![]() It’s a cool opportunity for us to be able to do that. It happened to us when we were a younger band, and we like to pay it forward. I think it’s more established band’s duty to do that. How did the opportunity come about?ĮP - We have been a fan of them for a minute and like to expose our audience to newer bands that we are into. I find it very refreshing when established bands give spotlight to fresh faces. Speaking of touring, Philly indie pop newcomers Mercury Girls will be one of the acts on the road with you. But now we are out and about, feeling good. We did make a conscious decision to take a year and write without traveling before recording the record. How does it feel?ĮP - Well actually, we took 3 years to release this album, but we were touring for the most part of those 3 years. Have a listen for yourself and be sure to catch them on their latest U.S tour through October and November 2016.Īfter taking a three year cool-off, you’re back on tour promoting your latest album “Light We Made”. The first single on the album “Midnight Zone”, is a perfect segue into solid consistency and flow of each track. A new sonic exploration that is nothing short of fresh with dreamy synth chords and harmonious guitar and bass riffs. Pennsylvania natives Balance and Composure show us how it’s done with the release of their latest album, Light We Made. But the band pushed harder on its encores, particularly “No Way Out,” which starts like a ballad and gathers heft and speed until the women brandish desperation as pride: “I can’t find my way,” the chorus proclaims.Įarlier, in “Undertow” - another seething song about infidelity and passion - the women sang, “Now I’ve got you in the undertow.” When Warpaint’s hypnosis took hold, the undertow was the band’s home turf.There’s something to be said about musicians with creative chemistry and a knack for progression. It depends on listeners to be swept into each song as it evolves - and, at times, its songs unfolded a little too deliberately, especially because Warpaint didn’t always match the precision of its recordings onstage. Warpaint doesn’t usually construct its songs with the immediate payoffs of verses breaking into choruses. #Warpaint composure lyrics free#(That’s the problem with a free concert audience that mixes fans and the merely curious.) “I could drive, drive myself crazy, but this time I want to listen,” goes “Drive” from “Warpaint” (Rough Trade), a song that very gradually built from a slow electronic blip to an ever-thickening tangle of guitars and vocal harmonies, moving from self-questioning to euphoria, although Warpaint didn’t get the singalong it wanted on the song’s final, wordless chant. Its lyrics are not narratives but, instead, bulletins about immediate reactions. Warpaint sings about rapture and anger, trust and betrayal. ![]() ![]() Songs often start out serene and airy, only to vent, sooner or later, the disorder and agitation within. There’s more gridwork in the vocals all four band members sing, offering permutations of solos, harmonies and counterpoint. ![]() Like the postpunk bands, Warpaint often constructs its patterns with reggae-style bass lines, funk backbeats and terse, floating guitar phrases, all clockwork and clarity, even when Warpaint builds in unexpected shifts of meter or texture - as it did in the happily asymmetrical “Keep It Healthy,” which opened both the concert and the self-titled album that Warpaint released in January. Bands like Siouxsie and the Banshees, New Order and the Cure often dug into one chord with circling, inexorable riffs, building tension within stasis the singers would offer steady chants or get themselves worked up. In some ways, Warpaint harks back to the late 1970s and early ’80s, when postpunk rock and Minimalism shared a mutual fascination. “How can I keep my composure?” the band members sang, but the word “composure” sometimes swooped up toward a scream. Warpaint, the four-woman Los Angeles band that headlined Celebrate Brooklyn! on Thursday night, places its songs at that complicated intersection: where a grid of repetition meets the amorphous crosscurrents of emotion and desire. But they can all be hypnotic, compelling, even obsessive. Feelings and relationships - well, they aren’t. Musical patterns are neat, stable, definite, predictable. ![]()
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