![]() Since their beginning McEwan and Lyle have been building progressively more complex yet eminently relatable worlds - their most-recent effort earning the top spot on Billboard’s Dance/Electronic charts and getting songs placed in shows like 13 Reasons Why. Fans see themselves in the movement and want to bring in more people. They show up by the thousands to sold-out shows on multiple continents. They blast the records at parties and crank up the volume on their car stereos. They come together, 15,000 at once, to experience a livestream benefit the band puts together. ![]() Fans come together online on every platform imaginable, streaming and downloading their previous releases – Endless Summer (2016), Nocturnal (2017) and Kids (2018) millions of times, and jumping over to spaces like social media and Reddit to hermeneutically dissect The Midnight’s body of work with a loving passion. This movement McEwan and Lyle have been building since 2014 began online with their debut album DAYS OF THUNDER, and over the past six years has become an encompassing, multi-sensory opportunity to find community wherever someone goes. Each song cultivates a story written on a bedrock of universal themes and eternal hooks, coming together to create a body of work that unifies an enthusiastic global fan base. Their music fuses this Americana with an evocative electronic palette that incorporates synth-driven film scores, dance music, synth-pop, and rock, creating an enveloping harmony of richly textured sonics and poignant lyrical imagery. The Midnight, the duo of producer Tim Daniel McEwan and singer-songwriter Tyler Lyle, are masters of flipping the disparate archetypes of yearning American youth - think everything from John Hughes films and the Smashing Pumpkins’ “1979” music video to Snapchats of ravers losing it to a big bass drop and the lonesome sway of the “lofi hip hop radio – beats to study / relax to” YouTube channel - into their own modern collage that finds a throughline between generations of teenage ennui. That’s the goal: Give the audience enough raw material to make the world their own.” The better the symbol and the more universal the myth, the more people can create a world for themselves from their memories and desires. We’re trying to put a skin around the symbols and myths that civilization has told itself for 10,000 years. He has a star on the Hollywood Walk of Fame, and the Rock and Roll Hall of Fame in Cleveland maintains a permanent Laboe display.“We stick to the archetypes. institution, and his final show was produced during the week and broadcast October 9. In 1994, his popular Sunday Night Killer Oldies Show went into successful national syndication. He worked at KFI for a couple of years before beginning a third stint at KRLA in 1985 that would last nearly a decade. He was something of a Renaissance Man at the station, doing a show while serving as program director, sales consultant and in other capacities. Laboe moved back to KRLA in 1975, where he would spend the rest of the decade. outlet KRTH-FM switched to an all-oldies format in 1972, Laboe was an on-air jock and a consultant. Happy Days would premiere in January 1974. By 1970, he had moved his format to KPPC-FM, and - fueled by the success of Rick Nelson’s “Garden Party” and George Lucas’ future-star-laden film American Graffiti - the wave of nostalgia for the 1950s and early ’60s became a national trend. Two of its earliest releases, the percussion-driven instrumentals “Teen Beat” by Sandy Nelson and “Bongo Rock” by Preston Epps, were national pop hits in 1959.Īll the while, Laboe continued to play the oldies. Laboe’s Hollywood-based Original Sound label also made original recordings.
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