Waiting For the Man.” With “Worthless and Pure,” the band proves itself to be subtle yet raw, preparing listeners for Cemetery Highrise Slum’s conclusion that is marked by the suitably abrasive “Eating Dirt” and the otherworldly “Here,” which temporally paint a bleak yet memorable soundscape. 
Cemetery Highrise Slum is indicative of its creator’s genius. It, like all that came before, is a declaration of why all eyes and ears need to remain on Creepoid. - Dianca London Potts


Krust Toons: "Important Uses for Band Fund" by Teddy Hazard

Krust Toons: "Important Uses for Band Fund" by Teddy Hazard - please feel free to drop him a line at teddandthehazards@gmail.com if you dig or have any funny ideas. You can also check out more of his illustrations and animation shorts HERE.



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