Propelled by emotional choruses and massive guitars, The Roman Numeral Three are on the fast-track to make a name for themselves far outside their hometown of Raynham, MA. While their sound is heavily rooted in punk, the band manage to add their own unique twist, creating a genre that is something more than just “punk”—it’s damn good music. I found myself particularly drawn to the second track from their most recent release, On Baker Road. The song, “Woke Up Sick” really focuses on the rhythm section, with verses that feature a driving back-beat of snare and bass drum. Towards the end of the song, drummer Kevin O’Connor really lets loose, showcasing his talents with a series of tight fills.
Not to be shown up, track six, “Still Alive” features the blistering guitar work of Mike Rague. Rague’s guitar work is swift and accurate, getting messy at some points but just messy enough that you are able to tell that this guy really knows his stuff. After listening to their entire record, this is clearly a group of talented musicians with a clearly defined sound.
I was also impressed with the band’s use of gang vocals throughout the entire record. I thought they added to the energy of the songs and really served to engage the listener (or more specifically me, the blog writer). I was picturing myself throwing my fists in the air in the middle of the pit as I listened to this record.
Overall, On Baker Road is a great record. I could easily picture this band on the roster of Asian Man Records, playing a gig with Matt Skiba or something like that.--Daniel McMahon
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
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.
Q&A with the deli's Band of the Month: Last One Out by Chrissy Prisco
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.
Where did the band name, Last One Out, come from?
The practice room, where we worked on our stuff had a sign on the door as you left that read “Last one out, turn off the lights.” There’s no real meaning behind it, we were simply in desperate search of a name and happened to stumble across this one. We were standing in front of the door after one practice, talking about band names, and Scott M pointed to the sign and said, '"What about 'Last One Out'?"
What are your biggest musical influences?
I’d have to say we draw a lot from a mixed bag of bands. Groups like The Killers, The Kooks, Foo Fighters, John Mayer, Two Door Cinema Club, Young the Giant, The Cars, The Strokes, all come to mind as inspiration for writing our own music.
What artists (local, national and/or international) are you currently listening to?
At this literal moment I’m listening to a band out of Australia called Last Dinosaurs. But at other times we’ll listen to Two Door Cinema Club, The Kooks, The Wombats, whatever is on WBRU, and we actually listen to a lot of local music as well. Being part of that group, we like to show as much support as we can for other bands doing the exact same thing as us right now.
What's the first concert that you ever attended and first album that you ever bought?
The first time we all went to a show together was probably for Liberty Fest this past 4th of July. It’s a really small music festival that takes place down Smith Street in Providence. It highlights all genres of local music on a few small stages in a group of random back yards.
What do you love about New Englands music scene?
Because it is such a large scene, especially in the Boston area, there are a great number of venues to play at. We like that.
What are your plans for the upcoming year?
Continue to expand our territory of gigs and reach out to a larger and wider audience.
What was your most memorable live show?
WBRU Rock Hunt Finals. We had never played in front of so many people. It wasn’t until this show that we started taking the band seriously and actually considered it in our post-grad plans.
Is there someone who has helped your band grow through support?
Our parents and our school friends/fans. Without them we wouldn’t be doing this right now.
Is there a piece of equipment you couldn't live without and why?
Yeah, our PA system. Without that we couldn’t pay rent.
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.
Satellites Fall's Mark Charron Discusses the Band and the New EP -- Lines on the Road. by George Dow
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. “I love my job,” Mark beams across the cocktail table while Flamenco music blares in the background. “It’s challenging, satisfying work. I work with great people too. Not to mention the fact that I get paid well for the work I do.” My sentiments exactly, but not very rock n roll. “But don’t get me wrong,” Mark adds. “When the opportunity comes—to do the national tour, to play on the big stage, I’m there.”
Over a decidedly un-rock n roll dinner of Pierna de Baby (braised pork) and Buenos Tiempos (boneless beef short ribs), we get into the history of Satellites Fall. “Davey (Moore, guitar) was in a pretty successful Boston hardcore band in the nineties—Fall From Grace. I was trained as a classical pianist as a kid, but I didn’t like classical music back then. I wanted to be Billy Joel or Bruce Hornsby so I started learning more pop stuff. I joined a punk band in high school and taught myself to play guitar.”
“Davey and I have been playing together forever. We met in college. We were actually suite-mates. Davey hated me at first. I was a loud, obnoxious jock (I’m still loud and obnoxious). He just couldn’t stand me."
Charron continues, "I was walking by his door one day. He was just learning how to play guitar. Davey has this unique way of just making the guitar hum and he was doing this even when he was just learning. So I approached him and was like, Hey, you play guitar?’ And he was kind of taken aback that I was even talking to him. From there we developed this great friendship. We learned how to play together. We learned how to write music together. We used to record on this little crappy 4-track. We made a makeshift studio in my room. It was the funniest thing—we had a tee shirt on a hanger that we hung from the ceiling, in front of the microphone, as a pop guard. Oddly, recording on that 4-track made us better musicians. You have to play perfectly for that one take. It’s not like with Pro Tools where you can go in and fix just one note."
