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The Deli's SXSW Issue 2014 is online!

Read it digitally here.

P.S. 10k free copies of this issue hit the street of Austin during SXSW Music week!

   

Folk/Country

Time: 
19:00
Band name: 
Hannah Rooth
FULL Artist Facebook address (http://...): 
facebook.com/hannahroothmusic
Venue name: 
Oasis House Show
Band email: 
   

VIDEO: With “Super 8,” DE’WAYNE’s Charisma Steals The Show

L.A.-based via Houston artist DE’WAYNE releases their debut album STAINS today, June 18th, via Hopeless Records and you can view a video right now for their latest single “Super 8.”

The track itself combines emo, synthpop, and rock sounds in a tight, meticulously produced package. DE’WAYNE’s vocal jumps right out of the gate from the top, accompanied by insistent rock fuzz bass and drums. Throughout, DE’WAYNE’s energetic vocal yelps are punctuated with Suicide-style delays that send their vocal into infinity. With lines like “I wanna film a porno on a Super 8” the lyrics are straightforward and not insightful by any stretch of the imagination, but they’re not really the focus here. They’re throwaway, a vehicle for the excellent production, hooks, and DE’WAYNE’s vocal performance. One gets the feeling that with the right song DE’WAYNE will be a household name.

Meanwhile, the video (directed by Joe Mischo) alternates between scenes of DE’WAYNE and a “friend” getting into various stereotypically “porno” role-playing antics and more performance-oriented footage of DE’WAYNE and their drummer among a curtain of chains and hooks. One shows the more deadpan comedic side of the artist, while the other adds a mild bit of sexual edge, although DE’WAYNE never strays into even PG-13 territory. It’s clear in his energy and confidence in performance that there’s a lot of promise here in DE’WAYNE. One hopes that their future material will show a maturity in songwriting that rivals their considerable pop idol-to-be talents. Gabe Hernandez

 

   

FRESH CUTS: With “12:55 PM” Celia Hollander Plays With Time And Wins

Photo courtesy of the artist

LA-based electro-acoustic composer Celia Hollander has released “12:55 PM a track from her upcoming album, entitled Timekeeper, out July 23rd on eclectic local label Leaving Records.

Hollander, with an MFA in Music Composition & Experimental Sound Practices from Cal Arts, describes her output as “…work that critically engages ways that audio and the act of listening can shape temporal perception, generate narratives, question cultural infrastructures, and cultivate social connection.” For us, it’s the audio shaping temporal perception part that draws our attention to “12:55 PM.”

The instrumental track begins with a clock-like shuffle rhythm, the sound of which is reminiscent of the electronic fizz of retro drum machines, before helium-tinged synth stabs begin bubbling up in the mix. Occasionally, tasty drippings of silicone-coated synth bass add some welcome low-end thickness to the soundscape.

On the whole, the track presents a vaguely tropical vibe, but not so much that you feel like serving up mai tais. “12:55 PM” fades in and out like an ocean breeze, but it’s also a chilled, yet caffeinated sonic landscape that entices you to dance, but could just as easily soundtrack your next dose of edibles. Hollander clearly has a way with manipulating a listener’s perception of time. The other tracks on Timekeeper are all titled after very specific times of day. What we can say with confidence is that we’re looking forward to losing some more precious minutes and hours in her delicate, enticing aural playground. Gabe Hernandez

   

FRESH CUTS: “Do I Have To Feel Everything” Finds Sara Noelle In Full Bloom

Photo Credit: Erik Hayden

L.A. based singer-songwriter Sara Noelle is a self-described “ambient-folk” artist and she’s released the first single for her upcoming album (title and release date TBD). Entitled Do I Have To Feel Everything, it’s her first release since her late 2020 single Christmas at Sea.

Produced by Dan Duszynski, the new track begins with insistent harmony synths, before a lush, lightly vocoder-tinged chorus of Saras fills the listener’s ears. Throughout, liquid synth pads tastefully bathe the arrangement, like layers of crystal blue seawater. A simple but weighty bass drum heartbeat holds down the rhythm while toms occasionally tumble through. The song gently crescendos with a full complement of electronic drums and angelic, wordless vocals. Melodically, there are (not unwelcome) similarities to Fleetwood Mac and Death Cab For Cutie, but overall the track gives the impression of being both propulsive yet meditative. It’s a difficult balancing act but one that Noelle and Duszynski pull off with grace, as nothing seems out of place, although many things are happening at once.

Lyrically, the mention of the “silent year/like time stopped,” instantly brings to mind our collective Covid year. And while the vibe of the music is a positive one, lines like “I don’t know where and I don’t know where I am/The closer I get, the farther I am” hint at a persistent sense of limbo and uncertainty about the future that many of of are likely feeling. Although it’s especially resonant at this time in history, Sara Noelle’s track carries a certain timelessness in its lyrical feelings of alienation. Gabe Hernandez