The Deloreans

John: Hi JP! thanx for talking to me tonight..
Perry: Sure, JK
John: so, The Deloreans just announced the release date of the 2nd LP "American Craze" (1.18.11, pre-order now at www.deloreans.net) how long have you been working on it?
Perry: The cumulative time wasn't all that much. But because of schedules, we spent around 10 months from when the first sound was recorded until the mixes were sent to Carl Saff, our mastering engineer. About a 6 month or so improvement over our 1st album.
John: when was your first LP, Love Outrageous, released?
Perry: June 27th, 2009. The first sounds of that LP were recorded in December of 2007.
John: wow, so you guys are getting quicker in the studio.. I know you largely took over the controls recording American Craze, was that the same for Love O?
Perry: For Love Outrageous, drum tracks for 10 songs were recorded @ Downtown Recording on 4th Street, here in Louisville. The drum tracks for "Ooo... Ahh..." and "Why Don't You Say" were recorded by me at this warehouse at the Swan and Kentucky intersection, in Germantown. We really loved that place: a huge open warehouse that seemed to go on for miles. And despite that fact that recording at the warehouse cost zero $$$, my favorite drum sound on the first album is from "Ooo... Ahhh..!" I had a microphone about 100 feet from drum the kit - we did that for a few takes and stacked those takes over top each other. We got an amazingly huge drum sound and an awesome natural reverb from the space. We rehearsed there for a bit as well. Anyway, the rest of the music was recorded by me in an apartment on Maryland Ave. in the Highlands that I lived at at the time.












Now, Downtown Recording, owned by Nick Stevens, has some of the finest gear around. They have Neve 'Melbourne' console with a dozen pres I think that is amazing. THey also have an amazing sounding 'live room' as well. Despite that, I wanted to record this entire album on my own. Not to save $$$ though. It doesn't sound very intuitive at first but I wanted to record everything myself to learn more about song writing. Some bands, not knocking this approach to be sure, but some some bands would certainly prefer to go into a studio and concentrate solely on performing the music that they have worked out over time - it keep their mind of gear-related things and such complications. They can concentrate on getting the performances right and not have to worry about which mic to use on the kick drum and where to put it and how to tune the resonant head and the batter head and not have to worry about the nuts and bolts (read: insanity inducing) of mixing their tracks. I totally understand that approach. Engineering takes decades to master and to be able to do quickly.
But for me, I wanted to, as I said, use engineering as a way to learn more about songwriting and production.
For example, sticking with the kick drum, the key of a song might dictate to what pitch the drum is tuned to. Say a given track requires to kick to be tuned to an A note. Well, that might inform how to bass guitar part should be arranged - or vice versa. If it 's a song that requires some kind of tight sounding low-end, than this relationship between kick and bass guitar might require some treatment. And that helps me in the arrangement/production process. If a song needs this - I do that. I didn't know about these things (very rudimentary actually) until I tried to record everything myself. It won't necessarily help me to write better songs or to help someone I'm working to write better songs, but it will help me make sure that I have viable options when it comes to getting things across the best way.
John: :I do most of my recording myself, honestly because i never have any $, and because i normally don't have a set band behind me.. but yes, it is insanity inducing for sure. on those rare occasions that i can waltz into a studio with a band, i feel much better.. i can concentrate on the music and not spend 4 hours chasing down some buzz, or wonder why my vocals sound like shit..
Perry: Hah. I love that stuff! Loren, our other guitar player loves this stuff as well. We were pretty obsessed with the book "Recording The Beatles" while were tracking and mixing the album. But seriously, it really seems like every time I solve one of those annoying little problems, I learn something about arranging or production - kind of hard to describe I guess. Not for everybody though for sure.
John: Love Outrageous blew up fairly quickly.. WFPK still plays it fairly regularly, and Attacked By A Panther was a local hit! and i heard that this was your first band. that's quite an accomplishment..


