LA issue - The Deli Magazine

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tasty tunes from the city of angels
baths
Best of L.A.
2011 Emerging Artists
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Issue #8 Volume #3
Winter 2011
www.thedelimagazine.com/la
the mighty regis Queen Caveat dylan trees
The Hunting Accident michael runion Grouplove
Pepper Rabbit cannoneers superhumanoids
the filthy violets Patrick Joseph White Fence
tara priya Incan Abraham Red Circle Underground
when music is your
LIFE
COnFIRMEd PanELISTS InCLudE:
APRIL 28-30, 2011
• LOS ANGELES, CA
Special “I Create Music”
Interview with
LIndSEy
BuCkInghaM
Ryan Tedder
desmond Child
Lukasz “dr Luke”
gottwald
Kelly Price
Rufus Wainwright
Jermaine dupri
(OneRepublic)
antonina armato
Shawn Barron
Marco Beltrami
amanda Berman
Jennifer Blakeman
Boi-1da
Claudia Brant
darrell Brown
Wes Craven
Rodney Crowell
dJ Frank E
Mike Elizondo
Melanie Fiona
Jay Frank
Inara george
(The Bird and The Bee)
Ben glover
ashley gorley
Fransisca hall
keith harris
angie hart
ariel hyatt
Scott Jacoby
Justin kalifowitz
Vernon Reid (Living Colour)
John Rzeznik (goo goo dolls)
kevin Rudolf
gabe Saporta (Cobra Starship)
alex Shapiro
Ryan Shore
Tommy Sims
(The Bird and The Bee)
Jonathan Singleton
Teresa LaBarbera Whites Chris Stapleton
Lindsey Lanier
Tom Sturges
Brian Lapin
The Legendary Traxster
andrea Martin
Stephen Trask
Tracy Mcknight
Mike Viola
Marcus Miller
Eric Whitacre
Fred Mollin
Paul Williams
nicole Morier
dan Wilson (Semisonic)
Ralph Murphy
Bernie Worrell (Parliament/
needlz
Funkadelic & Talking heads)
Joey newman
Peter yanowitz
no I.d.
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Rick nowels
Van dyke Parks
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the deli
Best of L.A.
2011 Emerging Artists
tasty tunes from the city of angels
On The www.thedelimagazine.com/la
Web The Deli Has It First!
interviews with LA bands
LA issue #8 volume #3 winter 2011
Note from the Editor
Dear reader,
Our first issue of 2011 is very obviously dedicated to our 2010 Emerging
Artist Poll. The poll itself was rigorously designed to weigh the opinion
of local press and tastemakers, Deli editors in other cities, and you, the
dedicated reader. There are a number of artists who’ve toiled under
the radar only to gain a level of popularity like our poll winner Baths,
and then there are acts like the Filthy Violets or Foster The People who
formed this year and struck a nerve with their audiences. The Deli’s
track record has been good so far: 2008 winners The Henry Clay People
are playing Cochella this year while 2009’s winners Local Natives
recently performed a high profile show at the Disney Concert Hall.
And while our poll highlights some amazing LA acts, its exclusion of the
hundreds of other eligible bands in our city doesn’t speak down to their
talents, nor should it discourage their efforts to grow a kick ass career.
2010 birthed a number of new acts while some from 2009 died out; the
excitement of hitting the ground running for these bands can lead to
early burn out. Even if some bands never reach the goal of a posh record deal and full time touring schedule, I’m sure our readers will agree
when I say thank you for making our Friday nights much more fun.
2011 is already proving to be a great year for our city too. Boston
transplants Black Kettle are gaining an audience with their infectious
brand of indie pop. Former bassist of Finch, Daniel Wonacott, has
started a new, startling mellow group Arctic Circles as well. You’ll
find both their albums reviewed in this issue. The Deli will continue to
provide tasty tunes from the City of Angels!
Angelo Lorenzo
Editor In Chief
Editor In Chief: Angelo Lorenzo
Assistant Editor: Jenna Putnam
Art Director: Kaz Yabe (www.kazyabe.com)
Cover Photo: Hanna Dryland Shapiro
Photo Assistant: Rebecca Cesa
Staff Writers: Karla Hernández, Kimberly Brown, Taylor Lampela,
W
hile you’re sitting down,
sipping your coffee and
reading this magazine,
were you aware of the fun we’re
having on our website? Like any
other music publication worth
its salt, we’re talking about
buzz worthy bands, but have
you stopped by to check out
the exclusive music videos and
downloads we have? This year
poll participants Queen Caveat
premiered their devilishly rocking video for “What Built Me”, Caught a Ghost premiered the
animated “Time Go”, and Phlying Saucer posted up their video
and download for their cover of Katy Perry’s “Firework”.
You can check out what you’ve missed at:
http://la.thedelimagazine.com/2011/queen-caveat
http://la.thedelimagazine.com/2011/caught-ghost
http://la.thedelimagazine.com/2011/phlying-saucer
Hey, now LA bands can promote
their live shows directly on The Deli’s
homepage — IT’S FREE!!
Try it out: http://la.thedelimagazine.com
(on right hand side column)
Kris Gruen
Hugo Gomez, Margarita Castellanos
Interns: Margarita Castellanos
Publisher: Deli Publications, Brooklyn / Mother West, NYC
Founder: Charles Newman
Part of It All
Advertising & General Inquiries:
Paolo De Gregorio (paolo@thedelimagazine.com)
Mail CDs For Review To:
The Deli Magazine LA
c/o Angelo Lorenzo
P.O. Box 928
Simi Valley, CA 93062
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“Tranquil Vermont singer-songwriter with
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www.krisgruen.com
the deli LA_5
Best of L.A.
Best of L.A.
2011 Emerging Artists
Winner
2011
Baths
Emerging
Artists Pol
l
www.myspace.com/bathsmusic
What it is: Ambient electronica with a glitch beat
that will shake you to the core.
RIYL: Daedalus, Dntel, Bus Driver, Flying Lotus.
A Whisper and A Clamor
By Angelo Lorenzo / Photo by Hanna Dryland Shapiro
T
he Deli Los Angeles is proud to congratulate Will Wiesenfeld, as 2010’s best emerging
artist. In winter of 2009, he recorded what would become his debut album as the newly
christened Baths, a collection of tracks called “Cerulean”. We’ve been with him along the
way, reviewing his album in the spring and grabbing an interview in our last issue with him. While
we knew his deeply layered melodies, haunting vocals, and slices of hard hitting percussion
were amazing from the start, critics, tastemakers, and readers eagerly agreed with us. Catching
Will before he prepared for a European tour, he scratched a few itches we had.
You spent 6 years writing music under the
name of Post-Foetus, was there any musical
shift or life change that brought about the
change of moniker?
It might’ve been that I wanted to make a
beat-oriented album, but mainly I think I just
needed a name change. ‘Baths’ is a much
more functional, simple thing.
How did you discover electronic music?
What were some of the tools you were
using then and use now?
Björk was the catalyst for every discovery
I made about electronic music, especially
through her producers and collaborators. I’m
still using a laptop with Digital Performer, but
Ableton Live has been taking a front seat lately.
You have another project, Geotic, which
you’ve been releasing a lot of music
through that is rooted in the use of guitars,
pianos, etc. When you’re writing, how do
you know a melody is right for one project
or the other? How do you balance your
creative energy between the two?
I go into the writing process and think beforehand whether the song is a Geotic song
or a Baths song. The differentiation happens
before anything. They require a very different
amount of effort; Geotic being a much more
laid-back and casual affair than the Baths
stuff. I don’t think I’m super conscious of
having to balance the two though, they just
happen when they happen.
As we speak, you’re currently on tour and
about to transition to the European leg.
Electronica, ambient, glitch, etc. seems to
have a wider fan base in Europe than in the
US. Collectively, what’s your opinion on the
difference in attitude?
There isn’t any!! Crowds are just as receptive
anywhere in the world, as long as your show
remains as good.
You’ve gone back and remixed some
Geotic tracks as Baths. What spured you to
revisit those?
Not sure? Just thought it would be fun.
the deli LA_6 winter 2011
You’ll be a supporting act for most of
your European dates. Do you ever find it
difficult to capture people’s attention in
that situation? With Baths as a project
being a little over a year old, is it nice to
see the development of the crowd when
you are the headliner?
