Grouplove
MS MR
Fri, November 2, 2012
Doors: 7:00 pm / Show: 8:00 pm
Terminal 5
New York, NY
$25
Tickets
This event is all ages
The Grouplove show will happen as planned, but due to Hurricane Sandy’s massive impact on the New York City metro area, we regret to announce the performance will no longer stream live on The Bowery Presents Live channel on YouTube.
http://www.terminal5nyc.com/event/145203/Grouplove

When the members of Grouplove met it was like a dream. The setting was
a remote artist colony on the exotic, mysterious Greek island of Crete.
Drummer/producer Ryan Rabin and his childhood friend and former
bandmate, guitarist Andrew Wessen came from California, guitarist
Christian Zucconi and keyboarist Hannah Hooper traveled from New York,
and bassist Sean Gadd was the lone Brit. Each member went to Greece for
their own independent reasons but over time they gravitated towards each
other and discovered the sound that unified them: a merging of richly
narrated, intricate songs with anthemic classic pop production. It took the
band the better part of a year to reunite after they left the island, but as
they prepare to release their debut album Never Trust A Happy Song, they’re
starting to realize what began as a fantasy has now become very real.
The story begins in the grimy, grey urbanscape of New York City. Hannah
was a painter living in a tiny apartment in Chinatown. Christian was living
in Brooklyn, realizing the band he’d been in for several years was coming to
its natural end. Forty-eight hours after they met the couple decided to
abandon the going-nowhere struggle of city life for the idyllic restfulness of
Greece. “When we first got there we didn’t know what to make of it,”
Christian remembers, laughing. “We were sharing a single bed and there
was no real shower. It took a few days to adjust.” They soon settled into a
rhythm – Christian wrote songs and Hannah painted, but eventually they
started mingling with the other residents. “To begin with, we just sat
around on the beach or in caves, playing each other songs,” Sean recalls. “I
thought Christian and Hannah were very eccentric and very artistic. I liked
their style. And right away we were all very supportive of each other’s
music and really enjoyed being together. That was the beginning of
Grouplove, we just didn’t know it then.”
The colony, which Andrew’s brother founded, allowed the members of
Grouplove to step outside their comfort zones. “We spent our days
together at a secluded beach far from the tourist traps, passing around the
guitar or ukulele and sharing our songs with each other,” Andrew
remembers. “At night, we would spend time in the town or the zen garden,
continuing to hang out. The fact that we met as individual artists and
songwriters is a dynamic that has remained to this day.” The individuality
factor was huge. “In New York you’re limited to what you’ve defined
yourself as,” Hannah laments. For the affirmed visual artist, this was a
particularly powerful revelation. “I’d been surrounded by the same people
for so long, which at a certain point becomes stifling,” she explains. “Even
though I was bright red the first few times I sang, it became an immediate
way to be creative with the people around me. We were making something
together.”
It wasn’t just the unusual circumstances that set these artists free, it was
also each other's company. “We are all so different,” Hannah explains. “Sean
is the traditional rock and roller. He’s got humor and style.” “And he’s the
guy you want in your corner,” Christian seconds. “Andrew is the free-spirit,
blonde, California surfer boy,” Hannah says fondly. “And the ambassador of
the band – he’s very social,” Christian adds. “Ryan seems serious at first but
he’s actually really funny and weird and has an exceptional ear,” Hannah
says. When it comes to describing each other, the couple keep it short but
sweet. “Christian writes the purest songs I’ve ever heard,” Hannah says.
“She’s the real rockstar of the band,” Christian responds.