“We never really did anything with any of that (music)," states Charron. "We both graduated from college. Fast forward a couple of years and Davey calls me up. ‘I just listened to some of our old stuff,’ he said. ‘We… we had… we had some STUFF,’ he says to me. Now, the stuff wasn’t good. It was terrible. Trust me.
"But fast forward another couple of years and we start giving this a try. Now Davey buys an electric guitar and an amp and he can just make this thing sing. And I said then, ‘I have to be in a band with this guy.’ His guitar sound is really a cornerstone to our sound," says Charron.
Our discussion about Davey’s very specific guitar style leads to a more thorough examination of their debut EP, Lines On The Road. I mention the dense layers that are a key feature of the EP. “Yeah, it’s interesting, we’ve been learning how to record. And we really want to use technology—not as a crutch, but to support what we do. We insert a lot of strings and loops and things like that. It’s just a way of expressing ourselves in a way that we can’t with just one instrument. If you look at the way Radiohead does things—we want to borrow from influences like that.”
Since Lines On The Road has a poppier sound than most of their live performances, I wondered whether it’s an intentional direction that they’re moving in, or a function of the recording process itself. “As a band member, when you’re forced to listen to the same song over and over again it starts to lose some its sex appeal, but then you start to really understand the tone of the song," states Charron. "And what we really started disliking were some of the grittier tones that we were getting out of the guitar. We’ve switched away from that a little bit. The way this album started taking shape—we noticed that we were getting much better melodies when we had a lot of synths and layered sound in there."
“There’s a funny story about the song, ‘Perfect Weather’. It may be the first song that Davey and I ever wrote together. It sounded nothing like it does now. We were actually about to throw it out. We didn’t really like it. It was initially called ‘Western Expansion’. It was so tacky—a song by two kids, who had at that point never been to the west coast. But, somehow, we’d come up with something that sounded like something cowboys would sing," Charron muses. "So, in the studio, I sat down and tried to come up with something to save this stupid song that I didn’t even like. Suddenly the strings came in and it gave a whole new life to the song. We took out a whole load of guitar riffs. That’s one of the things we noticed in the recording process. We pulled back on a lot of things. Instead of adding more and more, a lot of the time it was, ‘What can we take away?’ It reminds me of Lisa Simpson on The Simpsons when she’s trying to get Bart to listen to jazz. Bart’s going, ‘This is crap. What is this?’ and Lisa says, ‘Don’t listen to the notes he’s playing, listen to the notes he’s not playing.’ So that became kind of a joke we had amongst ourselves."
“With us it’s not the Mark show or the Davey show, or the Luke (Riskalla, drums) or Brian (Bardsley, rhythm guitar) show. It’s the Satellites Fall show. When it’s your turn to shine, it’s your time to shine, but it’s because the music calls for it. Not just because it’s your turn. That’s one of the things that we’ve tried to borrow from bands like Radiohead."
During the recording of Lines On The Road, Satellites Fall hired a new drummer. We talked a bit about the process of bringing someone new into the band. “One of the troubles we have when it comes to the drummer is that we lean on technology so much to help fill a room. We have some many layers to our music. We don’t want to become Arcade Fire—who we love very much—we just don’t want to have 30 people on stage with us. Luke is one of the first drummers we’ve found that can play to a click. When we play live we have lots of backing tracks playing that you just can’t reproduce with 4 guys on stage. But if we go off time, we’re just screwed. There are so many amazing drummers out there but it’s very hard to find one that can play live to a click and not make it sound mechanical. That’s something that he’s really great at."
With this level of meticulousness, I wonder aloud how they ever get to a point that they feel something is ready to be released. “Well it’s kind of like a painting. You can always paint one more blade of grass. You can always paint one more seagull. You can always add one more little happy cloud." Charron continues, "At some point, we feel like we have the bones, we have the blueprint. You always feel rushed though. We could have worked on this EP another 3 months. There was one song that we decided, ‘It’s just not ready.’ So that’s on a back burner.
“You can always tinker just a little more but we got to the point where we were very happy with 90 percent of it. At some point we just—this is not very rock n roll of us—we just set ourselves a deadline. I think we captured what we wanted to. It’s not perfect but I think any artist is going to tell you that.”
And that’s, I think, exactly what you get with Lines On The Road. Satellites Fall has released the blueprint for things to come. An exceptionally produced example of what happens when a group of serious and professional minded guys follow their hearts into the recording studio. Five tracks that sound a bit like a cage match between Radiohead, Coldplay and the Foo Fighters in which the quirkiness of Radiohead and the pop sensibilities of Coldplay come out on top.
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.
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.
