Let’s say you have a little sister. Doesn’t matter how old she is. What does matter though is that you’re annoyed with her tendency to prefer Top 40 pop music over scouring the internet for independent artists.
You want to pass on some older sibling advice, while at the same time, making sure that her musical evolution is one that’s genuine. After all, what’s the fun in having a clone that does everything you tell her to do? (On second thought, maybe don’t answer that.)
One day, as you’re going about your business, you notice that your sister has an Evanescence CD on her dress. Nevermind the fact that the band in question hasn’t released a record in about 3 years or so, but this is a purely hypothetical scenario. You, on the other hand, are rocking the Yeah Yeah Yeah’s masterful third album It’s Blitz.
Like all siblings, your sister is resisting any and all attempts to get into your music. Naturally, she doesn’t want you cramping her style. But at the same time, you want a bonding point, and a record that could possibly serve as a gateway drug to indie-rock.
If this scenario sounds familiar, then New York-based symphonic indie-rock sextet Lunic should suffice. Lunic, lead by singer Kaitee Page, has the big choruses and violin-tinged melodrama of Amy Lee’s titan-sized nu-grunge band, but their musical foot is a little more steeped in the underground.
Sure, both Evanescence and Lunic both have odes to wishing that their suitors would exist in a more sober state of mind ("Call Me When You’re Sober” by the former, and Lunic’s plaintively titled “Sober). But comparisons between the two groups are certainly tempting, but ultimately futile.
The contrast between the two bands couldn’t be more apparent than on the very first track of Lovethief, the band’s recently released third album. “The Dark House” begins with a swell of euphoric distortion and ethereal soundscapes invocative of shoegazer pioneers My Bloody Valentine.
But lest you think Lovethief is a strictly ambient affair, the crashing disco-drum beat and strong, but distinctly feminine vocal work of Page say otherwise. From there, it’s big chorus after big chorus, occasionally embellished by Page’s violin work and by electroclash keyboard sounds reminiscent of New York’s new wave revival of the new millennium (wow, that was a mouthful).
Lovethief continues unto its solidly catchy path until the double-punch of “Sober” and “Hypnotized,” Lovethief‘s two best songs. Both certainly dissect the effects that love (and or booze) have on a particular relationship, but again, Page’s voice and demeanor are closer to Karen O than Amy Lee, which makes exercises in self-pity more tolerable. A little bit of spunk, it would seem, goes a far way.
Speaking of going all the way, let’s back to your sister (Oh, snap, son!). No, seriously. If nothing else, Lunic’s Lovethief is the perfect segue from mainstream rock to underground alt-punk. From here, go with It’s Blitz, and then Sleater-Kinney’s masterpiece The Woods. Your sister will thank you for it. Trust me.
