Vomitface formed to improve the local music scene. The trio’s brand of self-proclaimed “black-surf” (to which we’d add “grungy, sludgy rock goodness”) comes across searingly in its new, self-titled EP. The noisy provocateurs, who recently played one of The Deli’s B.E.A.F. shows, has just landed a January 2015 residency at Cake Shop. We had the chance to ask Jered Micah (vocals/guitar), Keller McDivitt (bass) and Preemta Singh (drums) about origins, passions, and why they do what they do.

Read Michael Haskoor Interview with Vomitface.

To all of the faithful Deli readers, I apologize for the tardiness of this post, but between recovering from Sunday’s Boston Music Awards festivities and wrestling with some website issues, I have been unable to publish this article until now. I suppose the delay was a good thing though, because my head is finally clear enough to type out a few sentences about all that went down (or didn’t go down) at the annual Boston music scene celebration. I struggled a bit in deciding the angle that I would take for this piece, considering most people just give a rote list of winners, peppered with a few choice adjectives. I’ve chosen to forego that list (you can find it on The Boston Globe or BMA website anyway), opting instead to give a one-sentence recap of the ceremonies, followed by a far more entertaining account of the best performance of the evening.   

The recap: I wasn’t surprised by too much at the awards (Will Dailey and Bad Rabbits receiving more hardware was hardly a shocker), but I was excited to see The Sinclair take home Best Live Music Venue honors.

The story: The highlight of the night for me was Tigerman WOAH’s performance. They were slated to play one of the last sets of the evening, so I figured the BMA organizers and the Revere Hotel were anticipating the rowdy, awesome debauchery that comes standard with all Tigerman gigs, but I guess I was assuming too much. Halfway into their set, the Revere pulled the plug on the band due to numerous people throwing beers up, down and all around the stage. At least I think that was the reason–maybe they didn’t approve of everyone in the room shouting all of the lyrics to Tigerman’s songs? Apparently something about Tigerman’s genuine intensity, and the raucous enthusiasm and revelry that accompany their shows, didn’t align with the polished aesthetic of the hotel. Regardless, the band seemed to be having a good time at the show, passing around a bottle of bourbon among themselves and any audience member within arm’s reach of the stage.

Even with the abrupt stop their set, two things are indisputable: Tigerman always puts on one heck of a performance, and the BMA committee knows how to throw one heck of a party. – Dan McMahon (@dmcmhn), photoby Natasha Moustache @iamMoustache

Brooklyn’s hardcore up-and-comers Sick Feeling are an authentic love child of the NYHC scene, sharing similarities to Fucked Up with an even more agonizing vocal edge from singer Jesse Miller-Gordon. They’ve just released a brand new punk single titled ‘The Americans’ paired with a meme lyric video directed by Nick Ace – you can watch it below. It’s the band’s second single from their forthcoming LP titled ‘Suburban Myth’ due out on January 20th via Collect Records. With such an aggressive approach, it’s no wonder that former Thursday’s Geoff Rickly (owner of Collect) took interest in their sound almost immediately. Claiming that they’re “the sound of American nostalgia being turned inside out,” Sick Feeling cling to their message of acceptance of young angst and growing pains as being totally normal. – Michael Haskoor (@Tweetskoor)

Tomboy is a NYC duo that offers a rather personal and stripped down take on the industrial-pop genre, even though the term "pop" is a little stretched here, since the band’s material, to date, never really unleashes pop music’s signature "big chorus," preferring instead to keep the melodic tension chained. Their approach is quite minimalistic and measured, with rarely more than two parts overlapping with each other, which opens up a lot of space for Sarah Aument’s strong and somewhat Bjorkesque vocals.  "Roll Out," (streaming, video here) is the first single/video from their self-titled EP, released earlier in April, and moves from a dark, edgy industrial-dance verse towards a more open and traditional chorus. "Moths," on the other end, is a moody midtempo built on on a web of percussive samples and sudden synth slashes. Kudos to director Maria Burns fur the uber stylish, just released video, streaming below.

We added this song to The Deli’s playlist of Best electronic songs by emerging NYC artists – check it out!