Deeper Announces Debut Album, Plus New Music From Post Animal, The Vaccines, Frankie Cosmos and More!
Photo by Alexa Viscius
Photo by Alexa Viscius
Thumbnail image by Pooneh Ghana
In advance of their sophomore album, The End, Again, The Evening Attraction share their next single "Ladaia"; a dreamy and building ballad that features a jazzy and layered instrumental bridge and outro. The track follows the upbeat, harmony-heavy lead single "Say You Will," which was released earlier this month along with a music video.
Photo By Kayla Thornton
On the new track "Ladaia," bassist Paul Ansani says, "Miles [Malin] wrote the track as a two-part split between the unaccompanied vocals/guitar intro and then the Brazilian influenced jam progression. For the first half, he and I really wanted to accent the melody with some interesting harmony layers. The jam ending was pretty carefully orchestrated," and also gives a nod to the influence from The Beach Boys in the track.
Lead vocalist and guitarist Miles Malin chimes in about his writing process for the song, adding, "This song was a very emotional one for me. I wrote this one and many of these [songs on the album] during a hard time in my relationship. This one is definitely the most expressive of those times for me. It kind of poured out of me and really came together fast. I really loved the chord progression I made up on my nylon acoustic guitar and the melody spilled out very naturally, followed by a couple days of lyric writing. Without going into too much detail this song lyrically is written almost like a letter or message. It's a reflection of being in a sad, dark and lonely place and explaining to your lover your apology but also finding some self clarity during the hard times. It’s very true that hard times inspired beautiful art and I think this song is proof of that."
The song title "Ladaia" comes from the word for a Brazilian chant or cry, explains Mailin. "At this time I was listening to a ton of Brazilian Tropicalia, and samba music. The instrumental section showcases that style with all of the instrumentation during the second half of the song. It was a daunting task trying to orchestrate the arrangements with the band the way I saw it in my head. I wanted us to try to play jazz the best way we could for a rock and roll band and I think we succeeded that in our own right. This is definitely the deep cut of the record. I urge every listener to listen to the track all the way through because it has so many beautiful moving parts," he elaborates. Malin also recognizes the track "You Don't Know" by Caetano Veloso, which also references Ladaia, as an inspiration of sorts.
The tune all came together at Treehouse Records, where the band recorded all of their tracks to tape, but they called in some friends for this one in particular. "This is the one song on which we used every track on the tape. After the drums, bass, and guitars, and organs we had our friend Kevin Decker lay down the sax solo. He killed it, we were having a laugh in the studio at how perfectly that solo fell together. Nick [Tumminello] layered all of the percussion you're hearing on the jam just one after another. Guiro, triangle, claves, bongos, tambo, cabasa, and shaker I believe. The little triangle bit is my favorite," Ansani says. After all of the instrumentation was laid down, Ansani says he and Malin added the final touch; the backing vocals. "There are 4 oo's/ah's and then 2 divergent call back lines. We used a technique that we did on most of the record where both of us sang both backing vocal tracks in unison. So on this track, both Miles and I did the lowest and 2nd lowest "oo/ah" together. This worked very well as our voices blend but project differently at different notes. Then the highest 2 oo/ahs we had to do on one track because it was the last one available. Miles took the 3rd and I was on the highest. That took a couple takes but we got it. No problem," he says.
Take a listen to "Ladaia" below to see how all of their work came together for the finished track.
Photo by IAN FLANIGAN
Fiona Apple - Criminal (1997)
To say teenage me had a crush on Fiona Apple would be a grave understatement. This video is so damn sexy and dirty. Watching it now makes me miss being young.
Guns N' Roses - November Rain (1992)
My next door neighbor growing up was a huge Guns N' Roses fan and brought me along for the ride. I distinctly remember watching this video with him when it premiered on MTV. It's fantastically melodramatic, over the top, and just perfectly early 90's. Watching Slash rip that solo outside the church remains a religious experience.
The White Stripes - Fell In Love With A Girl (2002)
The White Stripes were the epitome of cool in the early 2000s. Their music was raw, their persona was mysterious, and their videos were unique and memorable. Plus, Meg gave me bedroom eyes at Cha Cha Lounge in 2005 ;)
Paul Simon - You Can Call Me Al (1986)
I know this came out in the 80's but I first viewed it in the 90's so I'm taking some liberties and including it on my list! The odd couple pairing of Simon and Chase is brilliant and cracks me up every time. This song is just so fun and still gives me a feeling of pure nostalgic joy. And that bass line... are you kidding me?!
Gorillaz - Clint Eastwood (2001)
Gorillaz are one of my all-time favorites. They created a unique sound seemingly effortlessly that has aged incredibly well. This video introduced them to the world and we remain grateful.