Perry: Well, I had some other very brief projects before, but nothing that resulted in an official release. Other than those brief indierock things, I mainly have concentrated on classical music. Studied that in college.
But, yes, the first album seemed to take off f - 37Flood

What is to be said about an album that perfectly satisfies exactly why you love music? Running WLFY for three years now, Hank and I have tried to listen to four-five albums a day, juggle suggestions from friends/fellow bloggers, and dig through endless singles to bring our readers what we consider to be a match for our specific taste. Recently my brother Nick (who runs the Brooklyn Vegan of Louisville music called Backseat Sandbar) was dropped off a vinyl from a local band called The Deloreans. I was in the middle of watching a movie and was pissed off when we had to stop the flick to play the record. After the first two tracks, I sat in the living room stunned...this is what I've been looking for in music. At the end of the night, Nick and I had played the record seven times, flip and needle drop over and over. I'll try my best to describe the sound, influences, all the standard blogger writing...but I really want you to listen to the opening two tracks that are provided at the end of the post.

My immediate comparison is Morning Benders meets Bobby Vinton with an infusion of 70's punk in moments. The A side keeps to the first comparison, but once you flip the record, there are moments of Titus Andronicus, the Wizard Of Oz Soundtrack, and the whole record sounds like it was recorded by the genius Joe Meek (Opening track has a nice "Telstar" moment). Currently there is this trend of bands who are making music not defined by a single decade. Cults, Tennis, Destroyer's new record, Twin Sister, Ariel Pink, and many more are taking little qualities of the 60's, 70's, 80's and infusing them in such a way that the sound becomes their own. While I love most of the bands listed above, nobody has a better handle on this timeless way of creating music than The Deloreans. Their knowledge of music and the sonic qualities of each of these decades has been so carefully examined and strategically manipulated on "American Craze" that the sound is familiar yet nothing you've heard before. I could talk for hours about my love for this record and I will on my full review that I plan to release near their album release date (Jan 18th), but for now, check out the opening tracks of the album.

I hope you enjoy, listen to the tracks on headphones or a good system...while you listen I'm going to spin "Buffalo" over and over.

- We Listen For You

Louisville’s The Deloreans have created a masterpiece with their newest album American Craze (out on Jangle and Roar Records, Jan. 18, 2011). From the moment the needle dropped on the first track “Gatsby,” I was hooked. The Deloreans have create a sound that is as old as the 50's, but is something you have never heard before. Frontman and producer, Jeremy Perry, is Bobby Vinton reincarnated. It’s the Morning Benders. It’s Pet Sounds. It’s Fang Island. It’s the Rat Pack. It’s metal. It’s gospel. It’s punk. It’s orchestral. It’s amazing!!! The album is a journey through time, culminating in a melting pot of musical genius. “Gatsby” and “Buffalo” may be the best Track 1 – 2 combo I’ve ever heard (download below). I had to take a break after the first three tracks to realize what I was experiencing. “Buffalo” is sure to be a crowd-pleaser and is catchy as hell. Trust me, you will be singing it in the shower. Side A ends with a beautiful 1:43 minute track called “Thank’s y’all” which serves as a perfect intermission (it’s the last track on the CD, as a bonus track, which serves the same purpose). Side B kick’s off with “Leviathan” with a strong metal influence which catches you off guard, but still manages to tie in with rest. It’s a headbanger with pop melody (just listen to it, you’ll never create it in your head). “Landslide” is a repeat listen automatically. It’s straight out of a soundtrack to a Tarantino film. It’s light on the surface, but it builds in a way more appropriate to a murder montage scene. The finale, “Dear,” is an epic track that anchors the whole album. For this song, I picture a ballet on stage with the band dimly lit in the background. It’s larger than life and more beautiful than words.

We were huge fans of The Deloreans’ last album, Love Outrageous, but this album goes to a whole new level. Meg, Bill, Loren and Jeremy have put out one heck of an album and Louisville should be proud. It is only a matter of time until everyone takes notice. So take notice.

Pre-Order the LP or CD HERE. Go do it now, or I’m sure it will be at ear x-tacy on the 18th. I highly recommend the vinyl and I hear it is limited to 300 or so copies.

We can also expect an ear x-tacy in-store some time soon. We’ll keep you updated.

Download the first two tracks… (word is they will be adding a new track to stream every day until the album is released!)


- Backseat Sandbar

Via a tweet from We Listen For You comes the catchiest song of 2011. Hyperbole aside, on twitter WLFY compared the track to Cults’ “Go Outside” in terms of being a breakout track. After a listen I thought more immediately of Surfer Blood’s “Swim,” both in terms of breakout potential, but also in its power chords and large chorus. “Swim” is a better song, but “Buffalo” has one of the most indelible choruses I’ve heard in a moment. Anthemic and big-spirited, the song is trying to be grand and ultimately succeeds.

