Reception
During their career, Holiday Flyer drew comparisons to many indie pop standard-bearers such as Blueboy, the Softies, early Wolfie, and the Aislers Set, and indeed influenced some of those bands. Their jangly, chiming guitars, wistful lyrics, and wildly concordant sibling boy-girl harmonies made their music both bouncy and soothing, but more earnest than twee. As the zine Caught in Flux put it, Holiday Flyer's sound is 'comforting like a cup of hot chocolate . . . on a drizzly weekend morning.'
The band's reluctance to tour was somewhat unusual for an indie pop band, many of whom rely on word of mouth and contact at shows to build their fanbases. In an interview, Katie Conley summed up the band's live career: 'we've played around town, a little in L.A., very little, like three times, and one time in New York.' Nevertheless, being primarily a studio band did not prevent Holiday Flyer from developing a healthy following in Japan, where their last two releases were put out through Sony.
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Famous quotes containing the word reception:
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)