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Deli CMJ Electro/Avant Pop Stages at The Delancey 10.18 with Wildlife Control, Dynasty Electric, Dinosaur Feathers, Il Abanico, Cultfever + more


This is going to be the longest list of this whole series of announcements. On Thursday, we're once again taking over both floors of The Delancey with upstairs, a line-up of electro up-and-comers from all sides of the spectrum and downstairs, some creative pop gems fitting under the Avant Pop label, for a total of.. NINETEEN acts! So enough chit-chat, let's get to the list, because that is sure going to take up enough space.

Opening the (free!) upstairs show, Thomas Simon's ghostly mixes, followed by the bizarre folk-tronic experiments of Max Horwich's Sewing Machines, Cultfever's chaotic outputs and Railbird's more intimate creations. Next up, we've got three out-of-towners, i.e SF's Maus Haus, Philly's electro/hip hop artist Lushlife, and finally, Anomie Belle, from Seattle, co-headlining the show with NYC's own Dynasty Electric. Then, taking it to the later hours of the evening, Ducky, and Drop Electric (coming from DC).

Downstairs, our two headliners will be Dinosaur Feathers (top picture) and Wildlife Control, who both released this year a delicious new album, second for the former and a first for the latter. We've also got, on this stage, three acts coming from Los Angeles: openers American Royalty, shoegaze-pop band Letting Up Despite Great Faults, and Kiven, who will be closing the show. Add to this Columbian transplants Il Abanico, Conveyor, whom we covered in our last print issue, the catchy jams of five-piece Modern Rivals and finally, Santah, coming from Chicago, and.. I believe WE'RE DONE! In the pictures: Dynasty Electric & Wildlife Control.

Electro dream-pop from Brooklyn: Ducky

Brooklyn’s Morgan Neiman (aka Ducky) has a new EP, The Whether, continuing her assault on gooey soul-pop by playing sultry, understated vocals against tinny electro beats and homemade dubstep basslines. The four-song affair (clocking in at under 12 minutes) recalls the Cardigans, minus the joy, re-imagined instead as a dream- like transmission broadcast from an undisclosed underground bunker. Trippy stuff, Ducky’s videos are even more strange. Take the one for “Killing Time,” featuring three young females baking a cake and standing in front of a mirror dressed like tormented wives from a Douglas Sirk period drama, their greatest impasse here being that of sheer boredom. It’s this kind of unabashed decadence that first brought attention to Williamsburg over a decade ago. In the hands of the frivolously-monikered Ducky, it feels like a sort of homecoming. - Brian Chidester


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