You can listen to some of the band’s older, much rawer work on their MySpace page linked below. Despite sounding a bit rougher, in that older material you certainly attain a sense of their progression towards being capable of a track such as “Buffalo.” Their album American Craze is set for release in a few weeks, and if you like what you are hearing, pre-order it here.

- tympanogram

The Deloreans first LP "Love Outrageous" was quietly released in the summer of 2009. Supported by the success of their Louisville is for Lovers vol.9 effort "La La Love" and Heavy rotation of their explosive track "attacked by a panther" on WFPK, sales of Love Outrageous steadily rose and over the next year The Deloreans became a main player in the louisville scene.
Love Outrageous is a quick paced montage of poppy guitar hooks and waves of "ooh ooh's and ahh ahh's", creating a wonderful soundtrack for late night house parties and impromptu 'in the car karaoke' sets. though a perfectly decent pop album, and a very successful effort for the bands first try, Love Outrageous was in search of a perfect radio friendly hit.

now 2 years Later, the band's sophomore release "American Craze", has abandoned the equation for the perfect 3 minute pop radio jam, for an expansive journey into America's love affair with pop music and pop culture, resulting in an expansive road trip into musical genius.
The album begins with a familiar tone, "Gatsby" is a retooled version of the song "American Craze" from the 2010 Louisville is for Lovers "Anniversary" album, and is a nice bridge between the Deloreans first album and this new one. Starting off quietly, the vocals and guitar work become gradually less and less contained, finally erupting uncontrollably before falling completely into silence, just before a lullaby brings us back into focus, as if preparing us for the completely out of control, and inevitable ultra popular track "Buffalo".
Buffalo's expansive "wall of sound" drum and vocal tracks encompass and transport the listener into a surreal musical journey through love and passion is a prelude to the rest of the album.
on this latest LP the band relied more on ambient room sounds and clever recording styles rather than built in sound board effects that gives the album endless layers of texture. This alone is worth picking up the album, but as American Craze unfolds, the songs become more and more complex showing the true talent of these musicians that is rarely seen in todays pop music world. the dueling guitar solos on "Leviathan" and drum driven "Animals" are a testament to the bands dedication to their craft as well as front man J Perry's mad scientist style conducting. This balancing act of musical skill and pop rock glamour climaxes on "landslide"; a playful romp into the alluring side of romantic deception.
This ruckus album takes a slight departure on the album's last track "Dear", a dreamy and perfect ending to this trip tic through pop music's high points, as there is not a dull track in this 11 song, nicely packaged and brilliant album.
If "Love Outragous" was the vehicle that introduced The Deloreans to Louisville, then "American Craze" should be the one to bring them to the rest of the world.

- 37Flood

Thanks to WLFY for harping on this band until everyone paid attention. They’re one of the newest groups to emerge from Louisville and they seem quite ready to earn their stop in your playlist.

I can’t really claim to know the first thing about what goes on in the Deloreans’ members minds, but “Buffalo” sounds like you took half the National and half of an NME-picked all star band and asked them to whip up a track. It’s a bit anglophile pop but it has those dark National-esque vocals. Not a combo you’re likely to find anywhere other than Louisville, my friends.

The Deloreans on Bandcamp — they’re giving away a song per day until the album comes out. Go snag ‘em now!

- You Ain't No Picasso

‘Our path’
The Deloreans find identity on ‘American Craze’

By Michael Sohan
The Deloreans return with their sophomore album, American Craze, on the heels of their successful debut, Love Outrageous. Singer and producer Jeremy Perry talks musical maturity.


LEO: How do you think American Craze challenged you?
Jeremy Perry: We felt we’d like to thicken the plot. With our first album, we sorta invited people to our musical home, but then there wasn’t that much to do. Maybe you got some sugary treats when you walked in the door. With American Craze, we have them in our home now and lovingly afford them the opportunity to feast upon our finer and more luxurious musical courses.

