Watch Bodies of Water’s “Women in Love” video laughing out loud via Week in Pop; LP this Friday –

Today, the Water Plans share their comic “Women in love»Video that ends on a rather unexpected turn. Discover the premiere via Week in Pop. Week in Pop described the new single as “moody, mature work with a sense of humor that’s not afraid to poke fun at male infantilism, dysfunctional states of union with real warmth of love and humanism.” Is this what out this Friday February 12th via Thousand Tongues.

David Metcalf gave some background on the making of the video: “The stars of the video are our friends, Thom and Kate, and those of Meredith and my daughter Bernadette (who just turned one! Baby Covid). Kate came first and we filmed her with the baby until Bernadette started to cry, which took about 20 minutes (a surprisingly long time). Then Thom came over and the two shot their scenes on the couch. Kyle (the bassist) came over too, and he and Meredith filmed the shit in the kitchen while I filmed Thom and Kate in the other room and gave the baby snacks while she sat in a high chair. next to us. As Thom and Kate tried to kiss on the couch, there was a man filming them and a baby next to them, squealing loudly. Very normal stuff. And through it all, they delivered A ++ performance! What inspiration. “

Biography :
Right after Bodies of Water’s last record, half of the group that made it suddenly became a diaspora; they left for Seattle, Iowa City, and (for reasons as yet unknown) Henderson, Nevada. Meredith and David stayed, and when the time came to record new songs, they asked old friends to help them out. Kyle Gladden, who had retired years ago after helping found Bodies of Water, came to his senses and joined the band. Alice Lin didn’t really join us, but doubled down on the work she had already done with us on and off for years. And the four of us set off.

It took a long time to make this record, mainly because we were constantly attacked by everything; dead surprises, sick children, panic in the hospital, all that. No one really knows which events are good or bad, and that’s not for us to decide. All I can say is that we have walked through gray spaces! Is this music a coup to enlighten some of them? Probably. It might not be the best way to do it, but how could we do it otherwise? We already know how to write and record songs, and if you want to build, you use the tools at hand, right?

That’s how it happened, wading through the world without being able to see the bottom. Of course, it’s like that for everyone, but we’ve never been more aware of how little control we have over the course of things, or more engaged minute by minute in the reality of life; boredom of grinding, interrupted by moments of the sublime or the terrible.

A few notes on the music itself:

Note 1: As usual, this has all been recorded, mixed, etc. in David & Meredith’s garage in northeast Los Angeles.

Note 2: We played all of these instruments live, mainly because we don’t know how to use midi, sequencing, none of that. Also, to use these tools, I think you have to play on a click (a metronome). Sure, that’s fine for some music, but our songs would sound silly if they never sped up or slowed down. My friend told me that when he was in Brazil he was surprised that no one he played (drums) there expected him to keep a constant beat. They wanted it to get fast or slow depending on what’s going on in the song. Is pushing to keep a song at a fixed tempo a cultural thing or a personality issue? Probably a bit of both.

Note 3: When I (David) was writing these songs, I listened to two kinds of music a lot:
Arabic pop music (mostly Lebanese and Egyptian) from the 60s and 70s (when electric instruments and idiomatic rock stuff started to be incorporated into bands), and…
American and European music from the 50s and 60s that was not rock and roll. Music that adults listened to: Shirley Bassey, Jacques Brel, Mina, Nina Simone, Nat King Cole, etc. Mostly recordings on which Conrad Salinger, Angela Morley and Ray Conniff worked.

What do these have in common? Songs of love and lost love, an exacerbated pathos, and a sort of ensemble playing hyper-focused on the framing of the song. Did we make a version of it all? Yes! Or at least we tried. And sure, none of our records sound like this music (to me), but I guess it’s in there somewhere.

About Alma Ackerman

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