STACK #224 June 2023

MUSIC FEATURE

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It's such a shift and a beautiful change; people are like 'Whoa! What's just happened here?'

different, it’s weather-dependent, it’s your condition, it’s how tired you are. When your body is your instrument, it’s always about making yourself adaptable, for sure. The brilliant Blind Without You gives us Neil Young vibes, with its time signature flips. Did the sections of this song begin individually and you knotted them together, or was the song written out completely and you then decided at which points it should switch gear? Sam: Brilliant! Cool! It feels like early days! Good to hear. Hopefully it has that response. The song came about like this 6/8 rhythm, and this 4/4 rhythm. It always had this journey of being very melodic and vocal-driven and sweet in the [6/8 section]. Then there’s this sort of 4/4 drop, it’s almost like that’s the kick-in of reality. That translates in the lyrics as well: the 6/8 sections are very ambiguous and poetic and expansive and dreamy, and then the 4/4 rhythm comes in and it’s like the cold, hard truth. I love the drop between a 6/8 feel into a 4/4 feel. It's such a shift and a beautiful change, that people are like, ‘Ah, whoa! What’s just happened here?' and it can be groovy. Big credit to Evan Mannell on drums – he is an amazing drummer, and he got it straight away. This track also contains subtle flamenco style palmas, with the claps coming off the beat – how did the idea to include them come about?

INTERVIEW

THE BLUES BROTHERS STEP OUT

L - R: Josh and Sam Teskey

On their third album, newly duo-sized blues-soul bros (in blood and in art) The Teskey Brothers made a concerted effort to stretch their stylistic embrace from the gorgeous warmth of their signature sound to include some very elegant risks – and it's paid off in soaring spades. We spoke to both musicians about The Winding Way. Words Zoë Radas

Unfortunately, I can’t always rely on it to do what I want it to do all the time. It definitely requires a lot of warming

Josh, the huskiness of your voice sounds like it could crack at

The decision to include them was to make sure that we got the transitions right! That was almost a bit of a hint, [to give the] triplet [6/8] feel over the 4/4. As I said, it’s much easier going from the 6/8 to 4/4, and it’s not so easy going from 4/4 to 6/8 – so it was kind of a little [trick] to get everyone’s body moving in a certain way, to be ready for the 6/8 drop...

any moment – which is part of its charm. Do you know you can rely on it in any situation off-the bat to deliver what you want, or does it need warming up and careful maintenance?

[My voice is] a constantly adapting kind of beast, that

up to get there, to get to those tones... once you get moving, you are in your flow. Then warming down out of that is quite important

The Winding Way by The Teskey Brothers is out June 16 via Ivy League.

I'm constantly challenged by

for me, as well. It’s a constantly adapting kind of beast, that I’m constantly challenged by! It’s always

Josh: Haha! Yeah, voice... I think most singers can relate to the unknown things that are going on with your voice.

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Breakdance-ballet mashups were the hottest thing out this time 40 years ago, and it was basically illegal to bust those moves without turning the track Flashdance... What a Feeling up to 11. The song's vocalist Irene Cara was already renowned from her starring role as Coco Hernandez in teen musical drama Fame (1980), as well as her performance of that movie's titular hit. Her recording of Flashdance... What a Feeling, written by the famed Father of Disco, Italian composer Giorgio Moroder, soundtracked

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the film Flashdance 's final audition scene, and proved to be another global smash for Cara.

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Right: Jennifer Beals in the final scene of Flashdance. Source: YouTube

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78 JUNE 2023

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