DREAMCAR

DREAMCAR

DEAR BOY

Thu, April 20, 2017

Doors: 7:00 pm / Show: 8:00 pm

$20.00

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This event is 16 and over

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DREAMCAR
DREAMCAR
There’s something romantic about a band’s early days. A sense of innocence, optimism, and wonder courses through the music. In the summer of 2014, No Doubt’s Tony Kanal [bass], Tom Dumont [guitar], and Adrian Young [drums] and singer Davey Havok [AFI, Blakq Audio] began writing and demoing music together. Without telling a soul outside of their significant others, the four musicians clandestinely moved into a cramped downtown Los Angeles rehearsal spot and revved up what would become DREAMCAR.
“It reminded me of the early days of No Doubt when we were jamming in an Orange County garage,” recalls Dumont. “We felt that same sense of freedom. There was no label, no manager, no agent, and no roadies.”
“For a good year-and-a-half, it was just the four of us making music,” adds Kanal. “We had this opportunity to be a new band again. That’s a very special thing to be able to do. We were just making music to make music.”
The union of Kanal, Dumont, Young, and Havok pre-dates those magical jam sessions. Paths crossed in the music industry as they do, but Young can recall standing on the side of the stage and watching Havok with rapt attention as Blaqk Audio opened for No Doubt in 2012. “Davey was super charismatic,” says the drummer. “It was powerful to watch.”
“He was fearless to come from the punk world and do something that flies totally in the face of that,” agrees Dumont. “We found that sense of bravery exciting. We didn’t ever want to be constrained by unspoken rules of a scene or anything like that, and he was like-minded.”
When Havok heard the first four demos, the music immediately resonated, transporting him back to his fascination with the celebrated New Romantic movement. “It was very fun, because the songs touched on an aspect of my creative inspiration and musical upbringing that has never been directly touched on before,” admits Havok. “When it comes to some of the most informative musical moments for me, Duran Duran and Culture Club were the earliest cassette tapes I ever bought.”
Rife with shimmering guitar tones, percussive slap bass, bombastic drums, and a neon-lit dancefloor dreaminess, DREAMCAR gleefully nods to the decade of Boy George and Back to the Future through a kaleidoscope of wisdom earned from three decades creating and connecting with fans worldwide. Signing to Columbia Records, the boys recorded their 2017 self-titled debut with producer Tim Pagnotta [Neon Trees] in a North Hollywood studio. As they paired thirty songs down to the record’s 12, the quartet found a kindred spirit in Pagnotta.
“The first time we met Tim, we were all on the same page,” Kanal recalls. “We had so many points of reference in common which made the recording process so creative.”
Presciently, the name reflects their ambitions. “DREAMCAR speaks to a nostalgia, but as much as it speaks to the past, it also speaks to the present and the future,” Havok goes on. “It mirrors hopes, aspirations, and attaining the unattainable. I would hope the songs do the same thing.”
“On the surface, a dream car is a very male ideal,” says Dumont. “You think of that question, ‘What’s your dream car?’ Everyone will have a different answer. If you go a little deeper though, it’s really referring to a vehicle for our dreams, our imaginations.”
The first single “Kill For Candy” instantly enchants with its upbeat energy and sweet, saccharine chant punctuated by a twisting and turning guitar and driving rhythms.
“There’s an honesty in all of my lyrics,” Havok states. “This one speaks to a perhaps dangerous and unhealthy desire for the sweet.”
The album swings between the “Frankie Goes To Hollywood-style” risqué spoken narrative of “On The Charts” to the delicate longing of the synth-washed “Slip On The Moon” where Havok pleads, “Just look for me, I will look for you.” “Born To Lie” builds from a breathy verse into an expansive refrain, while the opener “After I Confess” sees his hypnotic and haunting vocal soar over airy and open soundscapes. “‘After I Confess’ just sets the tone for the band and says, ‘This is DREAMCAR,’” continues Young. “It’s actually the first song Davey put vocals to.”
“The music really brought me back to a place of my youth,” the vocalist confesses. “It sent me down that tragic and fragile New Romantic direction. There’s a lyrical awareness and playfulness that I’d not yet explored in the way I have with this band.”
Ultimately, it’s that combination of delectable and dangerous which will leave listeners everywhere satisfied. “This is a big moment for us,” Kanal leaves off. “It’s a new beginning. We can’t wait to perform the songs live.”
“I’d love for people to get a cinematic feeling,” concludes Young. “If they hear it and want to see us live, that would be amazing! Let the dream begin.”
DEAR BOY
Bitter-sweet alternative rock with roots in both post-punk and 90's British guitar pop.

Born in Los Angeles, Dear Boy wrote their debut EP in Vauxhall, London. Tracked by Chad Bamford (Spiritualized) and mixed by Michael Patterson (Trent Reznor, Black Re-bel 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 2014/15 in Austin, TX and a national tour supporting Kitten. They've also sup-ported national acts such as The DMA's, The Dears, Cloud Nothings, Ash, The Airborne Toxic Event, The Maccabees, Peter Murphy, NO, Meg Myers, Fenech Soler, X-Ambassadors, INVSN and Night Terrors of 1927.

August 12th, 2014 marked the release of the newly recorded single, "Hesitation Waltz," produced by Doug Boehm (Girls) & mixed by Gareth Jones (Depeche Mode, Wire, Mer-chandise). Recorded in part at the legendary Sunset Sound Studios in Hollywood, the anthemic "Hesitation Waltz" affirms "their new band identity by injecting some Anglo-phile-friendly edginess into their pop grandiosity" according to BuzzBands LA. "'Hesita-tion 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."

September 11th, 2015 saw the release of the band's first international 7" via Easy Hell / Manimal Vinyl, with "Hesitation Waltz" sharing the disc with Dear Boy's previously unre-leased take on "The Ghost in You" by The Psychedelic Furs.

Dear Boy recently released their sophomore EP "Parts of a Flower" on August 5, 2016, reuniting with producer Doug Boehm. The video for the first single "Local Roses" pre-miered on FLOOD.

"Since their 2013 self-titled debut EP, LA's Dear Boy have shown a knack for anglophilic melodies and a bright, buzzy brand of alt-pop that seems like it's been preserved espe-cially for us since the early Clinton years." - Flood Magazine

"'With shimmering guitar lines that sparkle over the track like the sun setting into a lake and the rich emotional draw of vocalist Ben Grey, "Local Roses" hits all of the sonic and atmospheric sweet spots that will make every kid who grew up on [The Cure's] Disintegration melt into a puddle of warm nostalgia. We want to hear more ASAP." - Baeble Music

"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).

Dear or Die.
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