You don’t think about it, you just play as well
as you can, and hope people take an interest.
But yes, crowds have been much more
exciting lately.
When Fact magazine approached you
to do a mix CD, there were a number of
Fact exclusive remixes. Were they done
specifically for the magazine? or were they
tracks you had prepared but had yet to
pick an outlet for?
I made every remix exclusive to the thing,
because I don’t particularly like doing mixes...
I wanted to do one that felt really special and
ride it out for a long time. I’m super happy
with how it came out.
So what can we expect for you in the
coming months?
I have a new 7” that just came out March 1st,
but a new full-length won’t be until 2012.
Baths
Cerulean
01. Apologetic Shoulder Blades
02. Lovely Bloodflow
03. Maximalist
04.
05. Animals
06. Rafting Starlit Everglades
07. Hall
08. You Are My Excuse to Travel
09. Rain Smell
10. Indoorsy
11. Plea
12. Departure
[songwriters]
Best of
L.A. 2011
#34
Best of
L.A. 2011
#42
Michael Runion
www.michaelrunion.com
Tara Priya
By Angelo Lorenzo
M
ichael Runion’s soothing folk pop is easy on the ears.
A weaver of the acoustic guitar and story-telling lyrics,
it’s no surprise that Runion also has worked with other
talented L.A. artists.
You’re an involved guy: playing with The Elevated, JJAMZ, and
your new project The Chances. How has working with so many
other artists influenced your recent solo material, or do you try
to seperate the two?
I think working with other is a huge influence, simply because
when I write with others I’m less precious about the work, less
uptight. So that’s allowed me to step away from my solo stuff, realize I can do whatever I want, that I don’t have to feel tethered to
any style or sound. But I definitely write in a different voice for each
project. I can tell when I start working on a song if it’s a solo work,
for JJAMZ, or potentially for someone else.
Speaking of your solo material, you’ve been posting some
acoustic songs on your website. What was your thinking behind
that decision and should we be expecting these songs to be
reworked for the album?
I just wanted to give away some songs, since my second record has
been such a long time coming. None of the songs I’ve given away will
be on the record. But who knows, maybe I’ll rework some of them and
put them on the next record. I’ve finally found a home for some of my
older songs with my new project The Chances. Nice to know some of
my creations won’t just fade into the ether. Well, that’s not true. We’ll
all fade into the ether, eventually, but for the time being, I’m glad the
songs that were buried have a chance to potentially be heard.
Best of
L.A. 2011
#15
Patrick
Joseph
www.patrickjosephmusic.com
By Jenna Putnam
www.tarapriya.com
By Angelo Lorenzo
S
ometimes it’s easy to write off female pop artists here in LA, especially when so many are preened to become the soulless zombie
fair that Radio Disney adores. I reserved judgment before I hit play
on Tara Priya and was pleasantly surprised that my eyes didn’t roll into the
back of my head and explode in one chaotic maneuver. What came out
was a slightly more demure version of Amy Winehouse (the rare, sober
one) who obviously pays homage to ’60s doo-wop, soul and jazz on tracks
like “Wounded” and “Expectations”. The track “Memories” breaks away a
bit, but only to sound like other indie songstress Ingrid Michaelson, before
slipping right back into an arrangement of horns.
Digging deeper into Priya’s background, it was surprising to see that after
gravitating towards jazz and opera at a young age, she was almost derailed into economics and finance during her college years. But all’s well,
using her day job in finance to fund what eventually became her self-titled
debut EP that came out just a hair in front of our poll in fall of 2010.
No slouch to touring, Priya cut her teeth in college in New York and came
out full force in support of her EP by jumping on to the CMJ festival. There
isn’t an end in sight for 2011, with Priya performing at NAMM and the
Canadian Music Fest as well as booking plenty of local dates. The only thing
this girl needs to round herself out with is a collaboration with Mark Ronson.
S
inger, songwriter, multi-instrumentalist, producer, and composer...
Patrick Joseph is what you could refer to as a talented fellow. With influences like Bob Dylan, Tom Waits, and Elliott Smith, there is no question as to what path he is going down. Originally from Pittsburg, Joseph’s
first release, “The Basement Tapes EP” received positive feedback from fans
and websites, thus stirring up the courage for him to move to Los Angeles.
In the summer of 2009, Joseph’s song “Arsonist Blues” won an online contest
over thousands of entries, with the promise and eventually the offer of a record
signing. He politely declined, and chose what most would consider a more challenging route by recording and producing his full-length Antiques all on his own.
The album, consisting of 10 tracks, is impressively poised and well puttogether. “Arsonist Blues” has a pop melody offset by deep piano keys, and
the lyrics “I’ve been trying to get to you for 30 lifetimes”, reeling in both the
simplistic and the heart-felt listener. The song “Untangled” is about hitting
rock bottom, being pulled up, and sorting things out. It’s impossible to listen
to “Escape Artist” and not get the slight spine-tingling sensation of Jeff
Buckley. Patrick Joseph has been playing venues like Hotel Cafe, Room 5,
and El Cid, and will continue to grace the local getaways we have all grown
to know and love.
the deli LA_7
W
hile guitar and piano make their scheduled appearances, but these
multi-instrumentalists incorporate banjos, ukuleles, trumpets, and
woodwinds without blinking an eye. Expansive and personal at
the same time, Pepper Rabbit rarely disappoints. The duo released their
debut album, Beauregard, in October with Kanine Records, spent the fall
touring the US with Cotton Jones, Canada with Rural Alberta Advantage,
and finished out the year on the west coast with Passion Pit and Freelance
Whales. Xander Singh and Luc Laurent were ready to embrace the new
year, and what better way than to embark on another tour? The band
spend the first quarter of 2011 touring the western US with none other than
Ra Ra Riot and Miniature Tigers, a triple threat that avid indie fans hopefully
didn’t miss, but then again, they’ll be coming back around in May.
Best of
L.A. 2011
#2
Pepper Rabbit
www.myspace.com/pepperrabbit
Beauregard was recorded over the course of 2008 and 2009 in New
Orleans before the duo relocated to Los Angeles. Heavily inspired by the
people they met in post-Katrina New Orleans, each song is a multi-instrument undertaking that would make any lesser musician turn white. With
their single “Harvest Moon” we are entranced by the duet of guitar and
French horn, our ears paced by the steady waltz of the drums. Just as
intriguing and playful as their songs, the video has us watch the oddities
of floating instruments, moving pictures, and the childish nature the young
band possess.
By Margarita Castellanos
Full article at: la.thedelimagazine.com/pepperrabbit
Bestof L.A.
2011 Emerging artists
By Angelo Lorenzo
S
ince my start in the LA music scene, playing in bands in high school around 2003, it has been
amazing to see its evolution from a position inside and out. For a scene that once produced
bands like Finch, A Static Lullaby, The Ataris, Yellowcard, and Incubus, it’s safe to say things
have mellowed over the years but not to the loss of diversity. Our 2010 Emerging Artists Poll
is the pulse of the LA scene. Voted on together by music critics, booking agents, our nationwide
writing staff, and our readers, the bands represented range from the hot new thing to those that have
toiled away in the obscurity of their bedrooms and garages before hitting gold this year.
Best of
L.A. 2011
#3
Superhumanoids
www.superhumanoids.com
By Taylor Lampela / Photo by David Morrison
L
A’s Superhumanoids live up to their name. There’s
something about their music that’s so familiar, yet
alien. Calm, comforting and unnerving all at the same
time. Reverberant male and female vocals hover lightly
over lo-fi guitars, mischievous synth and pulsing drum
beats creating a big, full soundscape to get completely lost
in. Their sound isn’t easy to pin down in words; it’s all their
own and they know it.
It’s easy to say that 2010 was an eventful year for the band,
traveling all over the world to perform. One of their favorite
memories was a minor technical snag that happened to
bring about a fantastic show: “We were in Scotland this past
fall playing at a venue called King Tut’s w/ Local Natives.
During the middle of our set all of our electronics (we use
a drum machine and some samplers live) freaked out due
to flight damage—dropping in and out at random intervals.
The crowd was so rowdy nobody cared—we played the
set to a bunch of crazy Scotts and had a blast then drove
4 hours through a snow storm to stay in a picturesque bed
and breakfast a friend had got us for free.”
