This one is off their album Committed to the Crime. A dark and ambient album name that fits a dark and ambient song! “Do You Feel It” starts off with a slow piano that has an echoey, empty feel reminiscent of most European club songs. (Or most European music in general, really.)
The piano quickly cuts into a nice electronic beat that provides subtle backing for Asya Saavedra’s strong, even defiant, vocals. She tells her subject that they’re “always talking” but “not playing.”
Today we’re examining the phenomenon of Tame Impala – specifically, their song “The Less I Know The Better.” It’s basically your art student friend’s sound. Spare, electronic beat accompanied by a wavering male voice.
When my dad was in college, one of the male dorms used to have a “Funk Break” every Thursday night. They’d listen to funk music and hang out. Funk music is a genre that I’ve only scratched the surface of (Sly and the Family Stone, etc.), but one that I definitely want to dive deeper into.
Today’s post is all about “Can You Get to That” by Funkadelic, one of the first funk groups that I ever got into.
The age-old gender divide – you know, men are from Mars, women are from Venus – shows up in music, too. In Matchbox 20’s “She’s So Mean,” Rob Thomas talks about this insane party girl that he’s in love with: “all you want is just to hold her but she don’t go for that.” Ultimately he dismisses her as “so mean” because she’s crazy and he can’t understand her behavior.
However, many female singers are taking the story of the “crazy ex” or the “crazy girlfriend” – or even just the “crazy woman” in general – and completely transforming it. Today’s post is about a singer who is doing just that: Bebe Rexha.
It seems like this is a recurring theme in indie music: you know, the girl who’s just so skinny and sad and broken that the singer has no choice but to write about it (instead of…helping her?) The Toast wrote about this a few years ago, but seeing as it’s a consistent issue, I felt like writing about it – specifically, as the trope occurs in “A Team” by Ed Sheeran.
“Stumble Back to You” by The Limousines has been on repeat around here lately and I am so excited about it. It has an ’80s-tinged sound with a stadium-sized inflection, especially at the beginning of the song. “Stumble Back to You” has a similar auditory enthusiasm to “Little Secrets” by Passion Pit.
Yet underneath it all you still have Eric Victorino’s rough voice, talking about how “before the night is through/I’ll turn around and stumble back to you.”
This is not new lyrical territory for Victorino. Despite the evolution of the band from “Get Sharp” to “Hush,” he often returns to exploring failing relationships between people that are themselves falling apart.