LEO: How do you see your growth as a songwriter now that the Deloreans’ success affords stability as a music identity/channel?
JP: A perfect question for me to mention my favorite Coco Chanel quote: “So many cares disappear when one decides not to become something but to be someone.” Most people will spend their lives trying to be the former, just wanting to be “something.” I think we now can, after some maturity, see more clearly who is the “someone” we are, our path, what makes us different, distinct.

LEO: What do you feel you wanted to “nail down” on this album?
JP: Letting people know who we are is the most important thing. You know, why you should listen to our music … You can’t really get what we do from any other band. But in general, we wanted to bring everything to the next level. Better songs, better recordings, better artwork.

LEO: What do you want existing fans and new listeners to find in American Craze?
JP: (Love Outrageous) had some catchy songs, some exciting sounds and interesting subjects. But that’s about it. I don’t mean that in a bad way; that’s exactly what we intended. The songs on American Craze are even more endearing and memorable, but listeners will find that there’s also more substance. I’ve got less inhibition now regarding what I want to write about. I think that was my main goal with this album: more development.

LEO: Describe the Deloreans in 25 words or less.
JP: An excited dude once came up to me after a show and said, “Maaaaan, y’all remind me of, like, Sinatra in Vegas, David Lynch, and bein’ at the beach.” I like that.

- The LEO Weekly

If the world is a just place, it won’t be long until The Deloreans blow up. As it is right now, an attempted visit to their last.fm page gets you redirected to Delorean, and even throwing in +nodirect in the url gets you to a page with information about three bands that are not them. Their sophomore effort, ‘American Craze’ was released two weeks ago, with rave reviews by a lot of blogs that know good music (i.e. WLFY, who introduced me to the band), but as with many great bands, they’re still flying under the radar. No Pitchfork, no widespread blogosphere invasion, no interviews with the New York Times. For the time being, it seems that The Deloreans may remain a gem known only known to Louisville, KY residents and a few other lucky souls, but I’m honestly willing to do anything in my power to change that.

As of their second record, The Deloreans have seriously begun to live up to their name. They seem to have reached 88 miles per hour, and are consequently able to transport us into the past as well as the future. There are a lot of 1970s and 80s stylings going on in their music and have garnered many a comparison to Bobby Vinton, one of my personal favorite artists (for the arrangements moreso than his voice) of the 60s and 70s. Their sound is a more raw and rock driven than the easy listening music that their sound seems to be reminiscent of, at times incorporating elements of everything from surf rock to prog rock to dream pop. They mix the timelessness of the Beatles with the epic full sound of The Morning Benders and the sound of all your favorite classic movies with some distinctly 21st century sensibilities and humor.

I can’t talk about The Deloreans without raving about how much I love their lead vocalist, Jeremy Perry. Even in what seem musically to be his worst moments, Jeremy manages to induce chills. Honestly, in sitting through a full listen of the album, my spine may as well go numb. If there was ever an album that I would host a listening party to… this might be it. Even if you stripped the album down to just the vocals, ‘American Craze’ would likely still be one of my Top 5 albums of the year thus far.

Beyond the amazing vocals and the lush instrumentation, the most amazing thing seems to be how much the band has matured and changed since their last album. Their debut, ‘Love Outrageous,’ was released in 2009 and features some gorgeous pop songs. Though the songs are amazing in their own right, they’re a bit formulaic, all sticking around the 3 minute mark and following the typical verse-chorus structure. That said, the band seems to fit in directly with the musical vernacular established by the Talking Heads, The Pixies, and The Crystals – again exhibiting their ability to time travel. Take a listen to what is arguably the best track on the album and keep it in mind when you’re listening to ‘American Craze.’

After listening, you may be wondering how much better the band can get. Why Don’t You Say is quite capable of getting your head bobbing at its breakneck pace, but lacks the type of freeform creativity of the bands amazing sophomore effort. With ‘American Craze’ the band seems to have completely embraced having fun and realized that by doing what they want, they’re capable of creating amazing tunes. They move through meters, keys, stylistic paradigms, and song structures completely at will. The sound ranges from epic, suspense filled Tarantino film score to easy listening to ridiculous sing-a-long melodies to F. Scott Fitzgerald incarnate in song to downright indescribable. ‘LEVIATHAN’ probably does the best job of catching you completely off guard, slamming you with a metal guitar riff, a catchy pop melody, a marching band beat drum. Its totally worth head banging to; the only other band I can recall doing anything similar (and to much less effect) is Gatsby’s American Dream – as much as I love Nic Newsham, his voice can’t compete with the timelessness of Jeremy Perry’s even in the great Ribbons and Sugar.

