“Overtryer” by Aggressive Swans – A Song Feature

     Listening to “Overtryer” the first few times, the word “contrast” frequently came to mind as a defining characteristic of the single from Aggressive Swans, a Munich-based duo. Not surprisingly, the band explains that contrast plays an important role in effectively conveying the song’s lyrical depth and sensibilities.
 
     Both the vocal approaches and the tempos are powerfully different in a comparison of the first verse against the chorus, which begins around 1:11. In the verse, the falsetto vocals evoke a Radiohead-like quality, delivered with an unhurried pace that contrasts against drumming marked by high-yet-controlled intensity.  Prior to reaching the chorus, the vocals drop to an octave that is more accessible for vocalists who lack the vocal range of Aggressive Swans. But the tempo doesn’t accelerate until the chorus, when the focus shifts from the message to the emotion. Quoting the band, “We wanted strong contrasts between the intimate moments to fit the introspective nature of the lyrics.”
 
     The instrumentation is also shifted. Until the chorus, drums control the instrumental support. In comparison, the drums remain strong during the chorus, but guitar holds the spotlight.
 
      More than two minutes into “Overtryer,” the falsetto delivery returns and the sequence is repeated. But the compositional expertise of Aggressive Swans hasn’t been yet fully revealed. Around 3:18, the song is momentarily relaxed, but soon crescendos into a fierce ending.
 
     The members of Aggressive Swan are Janko Rašeta (guitars, production) and Matija Chlupacek (vocals, bass). Additionally, the credits of “Overtryer” identify Leander Widmoser as the drummer. The band’s bio is interesting:
  “Two-piece alternative Rock band based in Munich, Germany. Classically educated musicians Janko Raseta and Matija Chlupacek write music without compromises. Sound of Pop and Rock, at times infused with the spirit of the 80’s, is the outcome. Expect defined riffs, expressive vocals, and improvised psychedelic constructs.”
 
     “Overtryer” by Aggressive Swans

Facebook: https://www.facebook.com/aggressiveswans/
Website: https://aggressiveswans.com/
Bandcamp: https://aggressiveswans.bandcamp.com/

“The Divide” by James Ollier – A Song Feature

 

     James Ollier explains “The Divide” as a song about being “stuck between two choices.” The song allows the listener to personalize the internal battle of reaching a decision, since the lyrics barely allude to the subject matter of the choices (the lyrics are included at the bottom of this post). Still, the intensity profile and the lyrics clearly communicate the weightiness of the decision.
 
  For almost three minutes, “The Divide” has a stepped-intensity profile that effectively builds upon a sense of urgency. Among the steps, the most significant is delivered by the percussion shortly before the 90 second mark. The drumming elevates the importance of rhythm in driving the song forwardly. Later, the force of “The Divide” does subside, but only briefly, until the song crescendos to its conclusion.
 
     The first and the final verses reveal the difficulty, the importance, and the uncertainty of deciding between the choices. The track begins “It was war // A division of thoughts.” And it ends by acknowledging that even after making a selection, there won’t be an assuredness that it is the better choice:
Don't waste time
Caught, stuck on which one’s right
Caught in the divide
I'll never be sure
 
     “The Divide” is the second release from an upcoming EP “For a Moment or a While.” The EP is scheduled to drop in 2025. James Ollier is a British vocalist-songwriter, who draws inspiration for his songs from his many travels. James writes about his journeys, portraying through his songs a sense of movement and wanderlust.
 
     “The Divide” by James Ollier

Facebook: https://www.facebook.com/JamesOllierMusic/
Instagram: https://www.instagram.com/james_ollier/
Streaming “The Divide:” https://ffm.to/a2ab8w0
 
Lyrics of “The Divide” by James Ollier
It was war
A division of thoughts
I said I didn't care
You know I cared
 
I've been caught
Following a drift course
I said I didn’t care
I've always cared
 
And I'm fine
I just know it’s not true
I made a choice, Babe
I made it true
 
I'm fine I'm
Just looking at you
It’s not my truth, Babe
It’s not my
Truth
 
It was war
I know it’s hard
Do you really wanna go like that?
Or back to the start?
 
