Milo Greene doesn’t exist, cialis buy cialis and he never has. In fact, purchase there has never been anyone named Milo Greene. (I can’t actually prove that.) When three Los Angeles musicians (Marlana Sheetz, prescription Robbie Arnett, and Andrew Heringer) were struggling to book gigs, they created the persona Milo Greene, a fake British agent, to help them. At the time, Sheetz, Arnett, and Heringer were all playing in different bands. However, soon after they began to write songs, they recruited Graham Fink and Curtis Marrero, and took on the name of their fake booking agent. Since then, Milo Greene (the band) has been crafting harmonic-indie-folk-rock and wowing audiences, most recently at their sold-out show at The Sinclair.
First up on the eclectic bill was Boston’s own Parks. Most opening acts are neglected or skipped all together in favor of the headliners, but the Boston audience showed up to support Parks, showing their appreciation for local groups. Brian E. King is an impressive front man. After cycling through several other bands, King formed Parks with Stu Dietz (guitar), Matt Girard (bass), Brian Fitch (drums), and Liz McBride (keyboards, vocals). The group has been around for a few years, churning out stellar singles like “Modern Fiction” and earning a few Best Upcoming Bands nods from The Phoenix and The Boston Globe. Don’t get me wrong—it’s certainly nice to see a more mature band, but each member of Parks was reminiscent of my quirky high school teachers. I’m pretty sure King’s twin taught me AP History. The 45-minute set was packed full of Parks’ precise garage band sound, clearly influenced by bands like The Strokes and The Shins but with some classic rock and blues thrown in. Every song was enjoyable but a little safe and came off completely middle of the road. They are obviously a talented group but Parks needs to push past the standard to create something unique and memorable.
One neat thing about these smaller shows is that I get to watch the bands set up their own equipment, plugging in their guitars and spitting “test, test” into the mics. While watching Savoir Adore (pronounced sav-wah ah-door) set up, I was curious about their choice to wear all white outfits, in which they became lost in the blue and red strobes. Deidre Muro and Paul Hammer, who started the band in Brooklyn, shared lead vocals, but every time they switched lead, the whole feel of the music shifted. Their songs ranged from dreamy to epic, making startling swings from reverb-laden synths to jumpy guitar tracks. For a few of their tracks, they actually had corny synchronized hand movements. However, even with the many eccentricities, Savoir Adore managed to play some catchy synth-pop songs with rock sensibilities. Ultimately, their brand of synth-rock is a little overdone at this point (see M83, Neon Trees, and countless others) and they had trouble keeping the audience’s attention.
I have been a huge fan of Milo Greene ever since I was first introduced to them (thanks Dad!). They seamlessly mix folk-rock sensibilities with twinkly dream-pop guitar and epic instrumental tracks. Milo Green has been touring consistently since their self-titled album dropped last July and apparently have played in Boston “like ten times in the past half a year.” The quintet is made up of four lead vocalists (Robbie Arnett, Marlana Sheetz, Andrew Heringer, and Graham Fink) who constantly switch between guitars, bass, and keyboards. And, they are supported by the driving, percussive drumming of Curtis Marrero.
As the band members set up their banjos, 12-string guitars, keyboards, and other instruments, the packed house was getting stoked for the performance about to take place. Milo Greene started with the dreamy finger picking and quiet harmonies of “Moddison” and built into “Take A Step” (a personal favorite). Their set was a balance of instrumental songs flowing into their standard numbers. They also sprinkled in a couple covers, “Chicago” by Sufjan Stevens and Wilco’s “Shot in the Arm.” A self-described “cinematic pop” band, their goal is to write music that could score a film. The description is strikingly true, with their heartfelt and straightforward lyrics, and songs that build to an epic climax.
The greatest thing about Milo Greene is how democratic they seem. They constantly take turns with lead vocals, swap instruments, and add harmonies in almost every song. It’s pretty cool to watch a band knowing everyone in it could be leading another band, and doing it well. But they have chosen to form a sort of super group. Each singer brought their own style and emotion to the songs, and though they maintained their signature Milo Greene sound, each member certainly had his or her own voice. The band members were all so comfortable with whichever role they were playing for each song and it seemed like they were truly enjoying the evening.
By the end of the night, they had us all singing along to their singles (“What’s the Matter” and “1957”), and as they played their encore, I was overwhelmed with the realization of how special Milo Greene really is. I mean, how often do you see a band where every member stands out? As they left the stage, what remained was the odd, but intended, mix of excitement and serenity generated by their music.
Photo Credit: Graham Zinger