Truthfully, this is an album where I could pull off one of my 3000 word essays of a post on any given song – there is so much to talk about in gems like the perfectly casted ‘Dear’ with its grandiose, larger than life sound, acute self-awareness and consequent mocking tone; the instrumentals match the lyrics in a sublimely meta fashion. However, the most powerful part of the album is arguably the one-two punch of Gastby and Buffalo. Gatsby warms you up for the sucker punch that is Buffalo’s catchiness – I think the song has been stuck in my head recently more than anything in recent memory except Lady Gaga, which is saying a lot considering Gaga is the soundtrack to half of the parties I attend. I don’t think I can recommend anything more highly than streaming or purchasing the album from The Deloreans’ bandcamp – I can almost guarantee that you’ll immediately realize their musical genius even if you don’t like the style. But, just incase you don’t make it over there, t - Malleaus & Incus

I want to be a buffalo,
And I want you to be a buffalo too
Would you like that?

If there’s a prize for most appropriate band name of 2011, Louisville natives The Deloreans are the current frontrunners. This band is prepared to slingshot us back to a time when 60’s pop reigned supreme, and rest assured, we’re riding in style. But just as Part II found Marty McFly zipping around on that totally sweet hoverboard, The Deloreans are also looking to the future on their sophomore effort American Craze.
The first contemporary act that comes to mind when I listen to American Craze would have to be The Morning Benders, especially Big Echo’s opening track, “Excuses”. Both albums feature such strong songwriting that a simple guitar and vocals rendition (especially Jerome Perry’s irresistible croon) could retain the power of many songs, but it’s the dynamic arrangements on both albums that bring the tracks to another level. Album opener “Gatsby” is a subtler example of this attention to detail –its piano fills and backing vocals, pushed to the back, allow Perry’s voice to drive that melody deep into your cerebellum– whereas the overpowering drums and synths of swaying doo-wopper “Call Off The Pain” hit like a punch to the gut. I’ve yet to see this band live, but I can only imagine that if they ever ended a show with “Buffalo”, they would literally bring the house down. The power of the band is on full display here, and the chorus is one of 2011's finest to date. You’ll want to be a buffalo too.

But I’d be remiss if I stopped at the first half of this record. Oh yes, there’s another side, and if the A-side is what sold me on the band, American Craze’s B-side is what sold me on this album. I’ve driven the 50’s/60’s pop comparisons into the ground, and evidently The Deloreans believe they have as well. The tracks on the latter half of the record are no less theatrical and energetic, but there’s a willingness to experiment here that’s refreshing. Where a lesser band might have been content to keep driving home the hooks, however lovely they might be, The Deloreans have opted to ratchet up the intensity and start a mosh pit. Beginning with the fiery “LEVIATHAN” –the closest I’ve ever heard an indie band come to channeling Mastadon– the album takes a turn for the strange, and it’s amazing. There’s a swagger in the band’s step on songs like “Landslide, Bitch” that’s completely absent from the A-side, and the fact that they can sell this new attitude so convincingly is a testament to their authenticity.

The entire affair comes full circle with the closing track, “Dear”. Earlier this year, I cockily stated that there wasn’t going to be a 2011 album with a stronger closer than Kaputt’s “Bay of Pigs”. I’m not quite ready to say that The Deloreans have bested Destroyer, but “Dear” has given me hope for 2011. The lush strings, the pizzicato orchestration, all paired against those overpowering piano chords; it should’ve all been too bombastic to be taken seriously. But it’s Perry’s voice that sells it, and you buy every note. This song killed me. This album destroyed me. And I wouldn’t have it any other way.

Listen to stand-out A-siders “Gatsby” and “Buffalo” below, then stream American Craze in its entirety over on the band’s bandcamp page.

- Bears Eat Beats

Louisville has always had a rich music scene, but only over recent years has the scene been recognized for its contribution to independent rock music at large. Many current bands point to "Spiderland" from Louisville's own Slint as an essential album to indie rock. And, of course, My Morning Jacket has put the city on the map as a place where great music is invented and cultivated.

