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 Upcoming NYC Shows 
  
 11/2 - Record Release Party @ Lorelay 
 11/26 - Le Poisson Rouge 
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 Who is Emil & Friends? In 2008, the Wikipedia page of actor Emile 
Hirsch informed us that his “band goes by the name of Emil and Friends 
and is currently touring the United States.” Ever a beacon of factual 
credibility, Wikipedia was innocently reflecting rumors started by one 
rapscallion, Emil Hewitt, who was the real Emil behind the music, and 
who had propagated the hoax in a shameless effort to get his music 
heard. 
 And the story of Emil & Friends came into our world thusly–via a 
 fuzzy, falsified connection to a celebrity. Fortunately, the backstory 
was accompanied by music bright with fresh basslines, colorful guitar 
riffs and the whimsical charm of Emil’s vocals. Three years and many 
buzzy HypeMachine remixes later, after moving to New York and refining 
his sound, Emil has established himself as a riser in the NYC music 
scene. The artist formerly known as Emile releases his full-length debut
 Lo and Behold on Cantora Records. 
 Somewhere at the confluence of Emil’s chief inspirations–Queen, French 
house music and Timbaland–blended together with his flair for musical 
theater, he arrives at Lo and Behold, an eccentric musical journey he 
self-classifies as weird Pop. Beginning to end, the album is deliciously
 fantastical and schizophrenic, from the loungy banger “C.U.P.I.D.” to 
the dreamy ballad “Prescriptions,” to the disco shaker “Raincheck.” 
Emil’s debut is an exotic palette of musical moods, with tracks that 
sizzle, others that stir, and others still that soothe. 
 So who is Emil & Friends? Both a man and a myth. A con-man and a 
connoisseur. A mixologist and a remixer. A rising star and a star 
stalker. Overall, and perhaps ironically so given Emil’s fabricated 
identity, what shines most brightly on Emil’s debut is his own 
personality. He approaches each song with a distinct persona, and when 
held as a collection of songs, in Emil we find a highly relatable and 
transparent voice–the product of a generation as fickle and fragmented 
as the album itself. 
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