It’s one thing to play around with a new art project from the comfort of a
supportive community, and quite another to transport that delicate synergy
to the real world. Ryan, who’d come to Greece after attending an exchange
program in the Czech Republic, went back to LA, thinking of Crete as
nothing more than the cherry on top of an eye-opening year abroad. Sean
went back to play with bands he’d been with, but just like with Christian, it
became clear those projects had run their course. And Andrew, a surfer,
went home to California where he picked up the chirango and ukulele,
adding to his repertoire of stringed instruments. “We kept in touch in a
summer camp way,” Hannah recalls. “But people started getting back to
their lives working their crappy jobs. Christian and I just really didn’t want
Greece to become just a memory.” After an impromptu reunion in LA,
during which they all stayed at Andrew’s place in Venice and Ryan’s garage
recording studio, jamming for a few days, it became clear this was
something special. “We just cancelled our flights back to NY,” Christian
remembers. “That was it.”
Never Trust A Happy Song is a brawny, ecstatic album filled with ambitious,
varied, expansive, tunes underscored by crisp percussion and killer
harmonies. “The variety in the musical taste and writing styles of each
member really makes each of our songs unique,” Ryan explains. “The
honest, open-minded process we go through in rehearsal and in the studio
brings the songs home and gives them the 'Grouplove' sound.” Under the
Grouplove banner, “Colours,” became a delicate but powerful slow/fast jam.
“Itchin On A Photograph” is a soaring epic propelled by spacey guitar licks
and vigorous handclaps. And “Tongue Tied,” is an electronic infused dance
anthem that showcases the band’s obsession with careening harmonies. In
keeping with the progressive context of their meeting, Hannah, Andrew,
and Sean all share vocal duties and take their turn fronting the band -
though Christian sings lead on most songs – Ryan produces all of their
material, and all five bandmembers receive songwriting credit on every
tune: Grouplove is a true collaboration.
The album’s title initially seems ironic: On the surface the band’s vibe
comes off as happy, the songs soar with a kind of shimmering, youthful
exuberance. But just beneath that sunny sheen, there is a reservoir of
longing and melancholy. The Grouplove signature is blending those two
pillars of life: sorrow and joy. Hannah explains, “As individuals we are
heavier, darker, but when we are together we bring the love.”
a remote artist colony on the exotic, mysterious Greek island of Crete.
Drummer/producer Ryan Rabin and his childhood friend and former
bandmate, guitarist Andrew Wessen came from California, guitarist
Christian Zucconi and keyboarist Hannah Hooper traveled from New York,
and bassist Sean Gadd was the lone Brit. Each member went to Greece for
their own independent reasons but over time they gravitated towards each
other and discovered the sound that unified them: a merging of richly
narrated, intricate songs with anthemic classic pop production. It took the
band the better part of a year to reunite after they left the island, but as
they prepare to release their debut album Never Trust A Happy Song, they’re
starting to realize what began as a fantasy has now become very real.
The story begins in the grimy, grey urbanscape of New York City. Hannah
was a painter living in a tiny apartment in Chinatown. Christian was living
in Brooklyn, realizing the band he’d been in for several years was coming to
its natural end. Forty-eight hours after they met the couple decided to
abandon the going-nowhere struggle of city life for the idyllic restfulness of
Greece. “When we first got there we didn’t know what to make of it,”
Christian remembers, laughing. “We were sharing a single bed and there
was no real shower. It took a few days to adjust.” They soon settled into a
rhythm – Christian wrote songs and Hannah painted, but eventually they
started mingling with the other residents. “To begin with, we just sat
around on the beach or in caves, playing each other songs,” Sean recalls. “I
thought Christian and Hannah were very eccentric and very artistic. I liked
their style. And right away we were all very supportive of each other’s
music and really enjoyed being together. That was the beginning of
Grouplove, we just didn’t know it then.”
The colony, which Andrew’s brother founded, allowed the members of
Grouplove to step outside their comfort zones. “We spent our days
together at a secluded beach far from the tourist traps, passing around the
guitar or ukulele and sharing our songs with each other,” Andrew
remembers. “At night, we would spend time in the town or the zen garden,
continuing to hang out. The fact that we met as individual artists and
songwriters is a dynamic that has remained to this day.” The individuality
factor was huge. “In New York you’re limited to what you’ve defined
yourself as,” Hannah laments. For the affirmed visual artist, this was a
particularly powerful revelation. “I’d been surrounded by the same people
for so long, which at a certain point becomes stifling,” she explains. “Even
though I was bright red the first few times I sang, it became an immediate
way to be creative with the people around me. We were making something
together.”