I've been caught
Should I be more
I said I didn't care
But I've always cared
 
And I'm fine
I just know it’s not true
I made a choice, Babe
I made it true
 
I'm fine I'm
Just looking at you
It’s not my truth, Babe
It’s not my truth
 
Don't waste time
Don't you wanna roll the dice?
I've been caught in the divide
I'll never be sure
 
Don't waste time
Caught, stuck on which one’s right
Caught in the divide
I'll never be sure

“Dance With Me” by Sam Himself – A Song Feature

 

     The song opens with contributions that are individually non-complex, yet collectively powerful. A synth playing a repeating four-note sequence is soon joined by gentle acoustic guitar and baritone vocals with a relaxing gravelly quality. And the first line of the lyrics is an uninsightful, everyday question – “So, who’s making coffee?”. The start is simple but attention-gripping, baiting the listener with expectations for even more. The “more” arrives 23 hypnotic seconds into “Dance With Me,” when percussion and an electric guitar enter without disrupting the intimacy of the song from Sam Himself.

     Still, the full beauty of the song isn’t revealed until the lead vocals are joined by more melodically smooth backing vocals at 0:44. The contrast is striking. The female vocalist is Boshra AlSaadi, who is from Damascus, Syria, but currently resides in New York. And the full splendor of Dance With Me” isn’t appreciated until the final minute, when the song crescendos to an energizing summit, then drops to a conclusion that is instrumentally calm and lyrically telling - “Dance with me / Nothing’s ever worth fighting for / In the end”.
 
     Sam Himself is the musical project of Samuel Koechlin. He was born in Switzerland. But “Dance With Me” was recorded at Outlier Inn Studios in New York’s Catskill Mountains. In addition to identifying Boshra AlSaadi as female backing vocalist, the song’s credits note that Josh Werner contributes bass. Sam Himself is preparing to release the album “Moonsongs,” which will include “Dance With Me.” The album is scheduled to drop in Spring of 2025 (produced by Daniel Schlett (Iggy Pop, The War on Drugs) and mastered by Greg Calbi (Bruce Springsteen, Iggy Pop)).
 
     “Dance With Me” by Sam Himself

Facebook: https://www.facebook.com/samhimselfmusic/
Website: https://www.samhimself.com/
Streaming opportunities: https://ffm.to/DanceWithSam

Lyrics of “Dance With Me” by Sam Himself
So, who’s making coffee?
Been lying here awhile
Too late for whiskey
It might be time
 
It might be time
 
So dance with me
Like there’s nothing worth fighting for
Dance with me
Like it’s all right, it’s all right, it’s all right
It’s all right now don’t think twice
 
Cards on the nightstand
Your head or mine
I’ll cry like an orphan for you
Smile like a knife
 
The worst of us got the best of us
Now the best we got ain’t good enough
It might be time
 
So dance with me
Like we never danced before
Dance with me
Dance with me all the way to the door
 
Dance with me
Love makes losers of us all
Dance with me
Like it’s all right, it’s all right, it’s all right
It’s all right now don’t think twice
Like it’s all right, it’s all right, it’s all right
It’s all right now don’t think twice
 
Dance with me
Nothing’s ever worth fighting for
In the end
 

"The Morning" by Oliver Hazard – A Song Feature

 

     The first verse of “The Morning” transforms a casual encounter into an active listening experience, attempting to identify the nuances and well-crafted subtleties that elevate the enchantment level of the song above those of other emotionally appealing songs. One easily recognizable feature is the melodic charm and beauty of the acoustic guitar that opens the single from Oliver Hazard. The guitar melody shines during each space within the intervaled and harmonized vocal delivery.
 
     Additional instrumentation begins to enter 53 seconds into “The Morning,” but the vocals are already at their maximum appeal from the start. Still, the energy shift at 2:38 adds to the life of the song and enhances the emotion behind the lyrical message. The band explains:
   "The Morning" explores the intricacies of time. The song contemplates the uncertain paths of our relationships. Each day we confront the unknown, where no one can guarantee that tomorrow remains as it was today. “The Morning” is a song about timing. Timing is one of the most important things in life, and it can be a tough thing to navigate. Missed connections, missed opportunities. “The Morning” is a song about our relationships in life and wondering where exactly they will be the following morning. The song whispers that tomorrow could bring change, urging us not to assume that it will mirror today.
 
     The members of Oliver Hazard are Michael Belazis (vocals, guitar) and Devin East (vocals, guitar), and Nate Miner (keys, vocals). They are based in Waterville, Ohio. The band name is a shortening of “Commodore Oliver Hazard Perry,” a local hero during the War of 1812. “The Morning” is a single from their upcoming 6-song EP, “Raindrop River,” which promises to be a collection of warmly harmonic tracks.
     For opportunities to pre-save the “Raindrop River” EP, go to https://oliverhazard.ffm.to/raindropriver.
 
