DUO. 6/1. FRIDAY
If you thought I was afraid to write a song that references Art Garfunkel, Uncle Jesse, Joey and Chandler from friends, Paul Mccartney, John Lennon, Beyonce, Jay Z, and Kanye, you thought wrong. It is called Duo and it is honestly pretty sick. I have a soft spot for songs like this because I think it's easy as an artist to take yourself too seriously. Compared to how present humor is in other forms of art and entertainment (tv shows, movies, books) it's often absent in pop music. Even a dramatic movie or show will have funny moments. I think artists leave it out or don't go there because we're worried it will somehow lessen what we're doing or make it less artistically credible, but I think anything that is excellent is art, even if it's fun.
1. To make the choruses and turnarounds pop a little more, we needed to give the snare an extra boost. After some searching (and wanting to make sure the track didn't get overproduced or weighed down) what worked best was recording me whispering 'kah' into the microphone. We put it over every 4th snare in the choruses and every snare in the turnarounds. It's something you'd probably never notice but it gives the beat just a tiny layer of extra motion and dimension, and gives the track a lift without overcrowding it (especially in the turnaround).
2. Because the lyric was riding the line of being cheesy, I felt strongly that the track needed to have an edge, to feel clever/lean/a little sarcastic. Because of that, a lot of the tricks you'd use to make the chorus work (huge guitars! more stuff! wall of sound!) were off the table. We initially had the synth bass doing long notes, shaping the chord changes, and the chorus wasn't lifting, it felt heavy and empty. It felt like we weren't going to pull off the song without adding a bunch more stuff, which I really wanted to avoid. I went back to the hotel with the recording and realized that instead of trying to get the chorus to drop and feel big, we needed to make it lighter and let it fly. I came in the next day and retracked the synth bass with the approach you hear and the chorus bloomed.
Written be David Hodges, Gabe Dixon, and me