ALEX KERR | staff writer
I arrive at a small music studio in the heart of Burbank. As I walk towards the door, I pass a dreadlocked bassist pulling equipment from his car. I say hello to the keyboardist and head towards a smoky circle of men all huddled outside the studio. Their body language screams, “I just finished a mind-blowing set.”
I’m introduced to the members of the band Amber Melody and immediately appreciate their welcoming responses. Aren’t rock stars supposed to shoot you a pitiful look and send you on a coffee run?
After a few minutes of small talk, we head inside for a rehearsal. Lead singer Amber Melody Reed has not yet arrived. They practice a new song, “Weather Girl,” and play through it many times, working out the kinks.
I notice their distinct yet understated wardrobe, ranging from everyday jeans and a tee, to sweaters and button-ups. No snakeskin pants or Rob Pattinson-esque transient chic here; though in true rock star fashion, a black bra is discovered in the back of the room, for which no one takes credit.
Amber Melody’s producer, Jess Jackson, is everything one could hope for in the L.A. music scene: black leather jacket, Converse, and a “Drop names, Not bombs” T-shirt. His style is made complete by the delightful London accent he and his sister Amber share.
As he interrupts the song to tweak it again and again, no one seems to mind. I quickly notice the band’s interaction is surprisingly as smooth as their sound, and with a 12-piece band, I’m impressed.
Composed of two guitars, one bass, one keyboard, one saxophone, two horns, one cello, drums and three backup singers, Amber Melody is as impressive to watch as to hear.
Stage size issues aside, the band manages to effortlessly compile the distinct sounds of jazz, rock, pop and R&B into one uniquely blended sound.
Since Reed still hasn’t arrived, I get to hear several songs without vocals. They’re amazing, a combination I’ve never heard before.
Drums and cello create an irresistible fusion of classical and rock music, and provide the beat for several songs most notably in “White Flag” and “Plastic Faces.” Their sound is hard to pin down (perfect for a music review, right?)—think Estelle meets Outkast with Imogen Heap-like keyboard—hard to imagine, but incredible to hear.
Several hours and coffee cups into rehearsal, Reed arrives, and any frustrations are quickly forgotten. Who is this girl and why does her band like her this much? I wonder.
My observation of her is admiration and mild jealousy. She’s just as pretty in person as on her MySpace page. She hops on stage and behind smoky sunglasses gently apologizes in her I-could-quite-possibly-get away-with-murder British accent.
All smiles again, the band resumes playing, eager to nail the set for their Interscope Records audition Thursday, April 2.
With a growing fan base at every appearance, Amber Melody hopes to land a much-needed record deal.
“We can’t play for free forever!” a passing guitarist yells as I discuss the Interscope audition with senior music major and Amber Melody keyboardist Dane Obuchowski.
“There are three things you can choose with a gig,” Obuchowski said, “good people, good money, and good music. Usually you have to just pick two, but this [band] is all.”
