There's not a day that I don't work on vocals, have vocal coaches, go to acting classes, read books.
I sang in a reggae band. And then there was a soul band where I sang back-up vocals and some lead. And I was also in a women's a capella group. And I was in the gospel choir at school. Actually, I've always been in choirs. Or some kind of group. Just because I love singing so much. But I truthfully never thought of it as a career.
If I improvise vocals at an early stage of the song, I just kind of listen to the roll, and then I kind of have a little vocal hook.
The neighbors prefer I don't do vocals at night. It gets a little iffy when I'm screaming.
The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.
I had my first band. it was kind of a progressive metal band kind of thing. I just started writing songs that required more and more challenging vocals, and I just did them. Necessity is the mother of invention, right? So I just sort of did what I had to do to make the songs sound the way I wanted them to.
I do guest vocals all the time.
With its breezy guitars and sweet backing vocals, 'Norway' blows away any semblance of Beach House's previously bleak approach to pop.
Electronics, samples and vocals are all fed into The Log.Os' music, and a fresh take on soul comes out. The band's songs splash around in the same gene pool as neo-soul artists like Erykah Badu, but they reach forward to pull ideas from glitch-hop producers such as Flying Lotus and Prefuse 73.
Bands such as LiLiPUT and Essential Logic were just as unorthodox as Gang of Four or Wire, even taking their sounds a step further with shrieking vocals and saxophone.