New sounds and creations are always being concocted in Louisville. There's one band that wants to take the tradition of inventiveness we hold so dear within our scene and turn it inside out. This band is The Deloreans and they're here to blow your mind with "American Craze."

The Deloreans quietly came into the Louisville scene with their 2009 album, "Love Outrageous." The debut displayed a knack for jangly guitars. The decidedly neurotic croon of lead vocalist and guitarist Jeremy Perry provided a fantastic juxtaposition to the standard guitar rock structure of modern indie rock. On "American Craze," the band trades in any effort to synchronize their sound to other modern acts, instead tending toward the nostalgia of the music of crooners past. And it works.

Perry, the mastermind of The Deloreans, has self-produced both albums for the band. The collection of songs on "American Craze" extends as far as the 1960s croon of entertainers past on "Gatsby" to the outright metal guitar workout of "Leviathan." One thing is for sure: The experiment between genres is prevalent on "American Craze." And it is carried expertly.

The fact is that "American Craze" is an immediate Louisville classic. The bedroom production of the record should be evidence enough. It sounds clean and concise. The completeness of the record is only complemented by its genre-bending nature.

Perry's voice is a perfect deadpan croon. He sounds as if he is singing directly to you as a listener, while the music in the background dances around his lyrics. Meg Samples, a graduate of the University of Louisville music school, provides the drums and percussion on "American Craze," creating a complementary backbeat to the organized chaos of the new standard of Louisville sound.

Simply put, "American Craze" should be on top of your purchase list. Your mom would love it. And you will too.

- The Louisville Cardinal

The state to our south is putting out some good music. Case in point: The Deloreans. This group out of Louisville, KY has some balls. And not just because they’re making great powerpop. Adopting a band name used by several 80's cover bands takes some guts. (Googling ‘The Deloreans’ gets you about three of them before you hit these guys).

But then, The Deloreans are further proof that there is little in a name.

American Craze is the band’s sophomore release. It dropped a couple months ago to some solid blog buzz, though the band seems to have stayed in the blogosphere mostly. And here we are contributing to that fact. There’s no real way to get around it: these guys deserve a whole lot more attention. While other indie bands are draping reverb all over their vocals to the point of being unintelligible, hiding behind buzzing guitars, and throwing in massive walls of sound, The Deloreans are upfront. They’re unarguably pop but you can’t say they don’t rock.

I’ve had “Buffalo” rattling around my library for a while now and I simply never got around to the album itself. In fact, I had to actually burn myself out on “Buffalo” to move on to the album as a whole. I’m not sure if that’s a good sign or not. Should you make a single so good no one bothers to move past it to the album? Well, that’s a question for the band, I’m just here for the music.

Other album highlights include the awesomly-loungey opener “Gatsby,” and the awesomely loungey “Intermission: Thanks Y’all!” Both are throwbacks to the languid quality of early sixties easy listening and pull the conceit off wonderfully. “Non” is a great, dynamic track that’s simultaneously soothin’ and bumpin’. The quality of production is excellent throughout the album, at times reaching a gorgeous, cheesy quality ala old Disney scores. In particular, check out the closer, “Dear” for some absolutely astounding production.

Simply, these guys have a sound entirely their own. Their influences aren’t the kind seen in modern pop. Indie or not, these guys are special.

- Middle Class White Noise

We were ranked #28 on the Best Louisville Songs of the Decade for our song "Why Don't You Say".

http://louisville.metromix.com/music/article/best-lousville-songs-of/1686006/content

