Boston’s power pop, garage scene has no shortage of guitar pickers looking to make Beantown proud at home and across these here United States. Among these eager young space case cadets that are on the rise is garage pop four-piece Pretty & Nice. Beginning as a two piece project in the lost city of Burlington VT, the lineup has expanded and spent the better half of a decade making their way through basements and dive bars making their mark as a self-made touring band. Now, they prepare to release their new full length album with an odd collection of off-tempo pop anthems that the band hopes to use to cement their place as one of Boston’s most recognizable bands.

Pretty & Nice premiered in 2006 with the punk/60’s garage influenced Pink & Blue; a ten song L.P recorded by the band’s founding members Holden Lewis and Jeremy Mendicinio. Once forming into a full touring band, they released an EP’s worth of selected remixes called Blue & Blue. Gaining the support of independent record label Hardly Art, they became a hit in the Boston area with their second full length album, Get Young. The band has since toured nationally several times over and has had great success as a returning act to Austin’s SXSW festival.

This third LP keeps many of the band’s original sounds and trademarks in tact, but has a much more ambitious production and theme. With the mantra “We are all instruments” strewn throughout, the songs possess a series of tempo shifts, tone divergents, and quirky pop hooks. Reminiscent of such modern bands as Vampire Weekend and classic acts as David Bowie, it is both poppy enough to be accessible but interesting enough to study. For promotion of the new album, the band will be releasing a 7”, Fantastic Artifact. The release will include a single from the upcoming album entitled Yonkers as well as a cover of Genesis’s "Get Better". The full L.P. is due out in the summer.–Anthony Geehan

When I think ballet music, I think of Tchaikovsky, classical symphonies, romanticism, The Nutcracker, and now, the three-piece experimental-folk band, Mercies.

Mercies, “a band not bound by lyrics,” provides their take of a ballet soundtrack on their new 22 minute EP. They are bound by nothing in this EP as Josh Rheault and Sammy Dent take the best of what they have to offer and turn it into something refreshing and vivid. The band shows off their whole spectrum of music as we see the trio settle into the unique sound they coined in their debut album, Three Thousand Days.

When I interviewed the band several months back, they let me in on their future plans that involved incorporating musical scores into their music. With Josh’s personal and guitar-driven style of song writing and Sammy’s background in experimental classical composition and composing, it was only a matter of time before the band released a 5 song epic like this, that dances, paints pictures, and screams. Although Three Thousand Days seems more personal and affirming, The Ballet EP seems to be more meaningful, as if the sum of all their musical experiences, endeavors, and styles up until this moment were put together to make something that that truly moved them and, in consequence, anybody who gives this EP a good listen.

For the first nine minutes of the EP are separated into two vocal-less tracks called “Music for a Ballet: Light” and “Music for a Ballet: Dark.” As I listened to these two tracks filled with swells, flutters, space, and chaos, I closed my eyes and was put into a trance as I watched a perfectly in sync ballet. “Writing the music for the ballet was both challenging and inspiring,” said Josh Rheault. For quite possibly being the first band to make a ballet soundtrack as a 3-piece indie-rock band, it is only fair to presume it would be a challenge, but to do it so perfectly was a surprise that was most pleasing. Luckily, for the listeners like myself (or at least the ones that live in Virginia) our imaginative ballet will come to life as the music is to be used in a ballet choreographed by Audrey Fenske at the Charlottesville Ballet.

In the bottom half of the EP is the Mercies material not meant for a ballet. Mercies choose two re-worked old songs, and a new song to accompany the ballet music. These songs embrace their progressive folk rock sound while relying less on vocals, hooks, and choruses to drive the songs along but instead a mix of ambience and hard rock. The third and middle track on the EP, "Clouds," is the stand out track on the album combining sounds to remind of a hybrid between Atlas Sound and Cold War Kids, combining true post rock with a raw indie rock sound. Mercies are moving fast and only gaining speed. Make sure to catch one of their upcoming shows.–Michael Giordano

deli: How did the band start?