Full article at: la.thedelimagazine.com/superhumanoids
the deli LA_8 winter 2011
Best of
L.A. 2011
Nosaj Thing
#11
Best of
L.A. 2011
www.nosajthing.com
Foster The People
www.fosterthepeople.com
By Jenna Putnam
I
f you’re sick and tired of these grey skies and heavy clouds, I suggest
closing your eyes, turning up the volume to a mellow 8.5, and listening to Foster The People’s “Pumped Up Kicks”. The surf guitar, drum
grooves, and distant melodic synths bouncing off of echoing vocals will
have you floating all the way to a warm California summertime. Foster
The People is fresh, having just formed in October of 2009. They put up
an EP in January, and are currently working on their proper debut.
The rock scene gained some pop sensibility in 2010 when White Arrows
released their debut EP with the deadly catchy single “Coming or
Going”. Fronted by a female siren and the highest ranking rock band
on our Poll, Queen Caveat’s lineup finally solidified enough to record
an EP and release their music video for “What Built Me”.
The real Cinderella story happened with The Filthy Violets who swept
our reader’s poll with their style of good times rock-n-roll. The band
that formed in late 2010, and had just enough time to record a few
songs, play a handful of shows and land themselves on our poll
before the new year.
He’s My Brother, She’s My Sister seems to be the gem of the emerging alternative folk scene, releasing their debut EP after some lineup
changes to include a cellist and tap dancer (no, seriously). Infantree
represents the genre well, exploding with talent for their young age.
While taking a more reserved and melancholy route, they maintain a
sense of humor: choosing to carry the trend of their album cover and
dress up as roosters for their video “Mourning Glory”.
Aaron Bruno, former member of Home Town Hero and Under The
Influence of Giants (founded with members of Audiovent), found a
home in his slick electro solo project AWOLNATION, with his music
video for “Burn It Down” rivaling the kitsch insanity of those from
Electric Six. Taking the side-project route, Taylor Locke of Rooney
By Hugo Gomez
E
ver been in the presence of someone you could’ve swore
was your soul mate? Lay within the gentle glow and breeze
of a perfect, 75-degree day? Then you probably already
know the feeling: “I have left this world and am floating amidst
the clouds, sun, and trees.” If so, then Nosaj Thing has the
power to bring you back, his music the antigravity vacuum where
desire dissipates into oodles of undulating, blissful indifference.
As technologically advanced as Jason Chung’s music is, his
zeroes and ones are purely emotive, free-flowing and visceral.
started up his higher octane offering Taylor Locke & The Roughs
whose album Marathon harken back to the rock radio hits of
Tommy Tutone or The J. Geils Band.
While talent has blossomed, the venues that house it have certainly
changed. 2010 saw Spaceland, whose inaugural show included
Beck and the Foo Fighters, renamed to The Satellite, while the promoters of Club Spaceland look for a new home. One of the largest
changes was a blow to the DIY scene: the closing of DIY venue/art
gallery The Echo Curio after four years came amidst a flurry of noise
complaints and alleged code violations. This all age venue finally
folded, unable to proceed from the legal pressure.
DIY venues are the lifeblood of the LA music scene: a place for
unknown or less-than-mainstream musicians to find an outlet, or
for touring musicians to find a last-minute gig for gas money to the
next town. Most DIY venues put on all-ages shows and take recommended donations instead of cover charges or drink minimums.
Thankfully, flagship venue The Smell remains alive and kicking after
12 years, Dig In and Pehrspace are still hot spots, and new venues
have popped up including The Bacchus around the corner from LAX
and Public Fiction in Highland Park.
I could go on for pages, but the music speaks for itself.
Best of
L.A. 2011
White Fence
#29
www.myspace.com/whitefenceband
#18
Big Whup
bigwhup.wordpress.com
By Jenna Putnam
C
all me crazy, but I think that
Tim Presley time-travelled
to 1967, hung out with Roky
Erickson, and came back to bring us
White Fence. The low-fi reverbs and
distortion are trippy and trance-y,
mellow and smooth. It’s the kind of
music that could have been playing
at one of Andy Warhol’s factory parties, with a vintage flair reminiscent
of The Guess Who or The 13th Floor
Elevators. White Fence’s 16 track
album Is Growing Faith hit the streets
in January but don’t expect me to be
unoriginal and compare this to Darker
My Love... listen for yourself.
By Hugo Gomez
G
Best of
L.A. 2011
#25
ood luck trying to pin Big Whup’s sound down to a
scene; we ended up sounding like Gene Shalit if he
overdosed on Radio Free Silver Lake—“It’s as if Win
Butler teamed up with Prince’s backup vocalists, and the Talking
Heads came over to their lockout and said, ‘Let’s have some ear
sex or something.’” The group, made up of borrowed members
from local bands like Pizza! and Morgan and Her Organs, are as
grassroots and who-gives-a-fuck as you can get.
the deli LA_9
Best of L.A.
2011 Emerging Artists
Best of
L.A. 2011
[indie]
Best of
L.A. 2011
#13
#26
Cannoneers
www.myspace.com/cannoneersofthenewcommand
By Angelo Lorenzo
F
orming in the spring of 2009, the Cannoneers have taken the fast
track with their energetic and raunchy garage rock (ala The White
Stripes or The Hives). We got down to discussing their year, their
residency at The Echo, and their plans for a new album.
Your work ethic as a band is great, Can you describe what got you
through 2010 so well and some of the highlights?
We play rock and roll. We have a lot of fun and we work very hard writing
and recording and performing live. It’s really that simple for us. We have
been writing a lot and have been recording songs for the better part of
a year. In 2010 we cut a 7” vinyl single and put it out under the earlier
incarnation of the band name “Cannoneers of the New Command,” which
we’ve now shortened to “Cannoneers.” We released it at Spaceland in
May of last year and had a huge party of it with The Meek and Spectrum.
We started to hear the songs from the single online quite a bit and some
really great LA Club DJ’s were spinning, “Sadie Was a Girl,” which was
pretty awesome for us to hear.
The Hunting Accident
www.myspace.com/huntingaccident
By Karla Hernández
A
s a descendant of beloved bands Piebald and Arlo, The
Hunting Accident has been working on making a name of its
own with shows all over the Los Angeles area. 2010 saw the
band performing at venues such as the Silverlake Lounge, Bordello
and Pasadena’s Old Towne Pub. The Hunting Accident played at
the latter almost every month and used it as an opportunity to give
fans a glimpse of its boisterous pop sound. “Mike TV of Get Set
Go, who was booking every Thursday at Old Towne Pub, really
gave us a chance to try new stuff in front of a supportive crowd,”
says vocalist Nate Greely. I like having the freedom to screw up
royally and still be loved.”
Even though both Piebald and Arlo had devoted followings, Greely
says that fans have been good about embracing the new project
and not expecting to hear old material from either former band.
The Hunting Accident’s guitarist, Travis Shettel, and bassist/vocalisst Aaron Stuart used to both be in Piebald.
Best of
L.A. 2011
Incan
Abraham
#6
www.myspace.com/incanabraham
By Taylor Lampela
Grouplove
www.grouplovemusic.com
Best of
L.A. 2011
By Karla Hernández
#8
I
hile Grouplove kicked off 2011 with a residency at LA’s
Bootleg Theater and spent February parading around
Europe, the young band seems no stranger to the
fast-paced life.
The past year has been a big year for these guys, with one of their
favorite memories having played the CMJ Festival over in Brooklyn, “We
played a couple really cool shows, including one on the roof of this old
firehouse in Queens, in 40 degree weather. The best part about the trip,
though, was the amazing welcome we received from our friends there,
and the new friends we made. It was inspiring, and heartwarming, to see
how people in a completely new environment were willing and ready to
embrace us and our music,” they said.
Having all met in Greece and prompting some band members to
move to LA from New York and London, the band recorded an EP,
which was re-released last January by Atlantic Records imprint
Canvasback Music. With a euphoric pop sound like Grouplove, it’s no
wonder the band spent 2010 as the blogosphere’s latest sugar rush.
