Union Transfer


Architecture In Helsinki

Architecture In Helsinki

DOM, Low Fi Fnk

Wed, November 16, 2011

Doors: 7:30 pm / Show: 8:00 pm

Union Transfer

Philadelphia, PA

$15.00 - $17.00

This event is all ages

Architecture In Helsinki
Architecture In Helsinki
Over three wildly diverse studio albums, a remix album and countless singles and eps, Architecture in Helsinki have delved deep into the heart of pop music. Heart and pop being the operative words here. For all their expectation-confounding twists and turns, AIH have always retained a massive amount of heart in their skewed take on what pop music is, and what it can be.

Their most recent release was euphoric electro-pop single That Beep. Released to coincide with the Australian summer, the song is a stepping stone between their 2007 album Places Like This and their forthcoming album Vision Revision. From the wide-eyed wonder of their 2003 debut Fingers Crossed to the joyously catchy melodrama of 2005’s In Case We Die to the mindbogglingly dense verve of 2007’s Places Like This, Architecture in Helsinki have demonstrated little regard for genre or convention. Each album is its own self-contained soundworld revolving around the idiosyncratic songwriting nous of Cameron Bird.

The band’s relentless years of touring have turned them in to a live force to be reckoned with. Having played festivals and shows in every corner of the globe the band has built a fierce international following. Architecture in Helsinki live shows are a heady blend of sweat, heart, energy and fun.
While many bands suffer with identity crises, Worchester, Massachusetts four-piece Dom has their priorities straight. “We want to be the Lady Gaga of garage rock,” proclaims Dominic, the 23-year-old mastermind behind the buzzed-about twisted-pop rockers, who have stampeded into music world consciousness like a herd of irritable rhinos.

If it seems like Dom just came out of nowhere, that is because they did. In December 2009, Dominic (who goes by Dom, and will not reveal his last name, due to “owing people lots of money”) met drummer Bobby in a Massachusetts boarding house. The two sought out to make Dom an “electronic sci-trance project” but after writing the song “Jesus,” the band took a more garage pop sound. Later, they connected with bassist Erik and guitarist Cosmo, and the finished project sounded more like a jangle pop mixtape left on your dashboard on hot summer day.

With warped vocals, fuzzy low-fi distortion, and broken Casio keyboard lines, Dom filters a DIY aesthetic through the upbeat, sunny rhythms of pop music. There’s a MacGyverized style to Dom buzzed-about debut EP Sun Bronzed Greek Gods, the seven songs feel like they’re held together by sonic duct tape. At any minute they could break apart. But they don’t. These tracks recorded in Erik’s bedroom—on a pink paisley guitar, a Casio and Fruity Loops—are solid, edgy and irresistibly fun. “We like to get gnarly, but that doesn’t mean we’re a joke,” Dom says.

By March they were playing frenzied basement shows on the East Coast, and by April DOM was featured as a rising band on tastemaking music site, Pitchfork. Then the buzzing began.

Yet, inside the breezy pop of Dom, is Dom, the man, whose personal history is decidedly less carefree. He doesn’t want you to dwell on his past, but to understand Dom today, you have to excavate the skeletons hidden deep in Dom’s closet. After all, pop music is escapism; it’s a drug, a candy-coated antidote to pain. Unfortunately for Dom, pain has followed him like a shadow through life.

When Dom was 8 years old, his mother gave him up for adoption. At an age where he was all-too conscious, Dom was devastated by this breach of trust and schism from his family. His siblings stayed with his mom, he was the only one to go. Unanswered questions reverberated in the back of Dom’s brain: Why him? What made Dom so different?

Like so many children in foster homes, Dom bounced from family to family, searching for permanent place to call home.

Acclimating to these temporary families was impossible, and when Dom was 14 he got into a serious fight with a foster brother. Dom was arrested in the school cafeteria in front of his friends. He was locked up for a few months and became subsumed in the cycle of within America’s ailing juvenile justice system.

Dislocated in life, he found a home in music.

“When I was a kid my mom listened to Roy Orbison, and I remember wanting to be him. I was told I couldn’t be him. So later I had this dream that if I could be him someday, I would be somebody, and maybe my mom could see that,” Dom says.

Dom’s personal troubles add a caustic irony to the feel good lyrics on Sun Bronzed Greek Gods. “It’s so sexy/ to be living in America” he sings on “Living in America.” On “Burn Bridges,” he explains, “Burn your bridges / make yourself an island / Just forgive ‘em and forget ‘em.”

On Dom island, music is the cure. It’s the reason to pick up those broken pieces of your life and move on. Dom says forget that baggage, fuck the past, and rock for now.

“I’m gonna live how I want to/ This is okay/ I’ve been living for today.” – Dom.
Low Fi Fnk
Low Fi Fnk
What do you have in your drinking water in Sweden? It was an open question an American journalist used when he wrote about the fact that Sweden gives birth to so many musical talents. An interesting question but nothing that the Stockholm duo Leo Drougge and August Hellsing have reflected too much upon. When they are asked the question themselves August respond’s swiftly “We have inherited mainly from ABBA which is the closest we get musical perfection. So it is in our blood rather than in our water.”

August 28 and Leo 28 years work under the name Lo-Fi-Fnk creating catchy electronic pop music for nearly ten years. They met back in high school and became friends when August commented on Leo’s New Orleans Jazz T-shirt.They found a common love of music and in 2002 came the first EP “We Is” on Swedish label La Vida Locash (Adrian Lux, Alexis Weak). The debut album “Boylife” that includes the singles “Change Channel” and “Wake Up” was released in 2006. British indie label Moshi Moshi nodded approvingly and quickly licensed “Boylife” and subsequently years of touring around the world soon took over.

LFF gained witty fans among musicians and the list of artists they’ve remixed is long – Mika, Architecture in Helsinki, Casiokids, Le Tigre, Yelle & most recently Foster The People is only a small sample. Nothing that has risen to their heads especially – but something that definitely contributed to the duo taking the bulk of five years to compile their second album “The Last Summer”. The first single “Boom” is already a favorite at Swedish Radio and with a solid remix package ready to be released in August will LFF’s music to reach it through to the dance floor at home and in the big wide world.
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123