MIRROR TALK
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MIRROR TALK

West Hollywood, California, United States | Established. Jan 01, 2012 | SELF

West Hollywood, California, United States | SELF
Established on Jan, 2012
Band R&B New Wave

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Music for… back alley choreographed knife fights over girls with big hair.

Location: LA

Future: More heartbreak. More knife fights. - The Burning Ear


L.A. quartet Mirror Talk bum-rushes the 1980s with a funky tint; the quartet first came on our radar with last November’s EP titled “Infatuation,” which probably should have been plural. The band — Court Alexander, Steven Lopez, Sean Krell and Dave Lewis — articulate their infatuations with New Wave, dance-floor-ready R&B and keening synths, wrapping it all in a glossy, updated-for-2014 package. With their first EP just getting a vinyl release via Urban Outfitters, the quartet has resumed making new music with producer Tony Hoffer. The single “1997,” the title track to their forthcoming EP, is kinda-sorta-maybe appropriately star-dated — its sound is, after all, somewhere between 1984 and “1999.” - See more at: http://www.buzzbands.la/2014/07/31/stream-mirror-talk-1997/#sthash.Q6Hw4Uht.dpuf - Buzzbands LA


PREMIERE: MIRROR TALK “1997″

Mirror Talk is getting ready to follow up their debut EP Infatuation in a big way. Or at least that’s what we can gather from the sound the LA foursome is supplying with their first single “1997,” which serves as the title to the group’s second EP as well.

Now, if you’re unfamiliar with Mirror Talk, don’t worry, you’ll warm right up to them. Their music matches ‘80s vibes with synth pop tones and brings a touch of chillwave and R&B infused melodies. This single doesn’t waver from that recipe. And nor will 1997 from the looks of it. The group united with producer Tony Hoffer (the name behind notable acts such as M83 and Depeche Mode) when putting the EP together–meaning a track list full of hits like the one below are sure to follow.

Mirror Talk will take the stage at The Satellite in Los Angeles on August 2nd, while 1997 is set to be released on September 23. Listen to the track below. - Nylon Guys


Mirror Talk is currently busy working again with producer Tony Hoffer (M83, Beck) on following up their debut EP, Infatuation, with two more EPs, but they decided to go ahead and leak the electro-pop blast “Babes.” Curt yet utterly riveting, they claim the track is an homage to New York freestyle and Chicago house which might explain the unapologetic ’80s synth vibe but we’ll never shake its uncanny futuristic glow via a blistering pace and spine-chilling falsetto:


Mirror Talk will next perform at The Satellite on 8-2. - Free Bike Valet


Here's what we know about Mirror Talk: they're a new quartet from LA and they create slick synth-pop. Like the sonic equivalent of black silk sheets—sort of money, but sorta tawdry too. They feel good. Apparently one member of the band started making music back in the day with the aid of two synthesizers from his parents' Christian-rock band.

This cinematic video for "Don't" —lifted from their EP, Infatuation—details one never-ending night where your friend is a super wasted hot mess. She's slumped out in just a leather jacket (no shirt) and jeans, clutching an empty bottle of JD. She's argumentative, can't walk straight, and she's not nailing her vocals in the studio. Nightmare. We've all been there.

Other notable points:

- The nod to Warhol and the silver foil walls of The Factory.

- The baby blue topdown ride at 1.43.

- The hazy euphoria of the chorus which runs: "It's not over/Even when it's over." (Truth bomb.)

- The protagonist's wine red mullet. (Wait, do we need to cut a mullet now?)

Watch it.



Kim is Noisey's Style Editor and she's on Twitter - @theKTB - NOISEY


Mirror Talk is an Echo Park-based group of four dudes who mind-wiped their past projects and embraced synth-heavy electro pop worthy of an ’80s dance club. But there’s also something contemporary about their debut EP Infatuation. Produced by Tony Hoffer (M83, Beck), the album erupts gyration but also soars to high levels of dreamwave. Here’s its first single “Don’t”: - Free Bike Valet


“My first vinyl LPs were acquired the evening prior to my departure to the west coast for collage at my aunt’s second floor walk-up in the East Village of Manhattan.”

