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1. The original Theodor would not be pleased. And yet, when the Toronto-based indie pop band was looking for a name, they turned to Theodor Adorno, author of “On Popular Music,” an article in which he lambastes the pop music of his time (1940s jazz) in favour of Beethoven’s 5thsymphony. It seemed appropriate to give a nod to Adorno for some accurate observations on the pop music he heard. But more than that, naming a pop band after a pop hater was meant as a “take that,” a sign of the band’s determination to prove him wrong. With six members and no guitars, Theodor has an unusual instrumentation for a pop/rock band: vocals, violin, trumpet, piano, acoustic bass, and drums, plus occasional appearances by the glockenspiel, recorder, and autoharp. It is a collection of jazz- and classically-trained musicians, who have united to create their own kind of “hopped-up chamber music,” influenced by musicians from Brahms to Bjork. Theodor's hallmark is a polyphonic soundscape with intricate and interwoven melodic lines drawing natural comparisons to Beirut and Owen Pallett. Their songs show a stark contrast between bright, catchy melodies and dark narratives, a fitting nod to frontwoman Elise Epp’s theatrical background. As a collection of concert band nerds gone indie band, Theodor joins the current trend towards lush, symphonic orchestration with a new perspective: years of musical training as soloists, which they now bring together as a band. Elise Epp is responsible for writin