The Crocodile Presents:
2200 2nd Ave
Seattle, WA, 98121
This event is all ages
BOY – a contagious confection that has spread across the internet like wildfire. The Hamburg-based duo gets your toes tapping, mind playing, feet moving, emotions travelling, head thinking, hips jerking. But above all, they make music that brings a smile to your face. Imagine a mix of the art school elegance of Phoenix, the lively melodics of Feist and the emotional depth of Bon Iver. But to draw such comparisons is superficial and not especially helpful because what you miss is the originality of the BOY concept and the charisma of its two performers. The BOY phenomenon began this summer with their first single 'Little Numbers'. Now, having conquered their native Germany and Switzerland, they are shipping their sharp brand of pop to the rest of Europe. BOY are both girls. Valeska Steiner sang in several bands in her native Switzerland before moving to Germany, where Sonja Glass grew up, playing the cello in classical orchestras as a child, and later working as a bass player for several pop bands. The duo met when Valeska won a place at a prestigious summer holiday music workshop in Hamburg. There she met Sonja, who had recently returned from a spell studying bass guitar in Holland. BOY's debut album, "Mutual Friends", is an autobiographical affair. "It's about arrivals and new beginnings," says Valeska, whose songs are written and sung in English. "About hopes and dreams and aspirations. We want to make music that's positive and hopeful," explains Valeska,. "There is more to music than heartbreak and loss," agrees Sonja.
"This is the Beginning" provides the springboard into the album. "Drive Darling" is inspired by Valeska leaving behind friends and family in Zurich. "And no rear view could picture what we leave behind. Drive, darling, drive." As the tempo rises and the driving sound of guitars push to the fore, the future seems to begin with a smile as a feeling of optimism prevails. In complete contrast however, "Waitress" explores the melancholy story of a barmaid stuck in time and wondering when her life is going to start: "While daylight is fading, while traders are trading, while the jukebox is playing, while lovers are dating, the waitress is waiting." You can hear the empathy in Valeska's voice on the album's last track, "July", a fitting end to the album, it closes the circle of venturing out into the world by bringing you, at last, back home.
The dozen songs on "Mutual Friends", painstakingly recorded over a two-and-a-half year period at the 12 square meter home studio of producer and multi-instrumentalist Philipp Steinke in Berlin, have gone through many transformations since they were written. "We made about 10 versions of most of the songs," says Sonja. "So they have evolved over the course of time. And some of them have ended up sounding completely different from the way they began."
BOY played most instruments on the record themselves. Only in some cases, such as drumming duties, a rotating roster of friends jumped in to play, among them Phoenix's live drummer Thomas Hedlund. Their irresistible debut single "Little Numbers", which has sparked countless YouTube tributes, is something of a straggler, being the last recorded from the sessions. But this is arguably precisely why the track is imbued with such a rambunctious drive and dizzying joyousness; it is the product of studio playtime, the long-awaited period where musicians can relax and have fun knowing – wrongly as the case may be – that all the work is done.
The colourful video, shot on the streets of Barcelona last summer, has already clocked up nearly two millions YouTube hits since it was uploaded in July. And the song swiftly spawned countless tributes from fans posting their own versions. BOY's "Mutual Friends" is an intoxicating mixture to lift even the dullest day out of the doldrums and the direct result of the refreshingly lively and humorous personalities of Valeska and Sonja. BOY sing smart, sharply-observed songs with hooks you can't get out of your head and lyrics that come from the heart. With its irresistibly breezy optimism, it's one of those out-of-nowhere pop hits that gets into your head and won't go away. BOY's songs reveal inventive twists, adding subtle experimental touches to a conventional pop palette of guitar, piano drums and bass.
To call Jeremy Messersmith a musician is half-truth: He's also a storyteller, who has carefully crafted a trilogy of songs that narrate life. His first full-length release The Alcatraz Kid is a moving collection of acoustic-driven lullabies with titles like "Novocain" and "Beautiful Children" that innocently question the purpose of things to come. The integrity of these delicate songs immediately struck a chord with critics and fans alike, and captured the attention of Semisonic's Dan Wilson, who offered to produce Messersmith's follow-up album, The Silver City.
The Silver City was a natural progression in sound and reflection: the compositions grew fuller and more dynamic with a classic-pop feel inspired by the Beach Boys and Beatles: While the topics focused on midlife struggles with tracks like "Dead End Job" and "Miracles." Local and national attention soon followed with NPR and college stations around the country, followed by U.S. tours and sold-out shows in New York, Chicago and Minneapolis.
The Reluctant Graveyard bookends this trilogy of lifelong (ahem, literary) observations with songs like "Lazy Bones" and "Organ Donor," and sonically continues on the '60s chamber pop path Messersmith set out with his sophomore release. He continues to share stages with notables such as Sondre Lechre and The Watson Twins, and has been featured on MTV and Ugly Betty. And while this collection of songs comes to an end, it's no doubt that the stories will live on.
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