In addition, the band opened a handful of dates for Florence and
the Machine. Grouplove’s music instantly inspires fans to leave their
troubles at the door and bounce along with the songs. Tints of folk
and a sense of a communal lifestyle project lush imagery of forests,
meadows and harmonious world. With a full length album on the way,
the infatuation with this band will surely grow exponentially in 2011.
n a effortless swirling combination, LA-based quartet Incan Abraham
mixes upbeat surf-pop with incandescent psychedelia producing a
potent, inescapable sound. Their newest release, Sunscreen, available
for free download on their Myspace includes two new songs that seem
perfect to listen to on a sunny drive down abandoned roads. The heavily
reverbed vocals sit lightly upon guitar strums and spritely synths all while
the drum beat keeps you somewhat grounded.
the deli LA_10 winter 2011
W
[alt rock]
long marriage. Will (bass) mentioned to the band one evening
that his good buddy from Berkely College of Music, Jesse
Magnuson was moving to LA in a few weeks and he thought
he’d be perfect. The rest is history and we secured Jesse
Magnuson (drums) and all the bolts we’re in place to begin
our journey together.
Queen Caveat
www.myspace.com/queencaveat
How did everyone in the band meet and why did you
choose each other to make music with?
Lauren and I (Ben) met through a mutual friend at a party
one evening and within hours we had a handful of songs
written. We started playing acoustically with shows at Cranes
Hollywood Tavern and Will (bass), one of my best friends,
joined the band shortly after. The three of us had such great
musical chemistry and a clear direction we wanted to take
the band, as well as a collective appreciate for Jim Beam (our
fifth member), it was only a matter of time that we would find
our drummer, Jesse. The bottom line is we all are best friends
and we couldn’t do what we’re doing with anyone else.
Best of
L.A. 2011
#5
By Kimberly Brown
W
Is it hard living near/in one of the largest music scenes in
the country? Do you think that is an advantage or disadvantage when being in a band in Los Angeles?
Advantage—any band coming out of LA, for us at least,
instantly has more cred than one coming out of Tampa, FL.
Most bands worth their water make it out to LA, NY, or Nashville anyway…most of the ones that are left behind in their
hometowns will, more often than not, stay there indefinitely.
LA is the best music scene in the world and we are thrilled to
be a part of it!!
hat’s sexier than a front woman who can strut her stuff? Easy. It’s a
band that’s a hard rocking and hardworking total package. Ben Epand
and Lauren Little answered some questions with us for the uninitiated.
Biggest challenge for the band in 2010?
Finding our drummer. We recorded our EP w/Dan Epand of Nico Vega on drums
last year and played a handful of shows when he was available, but we suffered
months of brutal auditions, stagnancy and frustrations waiting to find someone
that musically embodied our direction as well as a friend that could join our life-
Best of
L.A. 2011
Best of
L.A. 2011
#9
#20
Red Circle Underground
www.redcircleunderground.net
By Karla Hernández
A
s a LA rock band, there is nothing more quintessential than
releasing a full-length debut album and having a release party
at the world-famous Viper Room. Last December, Red Circle
Underground accomplished exactly that with its self-titled album. The
band, which started in 2006 as a three-piece but has now expanded to
six, plays a rowdy brand of rock that incorporates folk and Americana
elements. The full-length album was a long work in progress as the lineup was solidified and the Red Circle Underground sound evolved, says
the band members. Even before the full-length, the band released a few
EPs and nurtured its fanbase by playing various established LA venues.
The good fortune from 2010, which included a slot on the Sunset Strip
Music Festival, is rolling over to 2011 as the band will make its way to
Austin in March for its first-ever performance at SXSW.
Red Circle Underground notes the SSMF performance, which took
place at the Viper Room, as a 2010 favorite memory.
“The energy that the crowd had was incomparable to any other show
we’ve played,” they say. “It felt like everyone who was there was all about
the music, all about the bands and having a good time. We vibed with it,
and ended up having one of the greatest shows in our history together.”
The Filthy Violets
www.thefilthyviolets.com
By Jenna Putnam
F
rom sunny San Diego, The Filthy Violets resonate pure rock...
no fancy overdubs, no nonsense. The band formed in late fall of
2010, played a couple shows in December, recorded some jams,
and won The Deli’s fan poll...not a bad way to start out the new year!
The guys are playing a handful of shows over the next few months, to
familiarize locals with their youthful energy and filthy Southern California rock. The Filthy Violets consist of singer-songwriter Jesse Lafica,
lead guitarist Jeremiah Lafica, Timothy Sams on the skins, and Cesar
Canjura strumming the bass.
All of the members are in their early 20s, which accounts for their
fresh, light-hearted sound. “Jaunt” is a nostalgic song about the simpler times in life, with smooth guitar slides and cascading drumlines.
“Fate” has a funky rhythm and shows off Lafica’s deeper vocals. With
a Strokes type feel, “You’re The Riot” is more of a rock ‘n’ roll tune
with electric guitars screaming in your face. Although the band as
a whole is brand spankin’ new to the L.A. music scene, their great
onstage chemistry makes it seem as though they have been playing
together for years. Their first album, Lackluster Blvd. debuts this year.
the deli LA_11
Best of L.A.
2011 Emerging Artists
[rootsy]
Best of
L.A. 2011
#43
Best of
L.A. 2011
#21
The Mighty Regis
www.themightyregis.com
By Kimberly Brown
Dylan Trees
www.dylantrees.tumblr.com
By Jenna Putnam
D
ylan Trees play a sweet, soft breed of psychedelic folk
music perfect for a saturated summer afternoon. With
a flower child ’60s feel, their songs might inspire the
listener to get in touch with their inner-hippie, and spend the
day on a picnic blanket playing the banjo and making shapes
out of clouds.
Songwriter Jeremy Simon moved from London to California to
join forces with Rob Fanter and Monica Olive, which speaks
for the British undertone of the music. The trio released an
8-track EP with 4 songs, two versions of each, back in 2008.
Their debut full-length record, Victoryville was produced by
Charles Newman (The Magnetic Fields, Soko, Gospel Music)
and is due out later this year. Their new track “Three Times
of The Day” is an upbeat jingle with a slow, dreamy sounding
bridge showcasing Olive’s ethereal vocals. The band also has
a tumblr site where they post their inspirations...from photos
of daisies to portraits of Bowie. They also put up photos of
themselves playing music and some show flyers. The overall
vibe of Dylan Trees is fresh and positive, with a vintage feel
and a modern twist.
A
fter cutting their teeth on Co. Sligo and Another Nickel For The Pope, the
third and most recent album, 21, shows the band off in fine form. “Paddy
Don’t Live In Hollywood” has Franky McNorman leading the charge on
vocals over punk-bred choruses. Gavin McLoud’s mandolin raises the tide on
“Celtic Storm”, a high energy seaside yarn built on the foundation of a traditional Celtic melody. The remainder of the album winds through the familiar, but
fun, territory that is Celtic Punk. The Mighty Regis reels back from the distorted
guitars of their contemporaries Dropkick Murphys and Flogging Molly though,
to show off the more traditional mandolin, tin whistle, and accordion.
What was your biggest challenge coming through 2010?
Franky: I would have to say The Warped Tour. We are an unsigned band,
completely DIY. We had to really pull together to play shows, sell merch, save
money and plan for what other bands might take for granted because the work
is often done for them. It was well worth all the work we put in but it was a
challenge to say the least.
Paddy: Finding a drummer to replace Brian Dullaghan (“Gabby Byrne”) was a
pretty tremendous undertaking. The guy needed to be talented, able to play
our style of music, and fit in well personally with the band; those people are
usually in 4 bands already. It’s hard to express how luck we feel that we found
Mike McCurdy; this year doesn’t happen without him.
Where does the band’s name come from?
Franky: I was thinking of how names don’t really mean anything. If the band
sucks so does the name. You can call yourselves “Duck Hunt & The Mario
Bros.” (I now own the rights to that if it catches on)…if the band sucks the
name does too. We were originally called Regis Philbin…mostly because that
guy is hilarious and seems to think he is as Irish as St. Patrick. So we figured,
what the hell.
Paddy: Hell, why AREN’T we called “Duck Hunt & The Maro Bros.”? Huge
missed opportunity there...
