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New Music Video: "Indifferent Belushi" - Steady Hands

With all the rain earlier this week and though not all the races yesterday turned out the way we wanted (much love to Beto O'Rourke & Andrew Gillum), we are very happy that the sun is out, and the brakes have been put on this Trump administration trainwreck. Last night was bittersweet, but we're feeling a bit more positive today so we thought Steady Hands' new video for "Indifferent Belushi" might put an added bounce in all our steps this morning. Our apologies to those who are at work or in class and might be feeling some FOMO watching this video. We give you permission to get up, walk out, and enjoy the rest of your day.





Veda Rays push indie forward on "For The Rest To Rest," play The Footlight 11.17

A consistent New York sound pervades the entirety of For The Rest To Rest, the newest release by Brooklyn trio Veda Rays; it’s one that reads like a sly nod to records like Room On Fire and Antics and a continuation of the very same raucous hellraising indie that characterizes the Big Apple’s sonic aesthetic. That isn’t to say that Veda Rays don’t have some tricks of their own up their sleeves - Rest’s eleven songs provide a fresh take on driving, guitar-based post-new wave through fuzzed-out production and subtle synth parts, bringing an additional depth to their tracks that fills the entire record with a sound that’s simultaneously dark and dreamy. In doing so, Veda Rays solidify themselves as expert purveyors of indie, pushing NYC’s sound in a direction that develops the city's sonic traditions while quoting them.

You can catch Veda Rays at The Footlight on November 17th alongside Little Hustle, Gracie Mansion and Le Guin. Until then, stream For The Rest To Rest below. -Connor Beckett McInerney (@b_ck_tt), Photo by Lydia Gammill





Sister Sparrow plays Femme Fetale in her new video for "Ghost"

Sister Sparrow embodies a new type of femme fatale in her new video “Ghost” - not one of a last century Bond girl, but of a 21st century woman who knows her worth, and better yet, the tools at her disposal.

Sparrow sings over the track’s chorus that she’s “gonna give you the ghost,” referring to the act of severing communication entirely with a (now former) romantic partner; this ear worm refrain is further accented in the music video by an entourage of choreographed dancers clad in black, body rolling at the costume party while the aforementioned scorned lover searches the room for Sister Sparrow as she evades him through the crowd. As the scene concludes, Sparrow’s ex-bae turns around to find the party has disappeared entirely, transitioning the subject matter from figurative to literal in a Gone Girl-by-way-of-Sixth Sense twist - fittingly spooky for the video’s release on Halloween earlier this week.

The whole production is a fun, wordplay-laden track that juxtaposes themes of modern dating with the idea of actual spirits, accented by the track’s upbeat style and playful instrumental accents. If you’re already missing last week’s scary energy, “Ghost” provides an avenue to extend the autumnal spooks as you dance your way into November. Watch the video below, and catch Sister Sparrow at Irving Plaza December 1st. -Connor Beckett McInerney (@b_ck_tt)





New Them Jones Album Available for Streaming & Purchase

Psych-rockers Them Jones recently shared a sweet, new album. Transient occupies a hallucinatory, nomadic space - one that cruises within hypnotic harmonies and around heavier peripheral edges toward the ether. Exploring experiential uncertainty through a cosmic lens, one feels at home in the vessel, yet remains held in suspense over what will be discovered. Sit back, but stay alert, because you never know how things may alter.





The Deli Philly’s November Record of the Month: Maybe I'll Feel Better When I'm Dead - The Vernes

Maybe I’ll Feel Better When I’m Dead, the sophomore LP from The Vernes, is the band’s first official studio album, which was produced by Joe Michelini (American Trappist, ex-River City Extension) at Berlin Studios. Building off the skillful songwriting and lyricism, found on the project’s self-titled debut full-length (on which frontman Matthew Gragg also wrote and played all the instruments himself), this is the quartet’s first collaborative effort that features Fabian Mera (lead guitar), and Cole Berggren (bass), and Pat Degan (drums).

Its opening/title track is an ideal representation of Gragg’s songwriting style, as he tends to tackle shadowy themes amid the backdrop of rather upbeat instrumentation. That dichotomy finds a lovely balance between sadness and hope, making the deeply personal and introspective tales feel universal, while taking on struggles and thoughts that we all most likely have conjured up, at one point, in our minds. The themes of maturing and not exactly knowing where one belongs are reoccurring ones throughout the record. “Maybe I’ll Feel Better When I’m Dead” is followed by “1994,” the first song that was actually written for the LP. Inspired by a visit from his brother, while Gragg was living in San Francisco, and the positive changes that he had noticed in him during their time together at Big Sur, the guitars find a sweet spot between its textured layers and fiery conclusion that ultimately makes for the heaviest rocker on the album.

“Zurich 1953” is an acoustic instrumental that’s a fitting prelude to “Untitled, No. 2”. The songs seem to easily flow together on the album. “Some say that you’re the chosen one/But I don’t look at you that way/Say that you’re the only one/I’m sort of hoping that you go away” – that “chosen one” reference finds its way later on among the crunchy guitars of “Bug(s)”; however, “you are not the chosen one and I am not the chosen one” is realized, casting a melancholy that seems to blanket the entire collection. An ominous rumble introduces “Everything Goes Away,” before hearing the nostalgically poignant verse – “In this city that I call my home/Well they’re cutting down trees and they’re building new roads/And they name all the streets after all of the trees that they cut down to build all the roads that we see.” Change seems inevitable, though our protagonist refuses to give into it.

Closing out the album is “Tired Shoes,” with what sounds like a ballad being played on a lonely player piano to a melody reminiscent of “Auld Lang Syne”. Like the New Year’s classic (and the record's title track), there is a hint of sadness and hopefulness for the end. With that existential struggle rearing its head throughout the LP, we can only hope to be “proud of the roads that we choose.” The Vernes definitely have the right to be proud of the choices that they’ve made on their latest release. (Photo by Bob Sweeney) – H.M. Kauffman

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