“Some years ago she disappeared into Europe and returned with an enigmatic English beau. Willowy, formidably learned, a voracious and excellent drinker, he was a charmingly appropriate counterpoint to my aunt’s city-bred free spirit. We three would commonly spend evenings drinking inexpensive Bourbon, smoking rollies, franticly discussing the state of culture in the city, and taunting the roving hordes of invading NYU students from the fire escape above, while the Brit played selector with an assortment of records across a variegated spectrum of genres.
Their shared album collection reflected an approach to lifestyle which I found attractive—manicured, minimal, essential. When the sun came up and evening concluded, they wished me well on my collegiate voyage and gifted me several albums, believing that records, like novels and motorcycle jackets, enjoy a second life in the possession of those for whom such things are new.

They’d both been listening to Sandinista! since the early 80′s, and perhaps took pleasure in knowing that decades later, someone else was to be similarly effected by its disorienting strangeness and ADD genre-hopping. London Calling off the Ritalin. My aunt told me a story about going out drinking in the village one night with Joe Strummer during his time with the Mescaleros. At the evening’s end, he signed her skateboard.


Blood and Chocolate was blistering. My uncle had already given me a CD of Armed Forces years earlier when I was a senior in High School. George Bush Jr. had just been elected into office and I was quickly realizing how little I understood women. Those familiar with the album’s subject matter will appreciate that it came to me at precisely the correct time and understand why Elvis Costello had become my go-to model for angry-young-man posturing and pop songwriting. Uncle had cautioned me that the song “I Want You” was dangerous, equally likely to induce heartbreak as to quell its effects. He was quite correct.

After repeated failures to meaningfully engage with hip hop music, OB4CL was the first rap record I fell truly and fully in love with. Prior to acquiring the vinyl, I’d forged a copy of a copy of the cassette. Adorned it in purple enamel, even. Warped, refracted orchestras set against violent, Sansamp-ed drums, woefully out-of-tune singing, and simultaneously bizarre and formalist raps about desserts made for a narcotic experience.

I was puzzled as to how they came into possession of the “Losing My Edge” 12″; neither seemed concerned with contemporary music and this was perhaps the only recently released vinyl in their collection. I’d ask them to put it on whenever I’d visit. At the time, I assumed the song’s author was some young cat and that its content was intended as a sort of novelty satire. A faux High-Fidelityan wave of supercilious bitterness, boasts of “being there” and digs at “internet seekers” made the tune difficult to engage with, but, god, it sounded phenomenally awesome. It took a year or so for me to realize I had it all wrong.


I think the last LP was Otis Blue, though I could be totally mistaken on that. Otis is perfect and, at the risk of hyperbole, I consider the records and songs he made during his life to be the voice of god made vinyl. Marvin was too slick, Al also. (But fuck, if Willie Mitchell didn’t give him the craziest, low-tuned snare sound on those records he produced.) I was dazzled by Stevie’s virtuosity, but couldn’t manage to fall in love with his music the way other friends and family naturally seemed to. I remember being introduced to Otis. In my early teens, my mother had put on “I Wish It Would Rain.” I loved The Temptations and inquired if they’re were any soul singers as mean as David Ruffin. Oh yes, she replied.

Before departing with the LPs I needed to ask—were they certain they wanted to relinquish such treasured music? They chuckled at the notion of “treasure” and its implied preciousness. We had a good run together they said. Time to make room in the crate for something new.”
—Steven Lopez, Synthesizers & Guitar

The vinyl edition of Mirror Talk’s “Infatuation” EP will be available through Urban Outfitters in January, and in advance—it’s out digitally today. - The Vinyl District


To complement Los Angeles synth-pop outfit Mirror Talk's just-released Infatuation EP, Chicago duo The-Drum (a.k.a. Brandon Boom and Jeremiah Chrome, pictured above) have offered up a sensual rework of the band's "Don't" single. Warping the singer's moans and exhalations into a layered collage that recalls the cartoony pleasure of Aphex Twin's "Windowlicker," Boom and Chrome keep a straight face with their production, building on a seductive R&B rhythm with abundant vocal texture, skittering finger snaps and hi-hats, and honeyed synth flourishes. - XLR8R