It wasn’t just the unusual circumstances that set these artists free, it was
also each other's company. “We are all so different,” Hannah explains. “Sean
is the traditional rock and roller. He’s got humor and style.” “And he’s the
guy you want in your corner,” Christian seconds. “Andrew is the free-spirit,
blonde, California surfer boy,” Hannah says fondly. “And the ambassador of
the band – he’s very social,” Christian adds. “Ryan seems serious at first but
he’s actually really funny and weird and has an exceptional ear,” Hannah
says. When it comes to describing each other, the couple keep it short but
sweet. “Christian writes the purest songs I’ve ever heard,” Hannah says.
“She’s the real rockstar of the band,” Christian responds.
It’s one thing to play around with a new art project from the comfort of a
supportive community, and quite another to transport that delicate synergy
to the real world. Ryan, who’d come to Greece after attending an exchange
program in the Czech Republic, went back to LA, thinking of Crete as
nothing more than the cherry on top of an eye-opening year abroad. Sean
went back to play with bands he’d been with, but just like with Christian, it
became clear those projects had run their course. And Andrew, a surfer,
went home to California where he picked up the chirango and ukulele,
adding to his repertoire of stringed instruments. “We kept in touch in a
summer camp way,” Hannah recalls. “But people started getting back to
their lives working their crappy jobs. Christian and I just really didn’t want
Greece to become just a memory.” After an impromptu reunion in LA,
during which they all stayed at Andrew’s place in Venice and Ryan’s garage
recording studio, jamming for a few days, it became clear this was
something special. “We just cancelled our flights back to NY,” Christian
remembers. “That was it.”
Never Trust A Happy Song is a brawny, ecstatic album filled with ambitious,
varied, expansive, tunes underscored by crisp percussion and killer
harmonies. “The variety in the musical taste and writing styles of each
member really makes each of our songs unique,” Ryan explains. “The
honest, open-minded process we go through in rehearsal and in the studio
brings the songs home and gives them the 'Grouplove' sound.” Under the
Grouplove banner, “Colours,” became a delicate but powerful slow/fast jam.
“Itchin On A Photograph” is a soaring epic propelled by spacey guitar licks
and vigorous handclaps. And “Tongue Tied,” is an electronic infused dance
anthem that showcases the band’s obsession with careening harmonies. In
keeping with the progressive context of their meeting, Hannah, Andrew,
and Sean all share vocal duties and take their turn fronting the band -
though Christian sings lead on most songs – Ryan produces all of their
material, and all five bandmembers receive songwriting credit on every
tune: Grouplove is a true collaboration.
The album’s title initially seems ironic: On the surface the band’s vibe
comes off as happy, the songs soar with a kind of shimmering, youthful
exuberance. But just beneath that sunny sheen, there is a reservoir of
longing and melancholy. The Grouplove signature is blending those two
pillars of life: sorrow and joy. Hannah explains, “As individuals we are
heavier, darker, but when we are together we bring the love.”
MS MR

Edward Scissorhands. The board game Operation. Sonic Youth. Claudia Schiffer? Plastic monkeys! These are among the pop-culture artifacts that appear in the epilepsy-inducing slideshow video for “Hurricane,” the first single from MS MR. Until recently shrouded in anonymity, the atmospheric indie-pop duo from New York City has proven universally intriguing, earning breathless attention from Pitchfork, Forbes, and Perez Hilton alike.
