GenresIndie, Alternative, Rock, Modern rock
LocationLos Angeles CA United States
Sounds LikeDeath Cab for Cutie/Joy Division
Digital Locationwww.dearboyofficial.com musicpage.com/dearboy
HistoryMember since: 08/28/2014 Year Founded: 2013
- Original material: 01 hrs : 30 min
- Cover material: 00 hrs : 30 min
- CDs released: 1
- CDs sold: 1000
- Digital songs sold: 1400
- Original Songs: 15
- Average Draw: 350
- Largest crowd: 450
- Have sound: No PA
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 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.
August 12th marks the release of the newly recorded single, “Hesitation Waltz,” produced by Doug Boehm (Girls) & mixed by Gareth Jones (Depeche Mode, Wire, Merchandise).
Dear or Die.
Soundcheck 411August 14, 2014
August 12, 2014
Troubadour- Los Angeles, CA
On the day of the release of their latest single, Hesitation Waltz, the alternative rock/indie quartet best known as Dear Boy, performed to a nearly sold out crowd at the Troubadour in their home town of Los Angeles. Fans packed into the venue early in the night, grabbed a few beers, took plenty of selfies with their friends and were jumping with anticipation to see Dear Boy take the stage.
A little past 10:00pm, these sharply dressed lads took to the stage to an ear wrenching amount of screams. They went directly into Funeral Waves which was followed by Robbery Love and Reckless and was packed full of hair flips and red light illuminating the guys’.
The [too] short of the night was packed full of both new and old songs, including a live debut of Alluria which fans were excited to hear and dance along to. And aside from constant back to back guitar playing by singer, Ben Grey and guitarist Austin Hayman, the night also featured a couple covers including Depeche Mode’s Never Let Me Down Again and the set ending hit, Don’t Change by INXS.
Before the band left the stage, only to be brought back on my chants of “One more song!”, they performed their anticipated single, Hesitation Waltz. After the encore cheers subsided and the band came back on stage they performed American Gloom and ended with Don’t Change.
By the looks of the guys’ expressions, they were having the time of their lives, with Grey even saying that the Troubadour “felt like home.” Their positive energy seeped into the crowd who kept getting more and more into the set as it progressed.
After the show, the band came out and greeted their fans, took countless amounts of photos, and made plenty of memories. We can’t wait to see what Dear Boy has in store for their next album and can’t wait to catch them at a bigger venue!
Buzzbands LAAugust 11, 2014
With the release of last fall’s self-titled EP, L.A. quartet Dear Boy distanced themselves from the alt-rock masses, with singer-guitarist Ben Grey and mates Austin Hayman, Nils Bue and Keith Cooper affirming their new band identity by injecting some Anglophile-friendly edginess into their pop grandiosity. And so it goes with the anthemic “Hesitation Waltz,” a deeply emotional slow-burner and the band’s first new music since the EP. Produced by Doug Boehm (Girls) and mixed by Gareth Jones (Depeche Mode and Wire, among others), the song “is about the impossibility of reconnecting,” Grey says. “Before every fall, there is a moment that you take for granted. This song lives in that moment.” The quartet, fresh off tour supporting Kitten, is finishing up writing its full-length, aiming to record it late this year. “Hesitation Waltz,” out this week as a single, is for one of those late-in-the-set moments, with lighters held high.
November 20, 2013
Interview: Dear Boy
Dear Boy create the kind of lavish smart alternative that nods to The Smiths and Joy Division without ever sounding derivative. It's a fine line to tiptoe, but they walk it masterfully on their self-titled debut EP. [iTunes link] It's an instantly inviting and invigoratingly infectious collection that introduces one of Los Angeles's most thrilling young bands.
In this exclusive interview with ARTISTdirect.com editor in chief Rick Florino, Dear Boy singer Ben Grey discusses the group's EP and so much more.
Did you approach the EP with one vibe in mind?
Yeah, we wrote the record in the UK. We really left Los Angeles wanting to create something new. We didn't really know where it would end. We wrote twenty to thirty songs in our tiny one-bedroom flat. When we got back to LA, we wanted to make sense of everything we'd done because we left with no name and we had no project. We came back with Dear Boy. For the first five songs, we definitely knew what they'd be. We thought this would be a good introduction to the band.
It establishes a boundlessness from the beginning.
That was definitely part of it too. We didn't want it to be constrained by anything.
What's the story behind "Blond Bones"?
When you're sequestered from everyone you care about and everything you know, it really distills what your voice is and what you want to write about. Without giving too much away, it's one of the darker songs I wrote. It was the second or third song we completed, and it set the emotion tone. It's melancholy, but it's not hopeless. I was in a dark place when I wrote that song. When I came back, my family was definitely in a dark place. It had to do with me thinking about if I would be alone and by myself forever like I was in our little haunted flat in the UK.
It was haunted?
It was absolutely haunted, man! I don't say that lightly [Laughs]. We were menaced night and day by all kinds of things, which is an experience for sure.
What was the weirdest thing that happened?
There was a phantom chair. Outside of our flat, there was a tunnel that led to underneath the river. We were in South London. There was a chair that was always perfectly symmetrical sitting in the center of this tunnel. It would keep switching angles. It was really bizarre. You'd hear a noise. You'd go outside, and the chair would be facing some other direction, but it was always perfectly symmetrical. It was too much [Laughs]. Five months with three men and a ghost is too much!
Where did "Funeral Waves" come from?
Touching on the boundlessness you mentioned before, we wanted to hit the musical ceiling creatively in terms of what we could get away with and was the most chaotic and raucousness we could put into a four-minute song. I'd never written a song like that before where we really took it to the extremes. There's a riff in the bridge that's insane. It's the most fun and cathartic musical thing I've been a part of. When we started, it was like, "What can we do and what can we get away with?"
Pulp is a huge influence on this band. Then, there's Minor Threat, The Smiths, Stiff Little Fingers, and, Television for sure. Of course, I was in these terrible punk bands when I was 14-years-old, and I couldn't really pay homage to those influences. Now, I think I'm doing a good job.
If you were to compare the EP to a movie or a combination of movies, what would you compare it to?
What a fun question! Let me see if I can do that justice. For a combination of movies, I'd say if I could take The Graduate, Alfred Hitchcock's Strangers on a Train, Pretty in Pink, and Amélie, it'd be that! That's seriously the most fun question I've ever been asked. I had to give a good answer [Laughs].