ATOMIX STUDIOS
Record
Mix
Master
Production
The Magnetic Fields, Funeral Party, Miss Derringer,
Aarktica, The Dollyrots, Filter, Sony, AM, Bug Music,
Fearless Records, Nonesuch, Merge, Virgin, EMI
the deli LA_12 winter 2011
www.myspace.com/atomixstudios
Best of
L.A. 2011
#30
Michael Nhat
Best of
L.A. 2011
#36
www.michaelnhat.com
By Hugo Gomez
It may be related to the fact that I’ve been on a Jack Parow phase
lately, but do sick rappers have equally sick mustaches? If the answer
is ‘yes!’ then I can only follow the trend with Michael Nhat, who throws
his raps over loops that sound straight out of someone’s grandma’s
1970s optigan (If you haven’t played one of these, then you don’t
know what magic is). He’s also been known to jump in and perform
with other LA locals like Pizza!, So Many Wizards, Halloween Swim
Team, Big Whup, and Moses Campbell.
Mad Planet
www.madplanetmusic.com
By Angelo Lorenzo & Jenna Putnam
We’re continually surprised by how much talent and musical variety is
bred by LA’s co-ed duos like Passion Pit and Loch & Key. It’s a good
thing Cooper Gillespie and Greg Gordon of Mad Planet are more than
keeping up with the competition thanks to their debut LP All Elephants.
Conceived in early 2009, All Elephants dives deeply into the genres of
trip-hop, alternative rock, and jazz; a surprising departure from Gillespie’s
and Gordon’s time spent in bands like Bang Sugar Bang and Nervous
Return. You’re in for a treat of strong bass chords with off-kilter jazz
beats, shimmering keyboards, and powerful vocals.
Manhattan
Eastern Conference Best
Best
L.A.
2011
Murder
Mystery
L.A
. 2011
Champions
#44
#40
of
of
www.eccmusic.com
www.myspace.com/manhattanmurdermystery
By Angelo Lorenzo
By Hugo Gomez
Angelenos-by-way-of-Pennsylvania Eastern Conference Champions
will be releasing their first full album of new material, Speak-Ahh, this
spring. The band released their EP, Santa Fe, in 2009 sans former
record label Suretone/Universal and have been loving the self control
ever since. Leaning towards a more introspective and melancholy
version of Modest Mouse, ECC’s twist on the theme works perfectly—
so well, in fact, that it landed them on the (cringe) Twilight: Eclipse
soundtrack with artists like Florence and the Machine, The Black
Keys, and Bat For Lashes.
Manhattan Murder Mystery on record might sound like a bunch of
drunk people singing and playing rock’n’roll, but if you scratch under
the surface you’ll realize these guys have some serious songwriting
chops. You don’t really just want to listen to them on record anyway,
as this band has a hell of a reputation for their frantic live shows (fond
memories of their 2010-2011 New Year’s show). Comparisons with
early The Cult seem appropriate, although the overall sound here is
definitely not Goth at all but some kind of raw... let’s call it “Mid-Fi”?
In any case, Matthew Teardrop and crew should not be missed.
Best of L.A. 2011 Emerging Artists Poll full result
1. Baths
2. Pepper Rabbit
3. Superhumanoids
4. Lord Huron
5. Queen Caveat
6. Incan Abraham
7. White Arrows
8. Grouplove
9. The Filthy Violets
10. Summer Darling
11. Foster The People
12. Teen Inc
13. The Hunting
Accident
14. Taylor Locke
& The Roughs
15. Patrick Joseph
16. John Carpenter
17. Sea of Cortez
18. Nosaj Thing
19. Letting Up Despite
Great Faults
20. Red Circle
Underground
21. Dylan Trees
22. He’s My Brother
She’s My Sister
23. A House for Lions
24. The Smiles
25. White Fence
26. Cannoneers
27. Hands
28. Polls
29. Big Whup
30. Michael Nhat
31. The Black Apples
32. Infantree
33. The Fling
34. Mike Runion
35. Ceci Bastida
36. Mad Planet
37. Hot As Sun
38. Fight From Above
39. Chasing Kings
40. Eastern Conference
Champion
41. George Glass
42. Tara Priya
43. The Mighty Regis
44. Manhattan
Murder Mystery
the deli LA_13
the snacks the deli’s CD reviews
rock
pop
melody/soft
Black Kettle
Black Kettle
Taking the plunge half a
year ago to relocate to Los
Angeles, it couldn’t have
been a better choice for Black
Kettle’s Keeley Bumford and
Kailynn West. The four tracks on their debut EP,
recorded at Sound City Studios, showcase the
duo’s penchant for writing glowing pop music.
Things begin with “Spineless” a song about just
that, growing a backbone, introduce Bumford’s
focused vocals while West’s staccato guitar hits
and backing vocals round things out. Things take a
thematic u-turn with “Paint the Town”, the first hint
that this EP has a dual personality between the silly
and sincere. The piano driven melody carries over
lyrics like “Tonight I fly solo, wearing my best dress
like a funeral suit,” revealing a song about a lonely
night on the town. The synth hook in “Hott Mess”
pulls you into a plea to choose love over lust. The
EP closes with “The World Remained the Same”, a
darker ballad about love, loss, and reconciliation,
gently builds near the end into a layered chorus
before resolving away. It’s the kind of album you’ll
be singing along to in no time. (Angelo Lorenzo)
www.blackkettlemusic.com
LACO$TE
The Paradox of Time EP
When a band describes itself
as “sextronic electrogator”,
it is safe to assume that the
music will have the characteristics of trouble. On the EP
The Paradox of Time, the three band members of
LACO$TE sound like they had a play date inside
of an abandoned metal factory or traveled to an
alternative steampunk world. The rhythmic vocals
by frontwoman X are reminiscent of Eleanor
Friedberger, only placed over sinister electronic
beats and jangling sounds. Being artsy and experimental triumph attempts of a glossy electronic
song for the clubs. Rather the 7-minute track
“Worm Song” sounds like it came out of a weird
’80s sci-fi film featuring the deep voice of an overlord speaking over fuzzy space sounds and keyboard tones that are meant to intimidate a nation.
“Cellie” is a lot more spunky with sounds that
resemble space invaders and a heroic figure jumping from level to level in a video game. While the
songs contain interesting elements, there are times
where they fall flat due a lack of energy. The music
of LACO$TE is not something that will be immediately relatable to most music fans, but can become
glorified in an ironic way. (Karla Hernández)
www.myspace.com/lacoste
Arctic Circles
Funeral at Sea
After the breakup and dissolution of Finch last December,
bassist Daniel Wonacott dived
head first in group Arctic
Circles. Shortly after in January
came the release of their debut album Funeral at
Sea. The opening track “Forever Drawn Together”
is a sweetly prolonged intro before things pick up
with “Putting the Pieces Together” where laid back
tenor lyrics play counter to more rock influenced
drums. The title track “Funeral at Sea” laments
the loss of a lover with mournful wailing guitar
work. “When You Know It’s Over” gently layers a
keyboard bed, tom heavy drums, sparkling vibrato
guitar chords, and swelling vocal work before
the deli LA_14 winter 2011
turning the lights off and closing up shop on the
album. While the songs stay close stylistically, the
melodies are lush and the vocals are unique. It’s
a collection of songs that will wind you down and
envelop you like a warm blanket. (Angelo Lorenzo)
www.arcticcircles.net
Other Mountains
Fernweh
Other Mountains’ new fulllength album Fernweh really
hit home for me. The songs
scrape the deeper parts of the
heart and soul, in ways I can
only compare to that of Sigur Rós or Explosions
in the Sky. The album starts with twinkling keys
and climbing violins, throwing you straight into
the overall mesmerizing feel of the record. The
faster paced “Mure” ends with crashing cymbals
and the instruments seem to scream in your face.
The falsetto floating over haunting piano keys in
“Swann” create a dark, eerie element. Their music
puts you into a trance, so it’s easy not to notice the
lyrics right away. The closer you pay attention, the
more you notice how well-written the words are, in
an almost Shakespearean way. “Say aloud before
you go: ‘Oh, the heart could it think, it would surely
stop beating. And the mind could it feel, it would
surely stop reeling.’ I’m yours. I’m still yours. You
are heaven. You, our heaven. There is life before
death, I know.” make up the track “Hopscotch”.