Last One Out: Jeff, Dustin, and Scott M. all met Freshman year at PC but it wasn’t until they joined up with Scott R. at the end of Sophomore year that they formed Last One Out. Jeff, Scott M., and Dustin were playing together beforehand and were in need of a new singer so they asked Scott R. (who they already knew played piano and who happened to live on the same dormitory floor) if he had any singing skills. An affirmative yes, and one terribly informal audition later, Last One Out was formed.

Click here to read the rest of the deli’s Q&A with Last One Out.

It was a clash of cultures when I met Mark Charron, guitarist and lead vocalist for Satellites Fall at Pedro’s in Billerica. We were two guys just getting off work at our day jobs selling software, in order to talk about our true passion—music.

It’s not often that our lives in corporate America intersect our musical lives. Oddly, this is not the story you might expect—two guys trudging through mindless day jobs pining for their big break; one becoming a rock n roll star, the other a feature writer for Rolling Stone Magazine. Nope, this story goes a little differently.

Click here to read the rest of George Dow’s interview with Mark Charron.

(Photo credit Tracy Dupuis)

The Suicide Dolls have just announced that they are to appear on a tribute album covering the songs from the movie Repo Man a compilation of songs that celebrates the southern California punk movement of the 70’s and 80’s.

The Suicide Dolls, who won best new act of 2011 at The New England Music Awards, will appear on the album alongside artists such as Black Francis, Mike Watt, Amanda Palmer, Matthew Sweet, and many others. For more information click here. The album has a projected release date of September 18 later this year.

The Suicide Dolls will be playing at Radio in Somerville MA on Friday, April 13 with Await Rescue, Before Disorder, and Ghost Box Orchestra.

–Chrissy Prisco

Boston duo Tall Heights (Tim Harrington and Paul Wright) produce a signature brand of acoustic folk music, prominently featuring a cello. What started out as two passionate performers performing on the streets in Boston became a viable musical project with the musicians independently selling 2,000 copies of their debut album, Rafters, which you can find on their website (www.tallheights.com).

Red lipstick, auburn curls, and a silhouette from a 1950’s pinup. Christina Watka, lead singer of The Cheeks stands on the side of the stage watching as her bandmates take their positions. The fuzzy loudness of the crowd begins to hush as the five men in black suits take hold of their golden instruments, sticks, strings and piano keys. A rhythm fills the air that takes one back to a decade when rock and roll was humming on the radios and dirty dancing was on the verge of getting dirtier.

After opening instrumentals, the tiny silhouette of Watka, 25, takes the stage in a sparkling tight gold dress; and it’s a surprise to hear a voice that is reminiscent of Aretha, Tina, and Janis. Everyone in the room begins tapping their feet, twisting and shouting, and singing along.

Click here to read the rest of Kati Mennett’s interview with The Cheeks.

The Deli: How did the band start?

Eric Ott: I was in a few bands before going solo. My last band album was with Mercuryhat. We made a couple albums that did ok and got some nice reviews. We had so many people coming and going within the band I decided it was kind of a joke to keep the name Mercuryhat. So going solo…

Click here to read the rest of the Q&A with Eric Ott.

(Photo Credit: Michael Winters)

MTV Hive Live is about to present its first Boston show this Sunday, March 25th at Brighton Music Hall featuring Cloud Nothings‘ performance streamed live online for everyone to watch. This show marks the expansion of the successful Hive Live in NYC concert series, which seeks to bring emerging music to the masses through live-streamed concerts. Cloud Nothings’ Hive Live in Boston performance is also part of Crossroads Presents and The Fenway Recordings Sessions.

Hive Live is a celebration of all the great music that’s happening in NYC, Boston, and around the world. Its aim is to offer up a concert-viewing experience to be shared by a global audience via livestream. The livestream will begin on March 25th at 11pm ET for people to watch Cloud Nothings’ performance. We suggest trying to snag a ticket to the event, which is $10 because supporting acts include A Classic Education and hometown favs, The Dirty Dishes (pictured above).

Doors are at 8, Show is at 9. 18+.