In the trip-hoppy “Hurricane,” smoky-voiced Lizzy Plapinger sings, “Welcome to the inner workings of my mind/So dark and foul I can’t disguise,” while a push-and-pull of echoey strings and staccato percussion (courtesy of the producer stylings of Ms Mr other half Max Hershenow) envelop her voice. Technically, the song, which hit No. 1 on Hype Machine, is about Hurricane Irene, which careened towards Gotham last year. The video? Not so much.
“I see something different every time I watch it,” concedes Max. “The video is sort of a cross section of the images we've collected on Tumblr, which we essentially use as an ongoing mood board.” If there’s one philosophy driving MS MR (pronounced “miss mister”) —dabblers in chaos theory who’re as goofy as they are thoughtful—it’s media-theorist Marshall McLuhan’s famous observation that the medium is the message. MS MR are so committed to that sentiment they handpicked each “Hurricane” image themselves.
“We’re interested in exploring the nature of mixed media and collage,” says Lizzy, “and how music transcends all these various platforms.” Chief among them: MS MR’s lively—if thoroughly mystifying—Tumblr page, which they unprecedentedly used to debut their second EP, the critically acclaimed Candy Bar Creep Show, song-by-song. (Their first release, Ghost City USA, was a self-released collection of demos.)
The EP, which sets the foundation for MS MR’s still-untitled album (out early next spring), references everything from ’80s to’90s pop, doo-wop to country. That kitchen-sink aesthetic won the attention of vintage-sound wiz Tom Elmhirst (Adele, Amy Winehouse), who mixed and did some additional production on it at the legendary Electric Lady Studios. “Tom helped us more fully realize the album as we imagined it” says Max. “He responds to music more emotionally and viscerally than anyone I’ve ever met. It was the perfect match.”
The aural Jenga that is MS MR was born of Lizzy and Max’s vast inspirations. “We both listen to a lot of different music from all different genres and time periods,” says Max. “So we like to approach each song as its own project and experiment with combining unexpected elements.”
It’s a stroke of serendipity that Lizzy and Max are even making music together. They may giggle uncontrollably and complete each other’s thoughts, but these Vassar alums never really knew each other during college. Lizzy was a media-studies major, releasing records under her burgeoning imprint Neon Gold. (She’s gone on to release records by artists such as Passion Pit and Ellie Goulding.) Max was an urban-studies major with a concentration in modern dance, and started composing music for his choreographies. They met fleetingly through friends. But really connected after they graduated, when Lizzy needed an unbiased sounding board for her secret project, and Max was looking for new artists to collaborate with.
“There was sort of an element of Internet dating to it,” Max says, laughing. “Throw caution to the wind! Send someone an email, hope for the best.” He liked what he heard, which only terrified Lizzy more. “I was nervous because I had never sung in front of anyone before, so when he told me he was interested I actually put it off for a few months.”
They finally connected three months later in December 2010. To find their footing as collaborators, they recorded a sweeping cover of Patrick Wolf’s “Time of My Life” in Max’s closet-turned-studio. Curious to see where else the music could take them, they decided to give it another go and try their hand at some original material. This led to the swelling, mercurial tune we know now as “Bones." "It's quite a personal song and definitely set a tone for the band," says Lizzy. “In person, we're quite upbeat and bubbly, but the music is a much more honest space and outlet for us."
Only now, it’s become public. MS MR finally unveiled their live personae in March with a rocked-out gig at Brooklyn’s respected Glasslands Gallery. "I think people maybe expected two people on stage with a laptop, but we were adamant from the beginning that we would never do that!" says Lizzy. "We wanted the live show to do the recoded tracks justice," continues Max, "so we perform as a band to give it the lushness and energy we aim for while recording." Since their Glasslands show, they’ve moved on to bigger venues while touring with Marina and the Diamonds, an outing they affectionately refer to as their "training-wheels tour.”
“Really,” continues Max, “this whole experience has been about discovering undiscovered parts of ourselves."
