Presented by Bowery Boston Doors: 7:00 pm / Show: 8:00 pm Tickets on
sale Fri 8/23 at 10am! Tickets available at AXS.COM, or by phone at
855-482-2090. No service charge on tickets purchased in person at The
Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: This
show is open to all ages. Opening acts and set times are subject to
change without notice. All sales are final unless a show is
postponed or canceled. All bags larger than 12 inches x 12 inches,
backpacks, professional cameras, video equipment, large bags, luggage
and like articles are strictly prohibited from the venue. Please
make sure necessary arrangements are made ahead of time. All
patrons subject to search upon venue entry. *** *** TURNOVER Website
Facebook Twitter *** Men I Trust Website Facebook Twitter A Brief
Introduction to Men I Trust Dreampop is leading us into the next
century. It is one of the more progressive and ever-evolving
sub-genres of the past decade. A relatively new genre that combines
the ethereal and harmonic vocals from Shoegaze as well as the catchy
and jangly melodies from pop. While the genre isn’t exactly narrowly
defined this is one of more the common definitions I see across the
music community. It is one of my favorite genres at the moment and the
one I look out for the most when I’m exploring new music. The genre
is ever-expanding and is one of the main sub-genre that is leading us
into the new decade. I wanted to take this opportunity to talk about
one of my favorite bands of this decade and their evolution to where
they are now. The story of Men I Trust’s rise to indie fame is a bit
more abnormal than most. The group initially started without their
lead singer. In 2014 producer Dragos Chiriac and bassist Jessy Caron,
both Quebec music graduates and high school friends reunited after
college and came together to form a duo named Men I Trust. Their music
was heavily inspired by the electronic movement of the 2000s. If you
take for example a song from their self titled 2014 debut like Endless
Strive and compare it to their most recent output you immediately hear
the difference in their approach to production. The programmed robotic
electronic drums alongside these boisterous synthesizers give you a
closer look into how the duo looked at song creation. The basics where
all there, the dance-inducing, funkiness and soothe demeanor coupled
with great vocal performances by frequent guest collaborators offered
a range of different song types. At that was really missing would soon
be discovered. In 2015 as they were working on their next project they
came across a video on Facebook of their future lead singer Emmanuelle
Proulx. They were so impressed by her voice they invited her on to
their 2015 album Headroom. On the track Out In Myself, we get a very
subdued and reverb packed poetic performance from Emma with some
lyrics I still can’t even understand myself. What the hell is a
“dread cabalist night”? I’m not too sure but it slaps
regardless. The other track she lends her voice to Curious Fish is a
little dancier and energetic with these stabbing and interjecting
strings that pop in from time to time. And the tale of a lone fish
being attracted to love and pulled it by its shiny exterior. The album
itself is fantastic, with the first half being very feature heavy with
every singer lending the best version of themselves and the bottom
half taking bits and pieces from house music and 80’s style
synthesizers reminiscent of the fairly new at the time Random Access
Memories by French house duo Daft Punk. While I am a big fan of this
record the band would later go on to say in many interviews that the
sound of the album was almost too clear and pristine that it
essentially dehumanized many of the aspects of the project and that
they were naturally moving towards a more organic sound. Which would
ring especially true as the marathon of singles began. So what
happened next? They haven’t been very clear in their interviews but
one can only assume that sometime in between June of that year and
March of the next Emma was asked to join the band as their official
and full-time singer. In early March of 2016, they released their
first single as a full 3-piece band Humming Man. The song is magical,
beginning with a very simple loop and drum kick while Emma speaks in
the perspective of an anxious and paranoid old man who has
disconnected himself from the outside world. “Amid the gate, he
stares at my door. How long did I see him stay?” is one of the many
lines that puts you in that old man’s shoes all while you bob your
head alongside that groovy bass line. The vocals are brimming with
reverb and tons of effects that give this song an out of body
experience. The next single is a complete shift from their first song.
Lauren is much more reliant on acoustic instrumentation and less vocal
effects. While there is still a ever-present omniscient synth
accompanying the track the absolutely killer bass playing is what
carries this song. By elevating the bass and making it essentially the
glue that sticks this song together you get a sound that isn’t all
that common in the Dreampop or IndiePop genre. It’s so infectious it
makes you want to get up and dance at any chance you get. The panning
harmony is something you can’t help to sing along to every time. The
song was originally what really put them on to more people as the song
was spread all across popular sites like Bandcamp and the IndieHeads
subreddit. The beginning of the rush of popularity for the band.
