LOS ANGELES, CA- If your favorite artist decides to collaborate with someone else on a project, that’s bound to pique your curiosity, right? How about if said favorite artist is someone with a legendary pedigree? You’re going to seek out that track as soon as it’s released, right? No? How about if said artist is Daft Punk?
Daft Punk, the ever reticent production duo of Guy-Manuel de Homen-Christo and Thomas Bangalter, don’t often lend out their musical services, but when they do it’s typically for the likes of Kanye West, Pharrell Williams or The Weeknd. Artist’s that are in the same musical stratosphere as them. That’s why when news broke that they would producing a track for a Byron Bay based band known as Parcels, it was pretty big news. The track was “Overnight” and literarily garnered Parcels overnight attention.
With word that they would be playing a special show in between their weekends at Coachella, I decided to head out to Hollywood to hear, and see, how this band has evolved since being under the tutelage of de Homen-Christo and Bangalter.
Kicking off the evening’s disco infused vibes was Matthew Urango p/k/a “Cola Boyy”. The Oxnard, CA native released his debut EP, Black Boogie Neon, in 2018 and has garnered some significant press not only for his free wheeling, disco cuts, but also for his political activism supporting the rights of his city’s immigrants and vocally objecting to police brutality.
The disparity between his political and creative lives is stark. As far as I can tell, his music is void of any political messaging. It’s fun and bouncy and revolves around relatively harmless themes of love and passion (I say relatively because his track “Penny Girl” is about a jealous man who murders his love interest’s boyfriend … LOL). There was, however the clear message on his back-stage banner which proclaimed “RENTISTOOHIGH”.
But other than the Jimmy McMillan inspired printed phrase, Matthew’s performance light and breezy, and served as a quite satisfying appetizer to get the booty shaking vibes pulsing through the veins for what was to come.
By the time Patrick Hetherington (keyboardist/vocalist), Louie Swain (keyboardist/vocalist), Noah Hillbassist/vocalist, Anatole Serret (guitarist/vocalist) and Jules Crommelin (drummer/vocalist) took the stage, the room was well ubricated to groove to Parcels’ silky smooth offerings.
The quintet started the evening off with a slow roll, opening their set with the relatively mellow first track of their self-titled, debut album. Truth be told, Parcels is a generally laid back album. I’ve read someone comparing them to The Beach Boys if The Beach Boys went electro-disco, and to be honest, I think that’s a pretty fair description. The Beach Boys comparison can be made in the way their vocal melodies/harmonies are presented. I’d also add that they’ve also got a bit of the Bee Gees in the the way they utilize their synths. Overall, it’s a familiar aesthetic, but distinctly singular as well.
But what stood out for me was how the band transformed the music on their album for their live show. I couldn’t quite put my finger on it. Did they perhaps up the tempo a smidge? Is their live show mix a little more present than their studio mix? Did they extend jams to allow the audience to spend more time dancing? I don’t know what it was, but I felt more present listening to them live than listening to their vinyl spin on my player. While I enjoyed grooving side to side in my chair while I listened to their music as I worked, I was earnestly compelled to move my feet by the sheer sonics of their presentation at this show.
Every so often, a musician’s live performance can leave fans wanting. Parcels, however, did not disappoint. They exceeded my expectations at this performance, and I’m excited to see how they keep evolving their music, both on wax and in a live setting.
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