In the trip-hoppy “Hurricane,” smoky-voiced Lizzy Plapinger sings, “Welcome to the inner workings of my mind/So dark and foul I can’t disguise,” while a push-and-pull of echoey strings and staccato percussion (courtesy of the producer stylings of Ms Mr other half Max Hershenow) envelop her voice. Technically, the song, which hit No. 1 on Hype Machine, is about Hurricane Irene, which careened towards Gotham last year. The video? Not so much.
“I see something different every time I watch it,” concedes Max. “The video is sort of a cross section of the images we've collected on Tumblr, which we essentially use as an ongoing mood board.” If there’s one philosophy driving MS MR (pronounced “miss mister”) —dabblers in chaos theory who’re as goofy as they are thoughtful—it’s media-theorist Marshall McLuhan’s famous observation that the medium is the message. MS MR are so committed to that sentiment they handpicked each “Hurricane” image themselves.
“We’re interested in exploring the nature of mixed media and collage,” says Lizzy, “and how music transcends all these various platforms.” Chief among them: MS MR’s lively—if thoroughly mystifying—Tumblr page, which they unprecedentedly used to debut their second EP, the critically acclaimed Candy Bar Creep Show, song-by-song. (Their first release, Ghost City USA, was a self-released collection of demos.)
The EP, which sets the foundation for MS MR’s still-untitled album (out early next spring), references everything from ’80s to’90s pop, doo-wop to country. That kitchen-sink aesthetic won the attention of vintage-sound wiz Tom Elmhirst (Adele, Amy Winehouse), who mixed and did some additional production on it at the legendary Electric Lady Studios. “Tom helped us more fully realize the album as we imagined it” says Max. “He responds to music more emotionally and viscerally than anyone I’ve ever met. It was the perfect match.”
The aural Jenga that is MS MR was born of Lizzy and Max’s vast inspirations. “We both listen to a lot of different music from all different genres and time periods,” says Max. “So we like to approach each song as its own project and experiment with combining unexpected elements.”
It’s a stroke of serendipity that Lizzy and Max are even making music together. They may giggle uncontrollably and complete each other’s thoughts, but these Vassar alums never really knew each other during college. Lizzy was a media-studies major, releasing records under her burgeoning imprint Neon Gold. (She’s gone on to release records by artists such as Passion Pit and Ellie Goulding.) Max was an urban-studies major with a concentration in modern dance, and started composing music for his choreographies. They met fleetingly through friends. But really connected after they graduated, when Lizzy needed an unbiased sounding board for her secret project, and Max was looking for new artists to collaborate with.
“There was sort of an element of Internet dating to it,” Max says, laughing. “Throw caution to the wind! Send someone an email, hope for the best.” He liked what he heard, which only terrified Lizzy more. “I was nervous because I had never sung in front of anyone before, so when he told me he was interested I actually put it off for a few months.”
They finally connected three months later in December 2010. To find their footing as collaborators, they recorded a sweeping cover of Patrick Wolf’s “Time of My Life” in Max’s closet-turned-studio. Curious to see where else the music could take them, they decided to give it another go and try their hand at some original material. This led to the swelling, mercurial tune we know now as “Bones." "It's quite a personal song and definitely set a tone for the band," says Lizzy. “In person, we're quite upbeat and bubbly, but the music is a much more honest space and outlet for us."
Only now, it’s become public. MS MR finally unveiled their live personae in March with a rocked-out gig at Brooklyn’s respected Glasslands Gallery. "I think people maybe expected two people on stage with a laptop, but we were adamant from the beginning that we would never do that!" says Lizzy. "We wanted the live show to do the recoded tracks justice," continues Max, "so we perform as a band to give it the lushness and energy we aim for while recording." Since their Glasslands show, they’ve moved on to bigger venues while touring with Marina and the Diamonds, an outing they affectionately refer to as their "training-wheels tour.”
“Really,” continues Max, “this whole experience has been about discovering undiscovered parts of ourselves."






