LPR Presents: The Giraffes – Lulu Lewis – Guiding Light at Trans-Pecos
“A front row seat at a Giraffes show meant getting caught in a beer rainstorm, as the band and audience members alike went flying into the crowd with wild abandon. Beer and bottles of Jameson were passed. Aaron made a noose out of the mic cord, wrapped it around his neck and gave it to the crowd to choke him while he forced lyrics past his collapsing trachea. A Giraffes performance is a spectacle you will never forget’
~ Brooklyn Vegan
“As much as the next guy, I’m tough and like to chug whiskey, crack skulls, put cigarettes out on my wrist, and screw chicks. Ok, well, maybe I’m not, but I like bands that are. And seeing the Giraffes’ live show is like getting shanked in the face with a soaring microphone. Booze swilling and all the rest, they display good theatrics, commandeering vocals, artful shredding, and it’s flat out impossible not to listen up”
~ L Magazine
“Metallica and Black Sabbath are the obvious touchstones, but the rhythm section clearly owns a copy of The Who’s Greatest Hits as well. Drug addiction and soccer riots provide fodder for the lyrics, while the flammable guitar work could have only come from someone that’s walked some of life’s hard roads.”
“The Giraffes are a cult band from Brooklyn that has been leveling crowds with their signature mixture of heavy rock, punk, metal and surf since 1996. A well-earned a reputation for mayhem has followed the band from the start. Their guitarist was shot in the leg outside of a White Castle late one night in Brooklyn after being accosted by an off-duty fire marshal with an itchy trigger finger. The bullet is still lodged in his knee. Their singer has suffered multiple Sudden Cardiac Death events. He has a defibrillator implanted in his chest which has erroneously shocked him on stage. During a show at Chicago’s legendary Double Door, it sent 700 volts directly into his heart 3 times in 30 seconds. He finished the set.
They have toured with Local-H, Eagles of Death Metal, The Vacation and Skeleton Key, sharing the stage with Interpol, Fishbone, the Yeah Yeah Yeah’s, the Strokes. They have played Amsterjam, Voodoofest, Monolith, SXSW, Bonnaroo and more. Giraffes music can be heard in the video game Guitar Hero and the 2017 Sundance Festival winner film, I Don’t Feel at Home in This World Anymore.
In 2019 The band released its 7th full length studio album Flower of the Cosmos. It started as a collection of love songs but quickly went dark. You’ll see.
The Giraffes are: Aaron Lazar, Damien Paris, Andrew Totolos, and Hannah Moorhead.”
Founded by husband and wife duo Pablo Martin (Tom Tom Club, The Du-Rites) and Dylan Hundley, Lulu Lewis have established themselves as one of New York’s most prolific and versatile underground rock bands over the past three years, whether collaborating with artists like Brendan Canty of Fugazi, Sergio Rotman of Los Fabulosos Cadillacs or sharing the stage with musicians like Lenny Kaye & Jay Dee Daugherty of The Patti Smith Group, Shilpa Ray and Richard Lloyd. The band was the subject of a short documentary from Condé Nast, while their debut EP earned them praise for its “bold pop-rocking with soulful touches courtesy of Hundley’s up-front delivery” (The Vinyl District), while their art house-style videos have been called “a force to be reckoned with, wielding a progressive spirit of artistry and passion” (Atwood Magazine).
Lulu Lewis balance their sharp insight and dark poeticism with an air of playfulness across their genre-bending catalog. Haunting goth rock tracks live alongside tongue-in-cheek, synth-driven new wave, all connected by a sonic world of incinerating guitars, cutting rhythm section, and lo-fi production. Genuine Psychic acknowledges the light and dark duality of the universe without taking itself too seriously. Over the course of ten tracks, it recalls rock sounds of the Bowery’s grittiest days with a perspective that builds on the past, rather than copy it. In doing so, they create something entirely new and unique to itself, free of any trappings of genre or time, and utterly exhilarating.
The Big Takeover – Fronted by vocalist Dylan Hundley and multi-instrumentalist Pablo Martin (The Du-Rites/Tom Tom Club), this self-styled NYC post-punk band released this LP on their own Ilegalia imprint a few months ago and it’s starting to gain traction.Upon first listen, you can definitely see why as the dark, dreamy, moody minimalist pop-coming out of these grooves totally sucks the listener into their sphere. Once you’re in it, you can’t leave and with the recent release of dub interpretations of this material that hit the racks this past October, this amazing trip continues! There’s a lot of Bowie/Eno/Roxy Music in their DNA, not to mention a healthy dose of Suicide and Suburban Lawns. Excellent stuff that keeps getting better with every spin! Can’t wait for what comes next! http://bit.ly/bigtlulu
The Vinyl District – “Think Siouxsie, but also Dinah Cancer, a distinction made to underscore an affinity with punk’s pre-hardcore days, when the form was far less rigidly defined. The spare “Moving Fast” resists the pace of its title and is instead an appropriately moody follow-up to “Dig Beat,” though side two’s opener and album highlight “Intelligent Life” manages to blend “Mechanical Man”era Devo with the Tubeway Army and the joyous Saturday afternoon B-movie matinee energy of the early B-52’s, all while wielding social commentary with a sense of humor. And if that’s not punk, then go eat a sock.” http://bit.ly/tvdlululewis (full review)
Guiding Light is a musical collision between Chuck Davis (Pete International Airport, Stanley Love Performance Group) and Jason Sebastian Russo (Mercury Rev, Pete International Airport, Hopewell). The pair performed/produced/recorded their forthcoming album, Weird Pains, in damp Brooklyn basements and rural Nova Scotia, and recruited talents Erin Tonkon (David Bowie, The Damned) to mix and Heba Kadry (Ty Segall, Beach House) to master.
Though electronica, part of Weird Pains (out in 2020) channels the country singers of Chuck’s youth, not in sound, but in the liberal reinterpretation of other people’s work, à la Emmylou Harris and Willie Nelson. The rest of the downtempo psych pop record is comprised of poignant originals that play like mankind’s end credits, and the combined effect is a melodic dissertation on the failings of men and their gods, with a glimmer of hope. File under: dancing while crying.