     "The Morning" by Oliver Hazard

Facebook: https://www.facebook.com/oliverhazard
Website: https://www.olihazard.com/

Lyrics of "The Morning" by Oliver Hazard
Ticking time but not for granted
Feeling weather on the way
You were pulling on your raincoat
You said you would like to stay
 
Would you love me in the morning
Maybe I'm wrong
Maybe we could love this time
Would you wake me on the surface
Maybe I'm wrong
Maybe you'll love me all the same
Same
 
Pushing cars along the alley
Fearing all we have is time (time, time)
I'm not older I'm just wiser
Hope I see you down the line
 
Would you love me in the morning
Maybe I'm wrong
Maybe I'll wake up this time
Would you wake me on the surface
Maybe I'm wrong
Maybe you'll love me all the same
Same

Would you love me in the morning
Maybe I'm wrong
Maybe we could love this time
Would you wake me on the surface
Maybe I'm wrong
Maybe you'll love me all the same
Same
 
Would you love me in the morning
Maybe I'm wrong
Maybe I'll wake up this time
Would you wake me on the surface
And maybe I'm wrong
Maybe you'll love me all the same
Same
Same
Same

“Incarnadine” by The Bottoms – A Song Feature

 

      The layered guitars during the intro give notice of the sophisticated texturing of “Incarnadine.” Shortly, the vocals enter with almost unmistakable proof that Grunge influenced the writing and performance by The Bottoms. The song appealingly blends sensibilities from various genres, primarily Rock and Grunge, but backing vocals often have the reverberated sonic texture characteristic of Dream Pop.
 
     Instrumentally, the highlight for many listeners is likely the soft layered guitars featured at the start of “Incarnadine,” as well as during the body of the song. Perhaps more praiseworthy is the Rock guitar that is first heard at 1:10, and that is most forceful at 2:30.
 
     The members of The Bottoms have diverse musical backgrounds. They are vocalist/guitarist Jason Rhein (Rotary Downs), keyboardist/vocalist Michael Girardot (Revivalists), lead guitarist Eric Nichelson (Midlake), drummer Eric Nelson, and bassist Charles Depret. During “Incarnadine,” the guest backing vocalist is Tif Lamson (Givers, Shania Twain). They are based in New Orleans, and describe their sound as “Fun, vocally driven Alternative Rock music.”
    
      “Incarnadine” by The Bottoms

Facebook: https://www.facebook.com/bottomsneworleans/
Website: https://thebottomsrock.com/

Lyrics of “Incarnadine” by The Bottoms
I found God
In the Crossfire
And I spoke in tongues
Like you said I would
 
Then I forgot
How to trust my voice
And I broke her heart
Like you said I would
 
Louisiana calling me to stay
On fire
But California showed another way
To God
It's quiet on the porch after the rain
I'm high
 
I found God
In the redwood forest
I smoked my lungs
And I played this guitar
 
Then I got lost
In your father's house
And I packed my car
While you lost your mind
 
Louisiana calling me to stay
On fire
But California showed another way
To God
It's quiet on the porch after the rain
I'm high
Echoes of the weight of yesterday
So high
 
I found God
In this moment now
As I sing this song
And I, I play this guitar
 
Sometimes I'm lost
When my mind runs wild
So I take a breath
To return again

“Powerful” by Reuben and The Bullhorn Singers – A Song Feature

 

     Reuben and The Dark skillfully explore lower frequencies that are chest-vibrating when played on a system with a quality subwoofer. The best example is the band’s cover of “What a Wonderful Life,” which is on the soundtrack of the 2020 film “Dolittle.” The band recently collaborated with The Bullhorn Singers in the release of another song, “Powerful,” with a strong presence in the low frequencies.
 
     Reuben Bullock is the lead singer and songwriter of the Canada-based Reuben and The Dark. The Bullhorn Singers are also based in Canada. They are from the Blood Tribe (aka Kainai) which is one of the four nations of the Blackfoot Confederacy. The credits for “Powerful” identify contributors as Reuben Bullock, Billy Wadsworth, Nevada Ouellette, Sam Harrison, Troy Delaney, Dino Soares, Sofia Eaglehead Baptiste, Benjamin Longman, Tisha Wadsworth, Clea Anais, Jarret Mayo, Ian Jarvis, Heather Kelly, and Mallory Meeks.
 
