Live Review from 14th Year Anniversary Party
1. 4, 3, 2.5
3. The Boy Who Wouldn’t Grow Up
They may describe themselves as a “cinematic rock band” but I don’t think that does these guys justice. Having said that, I really have no idea how to describe them, and believe me, that doesn’t happen very often. They kick off with a honky tonk workout which every now and again stops for a few seconds of comedy classical piano in a kind of Mozart music hall way (see, I said I had no idea how to describe them). Their second track is epic Cantopop with a big dollop of Chinese opera which they throw everything at, including a few bars of rap. It’s all crazy over the top and absolutely hysterical and yet these guys are all great players and immaculately rehearsed like you wouldn’t believe. Their madcap antics totally win over a crowd charmed, enthralled and confused in equal measure. More of an experience than a band, they get the audience to freeze mid-song before singer-songwriter Van Chan teaches us all some kung-fu moves and sing-along lyrics. Their influences range over several decades and individually are not particularly original – put through the Nowhere Boys’ magic music machine however and it becomes totally their own. They’re clever and detail-orientated as well – during “The Boy Who Wouldn’t Grow Up” I heard a sample from what I guessed was a classic British Peter Pan movie (no idea which one), but unless you grew up 100 years ago obsessed with that fairy tale stuff like I did you would never recognise it. Mad as a bag of squirrels, but awesome.
– Dan Creffield
Live review from The Underground “Back to its Roots” Festival Part 2:
5. Peter 2
6. Mark (film)
Nowhere Boys flaunt a dapper style befitting their ‘cinematic pop’ label, with sharp suits a la Guys ‘n’ Dolls, Cantopop-worthy hairdos and ostentatious rock moves. Their polished all-round performance overcame the carnival-goers’ natural apathy, drawing a sizeable crowd to the astroturf, and we were kept guessing by the wide array of musical styles on show – from synth pop to blues rock, rap to cantopop, and noir soundtrack to cartoon theme.
-The Carnival Rat
Live review from Jager x Underground:
2. The Boy Who Wouldn’t Grow Up
4. Castle In The Sky
5. 4, 3, 2.5
一直都覺得Nowhere Boys是一隊比較正經的樂隊, 但在Jager x The Underground之後, 對他們完全改觀。將原創音樂稱為Cinematic Rock, 開首的<推石頭的人>選曲亦有鋪排。<推石頭的人>一開始只有主音Van和琴/小提琴手Fisher站台, 以Acoustic吉他和憂怨的弦樂伴著Van壓低了的唱腔。吉他手Ken一上台就表演Solo, 最後鼓手Nate和Bass手Hansun進場將歌曲帶至高峰。整首歌就像電影開首, 將隊員一一介紹。慢板又陰沈的<推石頭的人>之後是兩首夢幻的< The Boys Who Wasn’t Grow Up>和<Castle In The Sky>. 前者是講述<小飛俠 Peter Pan>的故事, 繽紛熱鬧又易上口。後者是樂隊向<天空之城>致敬的Folk-Rock作品。如果看電影時, 一直預計到劇情的走向, 其實並非一件好事, 可能玩著Cinematic Rock 的Nowhere Boys亦有同感。所第四首歌開始決定來個估你唔到的劇情大暴走。<狂想曲>就像經典的<Bohemian Rhapsody>所包含的編曲層次實在令人目不暇給, 亦是這曲一下洗走我對Nowhere Boys是正經的印象。瘋狂繼續, 快板Rock ‘n’ Roll的<4.3, 2.5>講述一個男人走進婚禮亂鎗掃射,一個極Cult的場景。最後加入電音的<麥克折射線>將聽眾帶入了一個未來的科幻世界。在短短半小時多, 就像在看多套電影Trailer般精彩。
– Dicky Kwong
NOWHERE BOYS opened their set with and absolutely beautiful vocal, acoustic guitar and violin duet. Truly with a Cinematic vein, reminiscent of the 1988 film Cinema Paradisio. I WAS TOTALLY AND COMPLETELY BLOWN AWAY. Moving into more of a Queen, Styx theatrical set, they grabbed me and never let me go.
Nowhere Boys are one of the best, most appealing bands I have seen in Hong Kong in my thirteen years here. With their very complex compositions, arrangements, musical talent, cool fashion, attention to the small important details, they have a real chance to break out of the all too boring, prepackaged Canto music dribble, and really make a mark on the international music scene.
These guys are unique, unusual, stylish sophistication, deeply passionate, emotionally moving, rockin’, creative, fun, playful. With “Cinematic Rock” as their self-described style, they are in a slightly different way expanding some of the music of the great bands they note as their influences – The Beatles, Rolling Stones, Pink Floyd, Guns N’ Roses, Queen, Aerosmith, Red Hot Chilli Peppers. It is really musical rock theater.
NOWHERE BOYS are continuously preparing by writing more music, recording and making more live performances. I can see them really starting to connect with the Hong Kong fan base, and playing festivals locally and internationally.
– Gregory Tancer