1. “Mahgeetah,” My Morning Jacket

2. “Get Your Hands Dirty,” Bonnie “Prince” Billy

3. “Po' Folks,” Nappy Roots

4. “Marmalade Maggie,” The Merediths

5. “Majestic,” Wax Fang

6. “At The What's On Fire,” Joe Manning

7. “One Big Holiday,” My Morning Jacket

8. “Can't Believe A Single Word,” VHS or Beta

9. “Rolling Stone,” The Villebillies

10. “Vampire Movie,” Jamie Barnes

11. “Lollipop,” Lil Wayne and Static Major

12. “Phone Went West,” My Morning Jacket

13. “Old Skin,” Young Widows

14. “Down In It,” The Middlemen

15. “Lay and Love,” Bonnie “Prince” Billy

16. “Calm Americans,” Elliott

17. “Dead Celebrities Are Amusing,” Christiansen

18. “Alive and Well,” The Phantom Family Halo

19. “Wilson Pickett,” Tim Krekel

20. “Louven,” Shipping News

21. “The Long Fall,” Cabin

22. “Overexposure,” The Fervor

23. “Nobody Loves You When You're Down,” Johnny Berry & The Outliers

24. “Touch Me I'm Going to Scream Pt.1,” My Morning Jacket

25. “A Change Is Gonna Come,” Ben Sollee

26. “Whiskey House,” The Glasspack

27. “Streets and Shadows,” Second Story Man

28. “Why Don't You Say,” The Deloreans

29. “Trust Rises,” Peter Searcy

30. “Invisible Brain,” Dangerbird

- Velocity Weekly

By Steve Morgan
A band’s first album can be a tricky. There is no shortage of things that can go wrong, and there are even more things that can go overlooked. Often, attention to detail and careful production are cast aside in the name of saving money or just outright laziness. But with all of these possible pitfalls, Louisville’s own Deloreans have come along and made a record that is not only executed with care, but filled with fun, contagious, hook-riddled songs.
Their sound is certainly fresh. It’s something of a combination of 1950s button-down rock mixed in with spooky, surfy guitar riffs, dipped in a 1970s lovesick Costellian urgency (if that makes any sense).
Lead singer/songwriter/guitarist Jeremy Perry’s unconventionally dramatic vocal style may raise an eyebrow or two at first listen, but after hearing the thick, layered harmonies of songs like ‘Beast’ and the desperate catchy pleas of ‘Why Don’t You Say,’ it’s clear that Perry knows exactly what he’s doing, and it works very well.
Drummer Evan Pouchak, along with bassist Bill Willis, lock into Perry’s riff-driven ditties and show a clear symbiosis. Pouchak impressively commands a variety of funk/rock grooves and feels throughout the 12 cuts, yet manages to remain stylistically coherent and aware without sounding repetitive. The groove on ‘Demons’ is probably one of the nastiest on the record, and I mean that in the good way.
Love Outrageous is truly a fine album. It’s a collection of 12 songs which rarely hit the three minute mark but will stick in your brain for hours and hours after listening. I urge everyone to check out the Deloreans as soon as possible.
Find out more at http://www.myspace.com/thedeloreansmusic. - Louisville Music News

BY DENNIS O’NEIL
Deloreans’ frontman/guitarist Jeremy Perry really digs the crooners of ’50s and ’60s rock and roll. Take one look at the back of The Deloreans’ first album, Love Outrageous, and you’ll understand just how much.
With a pink button-down under a solid black suit; a silver, American Bandstand-ish mic; and an earnest, lovelorn expression triggering memories of Tom Jones, Perry looks ready to bring the heat on “It’s Not Unusual.” One look at the album and there is no mistaking what dimension you’ve wandered into.
These guys bring not only the image of the era, but also the youthful innocence.Love Outrageous is a listen away from Franz Ferdinand and The Killers, but Perry’s lyrics tackle simple subjects like boy-meets-girl with the heartbroken weariness of Roy Orbison. The production is low-rent, as Perry recorded most of the songs himself, but his prowess as a songwriter makes up for it. Songs like “Scream” mesmerize with a spooky, Animals-like energy while “Do It Like You Mean It” is so simple and charming that it winds up being unforgettable.
Spirits dampened when drummer Evan Pouchak moved to Los Angeles, but Perry and bass player Bill Willis are ready to soldier on with Squeeze-Bot drummer Megan Samples. They hope to tour later this summer.
LEO: The album has a real ’50s flavor to it. How much of an influence was that type of music on this record?
Jeremy Perry: We stole the drumbeat for “OOO … Ah” from the Phil Spector song “Be My Baby.” Some of the songs from back then are so strong that you wouldn’t change anything — not one chord, not one beat, nothing. I wouldn’t pretend that our songs are as good as those guys, but I really like a lot of the sounds from back then as well as what those guys wrote about.
LEO: What kind of approach did you take in songwriting on this record?
JP: I tried to approach really simple subjects, like guy-meets-girl, but do it with some bizarre metaphor like a panther on “Attacked by a Panther.” Really I just wanted to put something new and different out there that was as good as anything else coming out in Louisville.
LEO: You guys have been playing for a couple of years and are still building your following. What are some of the things that you think keep people coming back to your shows?
JP: On a local level, more important than probably anything else is for people to just know you are nice guys. I talk to the audience a lot in concert, or people will call out songs and we’ll play them. It’s important to interact rather than act like rock-star assholes. We aren’t like that, and it is important that people don’t perceive us that way.
- The Leo Weekly