I’ve had this nostalgia for the kind of music I grew
up with, back to the days of Saosin or adolescent
Bright Eyes, and this album fills it. (Jenna Putnam)
www.othermountains.us
Satellite
Ring The Bells EP
With its music already featured
in an episode of “One Tree
Hill,” Satellite is a band that
has the potential to follow
in the rock pop success
of bands like Plain White T’s and Snow Patrol.
The band’s EP, entitled Ring the Bells, solely
maintains a reflective tone made specifically for
late-night drives. With little dynamics on songs
like “Say the Words” and “Silhouette,” primary
songwriter Steven McMorran plays it safe while
on “Saving Us Tonight,” McMorran does a good
job of reflecting a person who is tired of putting all
the effort in a relationship, but still holds a desire
to make it all work. The emotions are emitted so
strongly that the music comes off as, while well
done, low-spirited. For a certain mood, some
music aficionados will enjoy Satellite. However,
it lacks those moments and special touches that
would have made this album truly memorable.
(Karla Hernández)
www.satellite-music.com
Black Apples
Black Apples EP
Black Apples ended 2010 with
the release of their self-titled
debut album, perfect for lovers
of underground rock-n-roll, or
fans of bands like The Velvet
Underground, T. Rex, or The Seeds. These Echo
Park natives take the influence of gritty, New York
City style rock and combine it with the psychedelic
garage sounds of the West Coast. The record
begins with the song “Suzanne”, with falsetto that
climb up to crashing symbols, echoing guitar, and
deeper singing. Following is “Buffalo”, an angst-
loud rock
electronic
folk
noise
psych rock ambient
dance lo-fi/DIY
hip hop good!
other
influences
prime
LA music
ridden tune with a bit of a fun punk edge, and surf
guitars on speed. “Winter Is New” is a slower song
full of triangles and reverb bouncing off the blues
of winter love. “Wild Things” has an old school
skate-thrash feel with chimes of the xylophone in
the background. The echoing 45 second interlude
of “Arctic Cowboy” throws you right into the mood
for the second half of the 12 track album. “Give
Me Silence” is a slow, trancy piece, progressing
into a more intense finish. Clearly Beatles-inspired,
“Coming Home” paints a vibrant picture of a
warm, California summertime during the 1960s.
The album finishes with the nostalgic “20 Years At
Sea”, perhaps their most universal sounding song
about escape, and how sometimes getting lost is
the best way to finding yourself. (Jenna Putnam)
www.myspace.com/theblackappleband
AWOLNATION
Megalithic Symphony
Aaron Bruno returns as
Awolnation for his second
release, and first proper full
length, Megalithic Symphony.
While three songs return a
bit more polished, “Burn It Down”, “Guilty Filthy
Soul”, and “Sail”, Bruno takes advantage of the
legroom and shows his prowess across the eight
new songs. The title track “Megalithic Symphony”
and the following “Some Sort of Creature” are intro
tracks at best, the former showing off a minute
of swirling melody while the other shows a bit of
humor. Things kick in to gear with “Soul Wars”,
an electrified track that James Brown would be
proud of. Deeper in we find “Kill Your Heros” where
Bruno’s lyrics talk about carving your own path
in life over synth and deep hip hop drums. “Not
Your Fault” is my candidate for his next single.
The verses are groove-laden and straightforward,
before they explode into the chorus’s way too
catchy hook. The 14-minute epic “Knights of
Shame” somehow blends ’90s R&B, industrial
synth work, singer-songwriter melodies, and contemporary hip hop. Beck and Electric 6 had a wonderful baby called Awolnation. (Angelo Lorenzo)
www.myspace.com/awolnationmusic
Lelia Broussard
Masquerade
Lelia Broussard is known for
her witty songwriting and
quirkily beautiful voice. Her
recent album, Masquerade tells
the tale of a 20-somethingyear-old’s journey from the bright lights of New
York City to the blinding sunshine of LA, where
Broussard herself resides. While the more soulful
feeling “Shoot For The Moon” gets underneath the
surface of society and the lies we are told on a daily
basis, “Satellite” keeps things light-hearted, telling
the story of a lovesick robot looking towards the
stars. “You’re Not Fooling Anyone”, about being
blinded and fooled by a former lover, really hits
home and is something that most everybody can
identify with. The sassiest track has to be “Hipster
Bitch”, about all those hot-as-hell Williamsburg or
Echo Park girls that guys lose it over and girls hate.
With the lyrics “She claims she can write poetry
like Dylan/I said ‘You crazy girl, are ya out your
damn mind?’/She dances all night to the sound
of his guitar/Under psychedelic lights doin’ lines
at the bar/But she can drink Jim Beam with the
boys…”, it’s easy to say that the album is anything
but boring. Thanks for choosing the West Coast
Ms. Broussard, we all appreciate it! (Jenna Putnam)
www.leliabroussard.com
kitchen recording equipment news
SoundToys Native Effects Bundle
www.soundtoys.com
Review by Zach McNees
saturation modeling plug-in. All of these plug-ins work in the
formats listed above except Speed which functions like many
other pitch and manipulation as a non-real time AudioSuiteand Logic Pro Time Machine-compatible plug-in.
SoundToys plug-ins are deep with complex functionality and
intricate features that will keep the pros busy for hours. For
those who may not be as technically inclined or experienced
as mixers, not to worry—SoundToys plug-ins feature a huge
array of presets that will allow even first time users to find the
sound they’re looking for quickly and easily.
The bundle includes 8 plug-ins: EchoBoy, FilterFreak,
PhaseMistress, Tremolator, Speed, Crystallizer, PanMan and Decapitator.
F
or the past several years, SoundToys has been at the
forefront of the revolution to accurately replicate many
of the most recognized hardware FX units for use in the
box. The Native Effects bundle by SoundToys is a Native-only
plug-in package for use on Mac and PC and retails for $495. It
comes with installers for VST, AU, RTAS, and AudioSuite and
is compatible with Pro Tools LE 7, 8 & 9, M-Powered, Digital
Performer, Logic Pro, Cubase, Nuendo, Sonar and Live.
The bundle includes 8 plug-ins: EchoBoy, FilterFreak, PhaseMistress, Tremolator,
Speed, Crystallizer—the six most popular and widely used plug-ins in the SoundToys family—and the all new PanMan rhythmic auto-panner and Decapitator analog
A great example of this is the ability to sync time-based FX
to the MIDI tempo of your session and adjust the timing
properties of the effect musically such as ¼ note and 1/8th
note. Hugely helpful to those who are more musically than
technically inclined.
One of the great things about SoundToys plug-ins is their ability
to accurately emulate some of the things we love about our analog gear. A simple example of this would be the input and output
control sections, which—just like their hardware counterparts—
allow for easy gain staging and gentle overall adjustments to
your effects. This is particularly useful when you want to gently
overdrive a particular effect or conversely to back off a bit.
Most surprising and impressive about SoundToys products is
how they inspire me to find ways to improve on my tracks that
I hadn’t even considered until I began experimenting.
For an in-depth review of each and every plug-in in this bundle,
visit www.sonicscoop.com.
Steinberg Cubase 6
www.steinberg.com
Review by Paolo De Gregorio
C
ubase has fueled
my musical
creativity and assisted my recording sessions for 20+ years, while
anticipating many trends
and creating industry
standards like the VST
and ReWire systems. It’s
been an exciting and jaw
dropping experience to
see it grow from a rather simple MIDI sequencer to the current fully featured Digital Audio Workstation.
As expected, the new Cubase 6 supports an unlimited number of tracks up to 192
kHz, 5.1 surround, and offers flexible routing and full automatic delay compensation. One really exciting feature of this new version is the new toolset for multi-track
editing, which will make life much easier for all those who record (and spend hours
editing) multi-track performances of drums, guitars and/or even vocals.
This new feature not only offers multi-track transient, tempo detection and drum re-
placement functions, but also multi-track phase-accurate audio
quantization—and you should know by now how crucial phase
is in the recording realm. Also, the new take-comping system
provides a fast and effective way to paste together the best
parts from various takes and effortlessly build the perfect one.
For extra audio editing options, the AudioWarp system allows time-stretching and pitch-shifting in real time, including
automatic tempo detection, and VariAudio lets you treat audio
tracks’ pitch as if they were MIDI instruments.