Let’s fast forward a bit shall we? The year is now 2017 and after a
few more singles we see the release of Tailwhip, a song that would
eventually surpass the popularity of Lauren and become the bands most
well-known song. The song is chock-full of energy and while you think
you’d eventually get real annoyed of the constant beeping
synthesizer during the hook of this song I actually grew to love it,
it’s just one of the many examples of these tiny little additions
that add to character to Men I Trust songs. The little piano breakdown
before the hook is like a mini-countdown to get you pumped as fuck for
the hook which is so catchy and so easy to sing along too you can’t
help but do it. This is a perfect example of the band being able to
combine their roots in electronic music with more organic
instrumentation to perfectly compliment Emma’s voice, a trend that
would follow in their next singles. I Hope To Be Around is a more
standard dream pop song with a very basic drum pattern and jangly
guitar instrumentation, but the real charm is in Emma’s lyrics.
Everyone dreams of their future and finally hitting this state of
self-realization, finally realizing who you are what your purpose is.
Truth is a topic that is ever-present in many of Men I Trust songs,
hell it’s even in their name. But being at peace with yourself and
being able, to be honest with yourself. Another reason why this song
is so great is that it gave us this incredibly heartwarming viral
video of a crowd singing along to the song and driving Emma to tears.
it’s one of the pivotal moments for the band coming from Montreal
all the way to New York and having people dedicated enough to know
every single word to your song. I just needed to include this clip
because it almost makes me cry every time I watch it. Let’s inch
just a little closer to the present. While I’d love to touch on
every song I want to speak a little more on another important moment
in this run of amazing singles. Seven was released in late 2018 and
was unlike anything I had heard at the time. You can, of course, hear
the patented jangly dream-pop guitar providing assistance to the
groovy and heavy bassline throughout the song what really pops in this
song is once again the songwriting by Emma. The song is about a
private moment that happened to the band at a party and their
experience with someone who was always a little too curious and took
things a little too far. While they won’t exactly name names in
order to keep the event itself private safe to say there was
definitely some sort of sexy undertones being presented in the song
itself. And I would never live it down if I didn’t talk about that
incredibly sensual guitar solo near the end of the track. A great
ending to a fantastic track. And finally, we get to the present day.
Norton Commander is the newest of the singles and is one of my
personal favorites. There is something about that guitar during the
chorus that just blows my eardrums away. It’s so soft and smooth
that is completely and totally compliments Emma’s silky comforting
singing style. And just like in the music video, It’s a perfect song
to throw on with the top down cruising through the late-night streets
of any metropolitan area, just enjoying life like it was meant to be
enjoyed. So whats next? The band originally had an album due out in
February of this year but has since been in a constant state of delay
after delay. As Emma said in a podcast interview with Culture
Creature, touring can be a very stressful environment and it can be
very difficult to create art when your headspace is full of other
priorities. They initially announced that once touring had stopped
they would work to put the finishing touches on the record and give it
to the fans. Thankfully on the 24th of July, they announced that their
long-awaited 3rd album and debut with Emma as the lead Oncle Jazz
would release in mid-September with a whopping 24 tracks many of which
we have to yet to have heard. What I’m personally hoping for are
songs just like the singles, diverse yet poignant and connected. They
all have a certain quality that in this genre is only being achieved
by this band right now. It’s hard to explain but going through this
bands singles will give you an idea for what I’m talking about. Men
I Trust is leading the dream pop revolution and while I haven’t
heard the album yet I’m sure if it’s anywhere near as good as
their singles we are gearing up for one of the best projects of the
year. *** Renata Zeiguer Website Facebook Twitter Renata Zeiguer is a
Brooklyn-based multi-instrumentalist singer-songwriter, the daughter
of Argentinean and Philippine immigrants. An NYC native, she grew up
playing classical and jazz music, beginning on the violin and the
piano at age 6, and listening to her grandmother play ragtime and
tango music obsessively on a baby grand during family visits in Buenos
Aires. She began writing music as a kid, with mostly instrumental
compositions that evolved from hourslong improvisations while seated
at the keys after school. Initially drawn to composers like Prokofiev
and Debussy, she grew to like songs that could be sung, falling in
love with the great early 20th century American jazz standards,
Brazilian tropicália, and the Beatles. She eventually expanded her
compositions into lyrical song writing while studying at NYU, where
she met long-time collaborator and producer of her upcoming debut,
Adam Schatz. Since joining New York’s independent rock scene as an
original member of Schatz’s band, Landlady, Renata has sung and
played violin and keys on many projects including Ava Luna, Twin
Sister, Leapling, Cassandra Jenkins, The Relatives (Ian McLellan
Davis), Christopher Burke (Beach Fossils), Quilt, Skaters and
Ex-Reyes.
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11/12/2019 Last update