By: Joseph Lord

Let’s just get this out of the way: The Deloreans are one of the best Louisville bands you’ve never heard. The three-piece fronted by Jeremy Perry has played too few high-traffic shows — perhaps none — for this notoriously picky city to get behind them. And Louisville might never get behind them, but who cares? “Love Outrageous” is energetic and whimsical, with clear nods to Talking Heads and the better parts of Devo. Perry’s singing is soaring and excessively dramatic — a fun thing if you get it, a distraction if you don’t. But fun is the key — The Deloreans make no statements and they’re not imploring listeners to get drunk and screw. The lyrics are simple, mostly guys-wants-girl stuff that succeeds in not being a distraction to peppy rhythms and Perry’s distinct guitar playing and singing. It borders on silly, good, clean fun pop rock that manages to be interesting but also inoffensive, except to those who are turned off by fun. “Love Outrageous” shows rookie mistakes: the best song, “Why Don’t You Say,” ends awkwardly and the home-recorded production doesn’t quite work for this style of music. This shouldn’t matter much. The Deloreans are amusing, and that’s what matters. - The Velocity weekly

Jeremy Perry’s plan, briefly, was to be a concert pianist.
That didn’t exactly work out, but Perry put his degree in piano composition from the University of Louisville School of Music to use — writing catchy pop tunes.
Perry, 31, was a music late-bloomer — learning piano at 18 and heading to music school in his late-20s. During the day, Perry gives private piano lessons. At night, Perry picks up a guitar and gathers his three-piece pop band the Deloreans.
“I like to write pretty much just straight-up love songs,” said Perry.
The Deloreans formed in 2007 and have played frequently, although rarely at Louisville’s prime music venues. Perry’s David Byrnesque singing and unconventional guitars over upbeat pop songs can charge an audience. The Deloreans are recording and mixing their 12-song, as-yet untitled debut album. It’s set to be released in May.
“I want to do a great Louisville album,” Perry said. “Something that will stand out in the history of Louisville music.” - The Velocity weekly

I have indeed listened to the CD – really cool stuff! Definitely “out-of-the-box” writing & production. It all has a nice raw feel to it, and it doesn’t really sound like anyone else that I can remember hearing. Tell them to keep up the good work! - Tommy Lee Gudding Program Director – WLRS Louisville

The Deloreans have quickly become one of my favorite local bands. I first heard of them through their track on the last Louisville is For Lovers, “La La Love.” As soon as I heard it, I was blown away. Little did I know this was only the tip of the iceberg. I got my hands on their new album, Love Outrageous, and heard what this band is really made of. True to their name, they take you back. Way back. Part 50’s sock hop, part 60’s British Invasion, part 70’s New Wave, all updated to make your jaw drop. Frontman Jeremy Perry is a technician on the guitar and his vocals dominate the album. Combined with a tight rhythm section comprised of Bill Willis (Bass) and Meg Samples (drums) and you get the magic of The Deloreans. Meg is a new addition to the band since the album came out and she had to be a no-brainer choice. I saw her play with Squeeze-bot and saw something special. I can not recommend highly enough checking out this album and going to one of their shows as soon as you can. You’re next chance to check them out will be on November 13, 2009 at the Vernon Club with Bad Blood and Yardsale. - Backseatsandbar.com

The Deloreans sound is a combination of 60s pop, fuzzed-out garage rock and 70s punk attitude. They have appeared on both the 2009 and 2010 installments of the Louisville Is For Lovers compilation CDs, which featured the band aside local luminaries like Bonnie “Prince” Billy and My Morning Jacket. Check out “Let’s Get Together” from their debut album, 2009’s Love Outrageous!

http://blog.ourstage.com/2010/01/19/50-states-in-50-weeks-week-32-kentucky/ - ourstage.com