Dear Boy, MyPet
9081 Santa Monica Blvd
Los Angeles, CA, 90069
This event is all ages
I USED TO LIVE IN THE SMOKEY MOUNTAINS OF TENNESSEE / NOW I LIVE IN LOS ANGELES
I USED TO BE A JEHOVAH'S WITNESS / NOW I CELEBRATE MY BIRTHDAY
I DIDN'T GO TO HIGH SCHOOL / INSTEAD I BUILT FORTS
I SING / I PLAY GUITAR, PIANO AND BASS
I WILL ALWAYS MAKE MUSIC
Bitter-sweet alternative rock with roots in both post-punk and 90‘s British guitar pop.
Born in Los Angeles, Dear Boy wro te their debut EP in Vauxhall, London. Tracked by Chad Bamford (Spiritualized) and mixed by Michael Patterson (Trent Reznor, Black Rebel Motorcycle Club), the DEAR BOY EP was released in September, 2013. Propelled by the single "Oh So Quiet,” Dear Boy built a devoted live following, headlining local venues such as the Troubadour and The Bootleg Theater, along with performances at SXSW 2014 in Austin, TX and a national tour supporting Kitten.
August 12th marked the release of the newly recorded single, “Hesitation Waltz,” produced by Doug Boehm (Girls) & mixed by Gareth Jones (Depeche Mode, Wire, Merchandise). Recorded in part at the legendary Sunset Sound Studios in Hollywood, the anthemic “Hesitation Waltz” affirms “their new band identity by injecting some Anglophile-friendly edginess into their pop grandiosity” according to BuzzBands LA. "'Hesitation Waltz’ is about the impossibility of reconnecting," the band admits. "Before every fall, there is a moment that you take for granted. This song lives in that moment.”
“You know when you really like a new band, and then you see them for the first time live, and then you like them even more? Well that just happened to me when I saw Dear Boy for the first time...” - Aaron Axelsen/LIVE 105
Dear Boy is Ben Grey (vox/guitar), Keith Cooper (drums), Austin Hayman (guitar) and Nils Bue (bass).
LA duo MYPET aka. Amy and Ray, have had an impressive response to debut first single "Pays To Know". A catchy as shit track, filled with a generous helping of belly-vibrating synths and sultry vocals. It's a pretty sexy affair all round.
Driven by a rhythm beaten out on (or at least sampled from) a hi-hat that sounds like it’s coming close to the end of its life, with a winding bassline and occasional interjections from beefy but understated synths, Amy’s vocals are draped over the top. “I’ve got you were I want you”, she insists. And as where I am is sitting here playing the one song of hers that I can find to listen to, I guess she probably has.
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