Speaking about MIDI, Steinberg has put some serious thought
into re-thinking the way MIDI editing should work. Cubase
6 introduces a new system called Note Expression, featuring “note by note” MIDI editing, which in a few simple words
makes MIDI editing way more musical and intuitive.
Cubase 6 also comes with exciting new virtual instruments and
effect processors, including HALion Sonic SE, a streamlined version of Steinberg’s HALion Sonic VST workstation, LoopMash 2,
the second incarnation of this beat-mangling tool, and a built-in
set of virtual stomp boxes called VST Amp Rack.
This only scratches the surface of this DAW’s features and
potential, if you are interested in knowing more about it,
visit www.steinberg.com.
the deli LA_15
kitchen recording equipment news
Avid Pro Tools 9
www.avid.com
Review by Justin Colletti
“Want to bus the snare out to an
Aux for some parallel work?
One click. Want to create a cue
mix from a group of tracks?
Boom. One click.”
“I am thrilled that the younger generation of folks getting
into Pro Tools aren’t going to have to grapple with the
unfathomable out-of-phase junk that was messing up
so many LE-based projects. Quite literally, the world will
have fewer f*d-up records because ADC (Auto Delay
Compensation) is being included.”
I
n the first week of November, just as they began shipping an
unprecedented new product called Pro Tools|HD Native, Avid
made an even more stunning announcement: They would
break free of Digidesign’s mold by demolishing the distinctions
between HD and LE software to offer one platform—Pro Tools
9. For the first time, this software-based version of Pro Tools
allows all users access to a full feature set, whether they run the
program with Avid hardware, a third-party interface or even a
laptop’s built-in soundcard.
To those who aren’t familiar with the limitations Pro Tools LE imposed on laptop-lovers
and entry-level users, this may sound like small news. For the rest of us, it bordered on
earth-shaking. As this game-changing release began making it out to the market, we
reached out to some of the earliest adopters in NYC. “Does it live up to the hype?”
Producer/engineer Allen Farmelo says he was “skeptical at first,” but he didn’t mince
words when it came down to the impact of Pro Tools 9: “It’s really the most significant
upgrade of Pro Tools ever.”
the deli LA_16 winter 2011
Producer/engineer Fabrice “Fab” Dupont of NYC’s
Flux Studios saw one of his long-standing requests addressed: “There’s a Key Command for ‘New Playlist’ and
‘Duplicate Playlist” now! I’m holding back tears of joy.”
Farmelo adds, “Want to bus the snare out to an Aux for
some parallel work? One click. Want to create a cue mix
from a group of tracks? Boom. One click.”
It’s easy to recommend the reduced-cost upgrade
to many current Pro Tools users. With crossgrades
starting as low as $250, LE users can unleash features
and track counts that were formerly restricted to HD,
including multi-track Beat Detective, Digi Translator,
MP3 Bounces, and ADC—all the big requests they’ve
been asking for.
At first glance, Pro Tools 9 seems like it best serves
users upgrading from LE systems, but there is one
huge benefit for users who already own an HD system.
Producer/guitarist Eric Ambel, of Brooklyn’s Cowboy
Technical Services, explains, “I just ran a big 96k session
on my MacBook with no interface and no problem. That
was hot! The open model of 9 can only help.”
For a full review and more feedback from
end-users, visit www.sonicscoop.com.
the deli's Pedal Board
Mad Professor
Ruby Red Booster
MG
Mono Vibe
Amptweaker
TightBoost
• A combination of two boosters,
based on the BJF Little Red
Trebler and the Red Rooster
Booster, and you can use it as
a treble boost, clean boost, or
as an overdrive pedal.
• 40dB of gain allows you to
achieve heavy overdrive at
high settings, while the treble
boost has 15dB of gain and
is frequency and bandwidth
tuned to help your treble cut
through the mix.
• Internal switch sets the pedal
to either buffered or true
bypass mode.
• A Leslie box in the size
of a guitar pedal - a thick
and dynamic chorus/
vibrato effect.
• Vintage sounding, great
Hendrix and Steve Ray
Vaughan tones.
• Knobs explanation:
Chores = Speed;
Progress = Depth
• Hand finished,
awesome-looking case.
• The Mid features a parked wah tone
that increases gradually when the
control is cranked past 12 o’clock.
• A switch below the Mid control lets
you choose between two frequencies for the wah, one is a ‘classic
throaty wah tone’ while the other
sounds ‘pushed forward.’
• The Tight control adjusts between
a smooth, looser sound and a more
aggressive and focused tone.
• Effects loop on the back of the
pedal, allows to add compression,
EQ, delay or distortion – all of which
can be set to Pre or Post.
the deli's Plug-in inserts
Pigtronix
Philosopher King
• Compressor, sustainer, distortion
and polyphonic amplitude
synthesizer.
• Features a full set of ADSR
controls including swell, fade,
hold level, speed range, oneshot mode, selectable auto
reset, CV i/o and expression
pedals for swell and fade times.
• Grit control for F.A.T. Distortion
and 2K Treble Cut / Boost help
you shape the tone.
if you are interested in reviewing pedals
and plug-ins for The Deli and
Delicious Audio, please contact
delicious.editor@thedelimagazine.com.
Softtube TubeTech-CL1B
• Emulation of a classic Compressor used in tons of records.
• Created together with the designers at Lydkraft/Tube-Tech - that fully endorse it.
• Extremely accurate representation also in the way the knobs feel and the
VU meter behaves.
• CPU friendly.
Universal Audio
A800 Studer
• First in its kind, it models the entire
tape path and circuit electronics of
the classic 2” Tape Machine.
• Enulates the sounds of four distinct
tape formulas.
• The ‘gang’ control adjusts any
parameter globally, which is nice if
you’re running it on every track.
• Requires UAD-2 Card
PSP N2O
• Multieffect plug in for the sound creation
explorers with expandable architecture.
• Uses up to four sound processing
operators at a time.
• Effects include morphing resonant and
formant filters, EQ, delay, reverb, pitchshifter, dynamics, bitcrusher, distortion etc.
• Eight assignable knobs with quick
MIDI learn option.
• Useful built-in limiter to avoid
unexpected “explosions.”
Sonic Charge Bitspeek
• Real-time pitch-excited linear prediction
codec effect, makes voices sound like robots.
• A number of playback parameters adjust the
pitch and tonal quality of the sound.
• Can produce a broad range of sounds from
cheap speaking toys to high-end vocoder and
talkbox effects.
• Supports MIDI.
the deli LA_17
kitchen recording equipment news
Hardwire Guitar Pedal Series
www.hardwirepedals.com
Review by Howard Stock
R
ight out of the box, you can tell the folks at
Hardwire know what it’s like to schlep gear
to some sticky dive bar with a stage so dark
you can’t see your strings. They throw in extras that
don’t have to, such as a fluorescent sticker that
you can stick on the toe switch for blackout gigs, a
rubber cover that fits over the knobs when you’ve
got them where you want them—a particularly good
idea for delay pedals where only one combination of
settings will do—and they even include a made-tomeasure Velcro cutout to attach it to a pedal board.
Even the battery compartment is designed with the
minimum of fuss. The pedals are also handsome in
their metallic paint jobs, knurled aluminum knobs
and (mostly) blue LEDs. But as the saying goes, it’s
what’s inside that counts.
DL-8 Delay/Looper
The DL-8 does a ton of stuff
that’s really fun if you’re playing
by yourself, and you can easily
lose hours monkeying around
making space noises and using
the 20 seconds of loop memory
to lay down a groove. It’s by far
my favorite of the Hardwire line.
