Brooklyn’s BODY LANGUAGE makes some of the most undeniable music you’ve heard of late: it’s catchy without offending your intelligence, it makes you dance without making you feel like a spazz while doing so and while saying that someone is garnering comparisons to “early Madonna, the disco label Prelude’s 1982 output, and CSS doing an impression of Dr Buzzard’s Original Savannah Band” is basically asking for trouble, in their case it’s pretty true and therefore ok.
They’ll be at U Street Music Hall for ALL THINGS GOLD TONIGHT and hey, we think you should go. Here are some hot jams from their SOCIAL STUDIES record with commentary from Angelica, to get you in the mood in the meantime:
We chose this be our opening track of the album for a special reason. It’s a heavy slow jam that begins with our lovely womp breathing poly synth and a snare that kicks in so nicely. I think one of my favorite qualities of this song is how subtle our vocals remain throughout the whole song. I remember listening back and wondering, ‘Am I whispering or singing?” Matt definitely had Smokey Robinson in his brain when he wrote this one. We felt that this song would be a great introduction to our rainbow of tracks throughout the album.
This track is kind of like our anthem. It’s about the rebirth of our youth and where it’s taking us so far. But it all honesty, it’s about my animosity for the bar scene in Williamsburg. It’s a very playful song so I wrote about how our playtime is no longer. We have succumbed to this drunkenly pompous lifestyle which we think is boring. But the sound is obviously the contrary. The boys have a plethora of Hawaiian records that definitely influence the foundation of this track. The synth that leads into the post chorus sounds like lazers in Star Wars which is recreated with vocoder a glockenspiel in the live performance (my favorite part!). We knew we couldn’t make a tropical record because we had written all these other great tracks that were not tropical. But we knew the song itself defined us in someway which is why we all chose sing along in the chorus. That includes Ian our drummer and Grant our ‘bleep bloop’ master.
If we could bring anyone back to life it would definitely be MJ. I feel like we wrote this track in preparation for his resurrection. The opening baseline is heavily inspired by Off the Wall which I believe is even in the same key. As we progress in writing this style of music Falling Out is our first disco driven track and is one of our oldest tracks. We’ve been performing different variations of it since the band started. Matt says, “it’s a shifty disco track about a shifty lady that stole my heart.” We’ve now been performing the Baltimore extension in our live set leaving room for a crazy percussive breakdown in the bridge. “Sandwiches” used to be our lash-out track but Falling Out might have stepped it up.
Holiday is like a sugar rush of pop. We definitely kept this one bubbly with the doo-woop claps in the bridge. I’m almost positive we recorded in the bathroom of our studio. They have the best acoustics, right? This song was written is probably the laziest way possible. The guys had just written this tamborine banging beat and all I could really write about was laying around being stoned. So I think the bounciness of this song counteracts well with the general meaning: we like smoke weed. the end.