–The Deli Staff

For every screaming music dance craze, for every generation’s “turn off that racket” rock and roll or cacophony punk noise comes an equally hip yet polar opposite sound. The new millennium’s second decade has been kind to bands that have turned down and spread out their sound, spawning a solid scene of experimental folk, singer songwriters, and an encyclopedia of other low volume sub genres to round out the sound of the town. Hampstead, New Hampshire’s own Bells Down fit nicely into this niche of acoustic based bands, and their first E.P. Destroyer acts as a fine introduction to the Granite State outfit.

Destroyer is a five track sampler that shows off the band’s sit-around-the-campfire song style. The numbers are laced with a variety of acoustic string set ups, nuanced brass, and sing along gang vocals. The harmonies on the songs are well executed and come off especially well in the title track, where a dueling ukulele/vocal bridge gives the song a sort of old world tone that doesn’t come off as tacked on. The E.P’s lyrics are mostly disenchanted poems with themes of thin line love and hate and fickle passion that lead singer Bayley Blaisdell delivers with a clean and untouched vocal track that roots the E.P. as a self-recorded effort.

All together, Destroyer acts as a quick and solid moody E.P. with simple but enjoyable production and interesting instrumentation. Fans of such acts as Feist, Neutral Milk Hotel, and Saint Vincent would be well advised to check it out.–Anthony Geehan

I was pleasantly surprised when I received a package in the mail from the Portsmouth, NH-based band Superfrog. Not only had I been sent a copy of their latest release, Call from the Moon, but it was accompanied by a cover letter and very well-designed one-sheet. Call me old-fashioned, but I appreciate seeing a band put in the time and effort to distribute a physical press kit.

As for Call from the Moon, it was equally as impressive. I often find myself straying away from groups labeled “jam bands” because of their song lengths and superfluous instrumental solos. I love guitars, but seriously, who needs to hear a six-minute guitar or bass solo? My skepticism quickly dissipated as I listened to this record. I thought the band did an excellent job of showcasing their instrumental prowess without going overboard. They were able to produce tight, well-orchestrated songs while still demonstrating a mastery of their respective instruments.

In his cover letter, drummer Shane Cormer highlighted a few select tracks he felt were especially impressive on the album, and after listening to each of the songs, I find I am inclined to agree with his suggestions. I thought the second track, “Astronautical”, which was featured on Relix Magazine’s February/March 2010 CD sampler, was the best song on the record. I found the trumpet melodies to be quite infectious. The chorus really lifts the song up to another level, propelled by the entrance of perfectly placed back-up vocal harmonies and held down by an extremely tight rhythm section.

Based on what I heard from these songs, I would have to say that Superfrog has a great knack for crafting catchy and energetic choruses. “IOU1” is another track that demonstrates their propensity for great hooks. Their use of back-up vocals during the chorus of this song, coupled with a smooth trumpet line and “Fool-in-the-Rain-esque” drum groove, really gets this song stuck in your head.

Overall, I would have to say just one word can sum up Superfrog—professional. From the way they handle the distribution of their music to their creation of a brilliant blend of jam band-ska-rock, Superfrog has a sound that can certainly draw the interest of all kinds of different fans.–Daniel McMahon

Deli: How did you get started in music?

Mätthew: When I was pretty young, around 9 years old. Both my brother and father sang in a professional men & boys choir, which I joined soon thereafter. I recall there was a lot of singing practice after school and the Choir Master, professor Louis Curran, at WPI (Worcester Poly Technical Institute) was pretty grueling not only about practice, but also about conduct. The guy would throw a temper tantrum at the drop of a hat. But, it was an interesting "family activity" after my mother joined on to be the choir’s secretary. We sang all the classics like Haydn, Bach, Mozart, in English, German, French, Italian, but mostly we sang in Latin. It was fun going on tour; singing in Montreal, Canada, at St. Joseph’s Oratory; in Washington DC, at the Shrine of the Immaculate Conception; even singing a duet once of Sillent Night in German, with my brother on Christmas Eve, at St. Patrick’s Cathedral, in New York City. I think I learned that night how to shit my pants [laughs].

Click here to read the rest of Chrissy Prisco’s interview with Mätthew Griffin.

Photo credit: Molly McGrath