Look at the options: you’ve got
anywhere from 0.5 seconds to
one, two and eight seconds’
delay, a reverse mode that’s just
plain spooky, modulated, analog,
a useful slap mode, grainier lo-fi
and tape modes and then loop,
which is so straightforward Hardwire prints the instructions on top
of the pedal—Loop Record: Hold
Pedal and Play. The DL-8 also
features tap tempo for intrepid
guitarists who manage to break free of this tar pit of self-indulgence and
actually make it to rehearsal where they’ve got a drummer to coordinate
with. As with Hardwire’s other delay effects, the DL-8 features dual inputs
and optional stereo output. Playing alone and jacking up the levels, this
“Luckily, the controls and the thoughtful
design of the different modes means that
guitarists with a light hand can quickly
dial in useful delays.”
pedal is incredibly inspiring, but like all delay pedals, it takes a great deal
of discipline to use this wisely in a band setting. Luckily, the controls and
the thoughtful design of the different modes means that guitarists with
a light hand can quickly dial in useful delays, from U2 atmospherics to
jumpy rockabilly slap back. The best effects inspire guitarists to explore
creative directions they wouldn’t have discovered otherwise, and the
DL-8 is definitely one of those pedals.
the deli LA_18 winter 2011
RV-7 Stereo Reverb
with Lexicon Reverb
The promotional materials for the
RV-7 regularly and enthusiastically tout Hardwire’s partnership
with Lexicon, a company that
makes top reverb rack effects
and software. The result is a pedal crammed with seven different
synthetic reverb modes. Reverb
is a tricky effect—unless you’re
going for all-out surf madness,
you just want it to insinuate itself
into your sound by adding a godlike resonance to your noodling.
The RV-7 offers plenty of options
for fans of both and throws in
what the other similar pedals
lacks, a reverse reverb mode.
Hardwire’s RV-7 digitally models
vintage favorites plate and spring
reverb and adds room and hall
modes for those looking to replicate the sound of an empty venue. The
pedal also includes gated reverb, modulated reverb, which swirls a bit,
and, of course, reverse reverb, which is intriguing but difficult to put to
“The RV-7 does jacked-up ghostly sustains
very well without sounding inorganic.”
any practical use due to the effect’s odd time lag. The RV-7 does jackedup ghostly sustains very well without sounding inorganic, but politely takes
a back seat when it’s set to more subtle levels and familiar modes, while
offering dual inputs and stereo output. While there’s no replacement for a
great reverb tank, Hardwire’s RV-7 brings realistic reverb and a ton of options for players who want more control than the real thing is able to offer.
CR-7 Stereo Chorus
Hardwire’s delay pedals are extraordinarily versatile, and the CR-7 is no exception. Chorus, an effect that is by no means loved by all, at least benefits
here from its seven different modes. The differences between them are basically warmth and clarity. The studio mode, for example, has heaps of the
latter, but sounds a little sterile as a result. One would imagine the modes
would get less clear and more warm as each clockwise twist of the mode
knob takes the pedal into vintage territory, but it’s not the case. The quirkiest one is boutique, right at 12 o’clock, which has a pleasant warmth but
the chorus’s warble sounds fake and digital. But far the most aurally satisfying is the gorgeous jazz mode, which manages to sound more vintage than
the vintage mode, and is so much warmer. For stage use, though, I’d stick
to the studio, multi and modern modes. Analog and vintage shoot for old,
but neither does it as well as jazz, and the boutique mode falls well short
of all the others. The pedal’s speed and depth controls are very responsive
and allow a great degree of sonic shaping, and the pedal offers two inputs
and two outputs, so if you use two amps or want to combine wet and dry
input signals there are plenty of options. In short, if you want a chorus
stomp, the Hardwire contains several very good options in a single pedal.
The Hardwire line also features a Tremolo, Metal, Valve Distortion,
Overdrive and Tuner pedals. For full review, visit www.sonicscoop.com.
kitchen recording equipment news
ADK S-7 & A-6
www.adkmic.com
Review by Shane O’Connor
G
ear manufacturers far too
often act like pimps hustling their goods under the
veil of trendy marketing terms and
“celebrity” testimonials. ADK takes
a different stance and talks frankly
about what they sell and how it can
aid in the recording process.
it’s particularly useful for its accurate low end, which is ideal on
chuggy distorted guitars.
I received one S-7 and one A-6 large diaphragm
condenser microphone. The build quality of both
mics is extremely solid. There is no question that
ADK is making products that are meant for serious studio use.
ADK advertises the A-6 as a more “all around” studio condenser
microphone that is great on acoustic instruments. I placed the microphone about 5 inches above middle C on a honky-tonk upright
piano. I was looking for something to pop out of the mix without
overwhelming the guitars. The A-6 nailed it. The dynamics remained clean and worked well with hefty compression and limiting.
The S-7 is an FET based mic intended for high
SPL sources such as guitar speaker cabinets or
drums. I cranked a number of guitar amps in front
of it and it never came close to breaking up. Two
pads on the microphone can be useful to get a
less compressed guitar signal.
On guitar amps, the S-7 is extremely clean and open but doesn’t fizz out. It is usable
as a single mic, especially for cleaner country oriented sources, but it really shines in
addition to a Shure SM-57. The S-7 worked well further away from the speaker, and
When placed outside of a kick drum tunnel 3 feet away from the
beater head, the S-7 again gave me a very flattering low end,
which I compressed with an 1176 to pull it back up.
When placed about 4 feet away from the snare the S-7 gave me
a useful mono picture of the entire drum kit without hyping the
cymbals in a harsh manner, which complemented the other drum
mics. I should note that the drummer I was testing this with was
heavy handed.
I had a few chances to use the A-6 on acoustic guitar and results
were very satisfying. A slightly brighter mic, the A-6 handled the
high end EQ boost on jangly acoustic guitars very well.
I started testing these mics while unaware of their price point and
was shocked to find out that they are available for under $300
each. They are on par or better than similar ones worth 4 times
as much. If I were selecting microphones for a new studio, a
stereo pair of each of these would be on my must have list.
the deli
INDIE
BANDS &
SONGWRITERS
tasty tunes from the city of angels
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IF THEY AREN’T
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The Deli charts include ALL the big names of your scene, and they are organized in detailed regions and genres,
including Alt Rock, Indie, Country, Electronica, Songwriters, Indie Pop, Post Punk, Alt Folk and
many more, to allow you to find the right niche for your music.
the deli LA_19
kitchen best selling gear
Affordable Large
Condenser Mics
Behringer B-1 -$200
M-Audio Solaris -$450
RODE NT1A -$369
Audio Technica aT2035 -$249
Studio Projects C1 -$399
ADK A-6 -$399
Portable Synth Keys
Korg MicroKORG -$500
Roland Gaia SH-01 -$800
Alesis micron -$399
Moog Little Phatty -$1,395
Dave Smith Instruments Mopho -$879
Roland Lucina AX-09 -$599
Effect Plug Ins
Portable
Audio Interface
M-Audio Fast Track Ultra -$450
Behringer U-Control -$68
PreSonus FireStudio -$400
Apogee Duet -$495
RME Fireface 400 -$1,499
MOTU 8pre -$595
Looper pedals
Boss RC-2 & RC200XL - from $300
DigiTech JamMan - from $300
Electro-Harmonix 2880 -$150
Akai E2 Headrush -$200
Plush Verbrator -$350
Mike’s Salty Romance
Explosion -$150
IK Multimedia Fender - from $99
Antares Auto-Tune - from $99
Peavey ReValver - from $69
Line 6 POD Farm - from $99
M c DSP Project Studio -$300
Focusrite Scarlett -$99
Powered
Studio Monitors
M-Audio Studiophile -$199
KRK Rokit Powered -$199
Yamaha HS80M -$399
Mackie MR5 -$250
JBL LSR 4328P -$1850
ADAM Audio A5 -$769
Distortion pedals
Instrument Plug Ins
Fulltone OCD -$150
Seymour Duncan
TwiN Tube Blue -$250
Boss DS-1 -$39
Blackstar HT-DUAL -$275
Electro-Harmonix Big Muff -$99
Boss Metal Core -$99
Native Instruments Komplete -$559
Toontrack DFH EZ Drummer -$179
Steven Slate Drums EX -$199
Spectrasonics Omnisphere -$499
Drumagog -$269
FXpansion BFD 2.0 -$299
DAWs
Single/Dual
Mic Preamps
Ableton Live - from $99
Steinberg Cubase - from $99
Avid Pro Tools - from $249
Sonar Cakewalk - from $99
PreSonus Studio One - from $200
Magix Samplitude - From $500
ART P ro MPA II -$250
Focusrite ISA One -$600
M-Audio DMP3 -$199
Universal Audio 6176 -$2,500
Golden Age Pre-73 -$350
Manley VOXBOX -$3,600
*Prices may vary
li’s
Check out the de
blog!
audio equipment
the deli LA_20 winter 2011
www.delicious-audio.com