The man in that album art looks like he wouldn’t be mad if you didn’t dance to Mirror Talk’s music…. he would just be disappointed. The Los Angeles band’s debut 3 song EP takes body moving beats and rhythms very seriously. These are big songs for dark rooms, built for turning up the volume and the heat. Listening to these jams on repeat I’m really struggling to find a favorite. I thought it was “Too Late To Start” but then I heard the second rack… and then the third. I love the emotion he lays out in all his vocals. This is what Hurts should be sounding like today! There is real texture here.

Catch them live on Friday Nov 8th at Space 15 Twenty in Hollywood! No wallflowers allowed! - The Burning Ear


There's always great music coming out of The City Of Angels, but nothing has quite taken my liking as electronic quartet Mirror Talk. Comprising of Court Alexander, Steven Lopez, Sean Krell and Dave Lewis, Mirror Talk's musical journey is worth a read, but they look to have finally reached the edge of the promised land, and new single "Too Late To Start" should usher them through the holy gates.

Taking influence from the new wave scene of the 80s, "Too Late To Start" is gorgeous synth pop, with Alexander's passionate falsetto infusing the tune with electric emotion. While there are hints of Duran Duran, The Human League, and Ultravox in their sound, "Too Late To Start" also embodies current electro trends, and you can imagine the celebrity crowd that frequented Studio 54 jiving to this in their heyday.

Sensual, lush, and above all, euphoric, "Too Late To Start" is one belter of a tune from a band that looks set to take the music scene by storm. - Indie Shuffle


A half-haunted and precious thing, Mirror Talk took to the backyard to bury their synthesizers and melodies. Heavy-handed metaphor though it may be, the first moments of the band's single, "Choose Life" are muffled and blurry before a cloud-clearing burst of sound, soaring synths and drubbing bass lines. The hook is very much reminiscent of Future Islands, a slice of fuzzy and slightly off-kilter keyboard orchestra. While the fuzz indicated a hidden self, the topical thrust is even more fatal. Underpinning the whole thing is a terrible interrogative lyric, "Is it true, love?" followed by the most mournful, "ohs" you'll hear this week. A long-form projection, "Choose Life" unfolds over nearly five minutes, ebbing and flowing between verse and chorus with a tidal certainty. The central question, whether "it" is true, is left parenthetically unknown. We are left to assume, yes, and the worst, our options to dig a hole or explode upwards.
- 32FtperSecond.com


I may be way out of line on this but I’m just gonna say it. The first thing that came to mind when I heard this track from this LA group was this is what it would sound like if Small Black brought a Prince vibe coupled with a post-break-regret-80s-movie-montage. You know, that 80s split screen following contrasting characters walking down darkened street lit by intermittent overhead lights, one’s crying and the other is kicking over every aluminum trash can in sight then prompting readjusting their jean jacket. - Head Under Water


If there was anything music in the eighties taught us, it’s that there’s always time break into dance and leave logic out the door. Or maybe that’s how the plot to the Breakin’ films unravel. Either way, it’s hard to avoid the enduring influence of synth- pop in today’s younger bands. And while the mission of most is to distort its spotless, primitive arrangements with noisy bursts of riotous vigor, there’s also those who shun the idea of experimenting for experimenting’s sake and opt to bust out the Casio and put it on auto-pilot. The self-proclaimed millenials Mirror Talk fall into the latter – the songs off their self-titled EP resonate with a playful spirit, filled to the brim with contagious excitement. Seemingly meant to be taken in the same context as a “choose life” t-shirt, they share a song titled with the eponymous eighties slogan. And the sentiment couldn’t be any more apropos with the song’s vitality – going for an arena-level synth pop sentiment, in which they exclaim is it true love with upbeat jubilation, the hyper-balled unabashedly melds a finely-tuned production that feels very now with a glorious sense of the past. - The Deli Magazine LA


Discography

MIRROR TALK-EP1-INFATUATION

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