Fever Ray - When I Grow Up (2009)
Karin Dreijer is one of my favorite aliens. I'm glad she chose to land her spaceship on Earth and make music here. I'd never heard a song like this before it came out. The video, while simple, is very impactful. A mysterious young conjurer summons life from the depths of a pool. I can relate...
Tame Impala - Feels Like We Only Go Backwards (2012)
I love visceral, visually stimulating music videos and Tame Impala has no shortage of them. I've dabbled in collage art over the years and marvel at the time and focus directors Joe Pelling & Becky Sloan must have put into creating this aesthetic. Coupled with Kevin's uniquely cool vibe, this video narrowly edges out The Less I Know the Better as my favorite of theirs.
Chet Faker - Gold (2014)
Fluid perpetual motion and beautiful women roller skate dancing? Yes please. Simple, sexy, and mesmerizing, this video flies by every time. Oh yeah, and dude can siiiiing!
Portugal. The Man - Sleep Forever (2011)
A dog's gotta eat... I love this band, love this song, and love this video. The homage Portugal. The Man pay to their homeland Alaska and the fable-like theme of this short film make it a memorable and impactful work of art.
David Bowie - Black Star (2015)
The most epic of swan songs, a powerful and profound goodbye. As beautiful, haunting, and iconic as David Bowie himself.
Common - "Be (Intro)"
One of my absolute favorite records, with an intro to match!
The Impressions - "People Get Ready"
A Chicago classic!
Stormzy -" Velvet / Jenny Francis - Interlude"
Been really vibing to this Stormzy record lately and this may be my favorite tune from it.
Andrew Bird - "Plasticities"
I'll always remember seeing him play with Mavis Staples at the Hideout Block Party one year in Chicago while I was in school. Such a great performer! The way he loops violin and so many other textures live is unlike anything else I've heard. He and I both went to Northwestern!
Moses Sumney - "Lonely World"
I'm obsessed with this track lately, had to include it here! I love how it builds and the Thundercat bass fill towards the end is next level.
Kanye West - "Good Life (ft. T Pain)"
One of my favorite Kanye songs, this always brings back great memories of when I was in high school. Also love it more because it's a sample of P.Y.T.
H.E.R. - "Every Kind of Way"
D'Angelo and penthouse views. I love everything about this song.
Cajmere - "Percolator"
Closing out with some Chicago house favorites. Everyone knows this one from Cajmere aka Green Velvet.
Frankie Knuckles - "The Whistle Song"
Chicago was the birthplace of house music and these songs never get old.
Chance The Rapper - "Finish Line / Drown (ft. T-Pain, Kirk Franklin, Eryn Allen Kane)"
I love what Chance has been doing bringing together hip hop with gospel. I've been a fan of gospel music for a long time and it's a direct influence on almost all of the music I listen to, but it's cool to hear it brought out in this more direct way! Great song.
Thumbnail photo by Asia Shelton
Our top picks for albums and songs in 2017
Read More"The idea for 'OH' came from Callum talking about the difficulties of trying to maintain a long distance relationship while he was at University. We wanted the track to convey how difficult these situations can be in the beginning, but how in the end it is always worth the perseverance. Taking the track to Nashville to work on was a split second decision, but going to a completely new city with such a rich cultural heritage was incredibly inspiring, and a decision which definitely paid off. When we were discovering Nashville, you can’t help but immerse yourself in its history. The first thing on the to-do list there was to visit the world famous RCA studio. There, we listened to records that had been recorded there by the likes of Elvis and The Strokes. That evening, we starting working on OH, inspired to ensure we created a track that not only stands out from our own previous music, but one that can hold it’s own against the musical history we went to discover."
Photo by Jordan Kuyper
The Fluids is Cooper Formant, Mike Tony, and Nick DeMolina
Mike: Maybe our most dynamic song, and one of my faves to play live.
Cooper: This is one of the ones where Mike sounds like a kid performing a rock opera for his sister and her friends in the basement as a teen...in a good way. This riff is pretty bluesy.
Mike: Catchy little song that really came together once Cooper introduced his guitar line.
Cooper: This is the Miller Lite of the songs on No Kidding! The first few seconds are like cracking a cold light beer. It's hard for me not to picture Mike's aunt dancing in the front row at our shows when I hear this one.
A statement of intent. An anthem to kneel to.
I needed a slow song for our live sets and I wanted a chance to shred a solo over some airy synths.
A party song. But not a party I particularly want to go to.
A big Bruce-esque power jam that culminates with an apropro sax solo
Mike: A last minute addition to the album - a reckless, unhinged sprint.
Cooper: I imagine we are riding through the desert night in a convertible with Mike's dad and Adrian Grenier on our way to Vegas.
A straight up blitz. Cooper’s guitar gives me goosebumps.
A cathartic track, in terms of content and placement on the album.
It’s like eating a McFlurry after a Big Mac meal.