     “Powerful” by Reuben and The Bullhorn Singers

Facebook: https://www.facebook.com/ReubenAndTheDark
Website: https://www.reubenandthebullhornsingers.com/

Lyrics of “Powerful” by Reuben and The Bullhorn Singers
Started out with my head like thunder clouds
But the rain keeps coming
The rain keeps coming down
 
Wash away, wash away my pride
Wash away, wash away my tears
 
Wash away, wash away my fears
Wash away, wash away
 
Started out, two headlights on the highway, headed south
But the road keeps running, the road keeps running out
 
And wash away, wash away my tears
Wash away, wash away
 
If pain is power, I'm powerful
If pain is power, I'm powerful
If pain is power
 
Powerful
Powerful
If pain is power

No Disrespect – God-related Songs

      Among the songs that have drawn attention in 2024, there are three with titles that include “God." The first two are from 23-year-old artists.

     Jonah Kagen is from Savannah, Georgia. “God Needs The Devil” features a main portion that is rousing and an outro that is pensive. He is described as “a multifaceted artist with a deep and long-standing affinity for songwriting, performing, and producing.”

     “God Needs The Devil” by Jonah Kagen

Facebook: https://www.facebook.com/jonahkagen/
Website: https://www.jonahkagen.com/
 
Lyrics of “God Needs The Devil” by Jonah Kagen
Hm, mm, follow me
Said a long black dress on Halloween
If this is all just make-believe
It might not be real, but it's real to me
Hm, mm, let her in
If you love her, son, it ain't no sin
Where she ends is where you begin
If you run, you'll run right back again, hm
Yeah!
 
You can hide, but you can't stay gone
She'll find you, won't take her long
And she'll come on back with every dawn
And drag your ass where you belong
And you'll wake up all alone
On an old beat-down dirt country road
And you'll crawl back through fire and snow
'Cause there ain't no other place to go, hm
 
I need you like God needs the Devil, honey
Someday soon, this dust's gonna settle
Come real quick and get inside my mind
'Cause when I'm all fucked up, I don't feel no pain
Won't you run to me, run through my veins?
Baby, won't you come and get me high?
 
Hm, mm, I'm in love
In a nightmare, please don't wake me up
Got a bad case of making bad luck
It's who I am, not who I was
But that's life, boy, what can you do?
I need someone and I need 'em soon
I called the doc and got new shoes
But all roads still lead back to you
 
I need you like God needs the Devil, honey
Someday soon, this dust's gonna settle
Come real quick and get inside my mind
'Cause when I'm all fucked up, I don't feel no pain
Won't you run to me, run through my veins?
Baby, won't you come and get me high?
 
I said, I need you like God needs the Devil, honey
Someday soon, the dust's gonna settle
Come real quick and get inside my mind
'Cause when I'm all fucked up, I don't feel no pain
Won't you run to me, run through my veins?
Run to me, run through my veins
Baby, won't you come and get me high?
 
Baby, won't you come and get me high?

     Ellur is preparing to drop her EP on January 16, 2025. The title single is currently available. While talking about the title track, Ellur said, “'God Help Me Now' is the most honest song I've ever written. I approached co-writers Benjamin Francis Leftwich and Jack Leonard back in September with my heart on my sleeve, opening up about how I had so many things I wanted to write about that scared me. I joked with them about my dreams of writing that one song where people get on their friends’ shoulders and scream the lyrics. I wanted to write someone's favourite song. In a nice way, it's become my favourite song I've released so far and after taking inspiration from the likes of Sam Fender, The Killers and Sharon Van Etten, the fully produced version was born. The sonic world of this song is a true demonstration of exactly how I've always wanted my music to feel and sound. The perfect combination of synth, guitar and snare that, to me, makes an indie anthem.” Ellur is based in Halifax, UK.

     “God Help Me Now” by Ellur

Facebook: https://www.facebook.com/ellurrrr
 
Lyrics of “God Help Me Now” by Ellur
I think too much
I’m all out of fucks
The worlds on fire
I’m just getting drunk
The fear is real
Tell me how to feel
Tell me how to heal
 
God help me now
God help me now
 
Get up
Go out
And
Pretend to be alright about
All the girls I know
Who never make it home
When the lights are down
 
And the boys
They hide
They ache until they die
They open up
Then blame it on the drugs
The cuts don’t lie
I see it all the time
Just another Saturday night*
 
God help me now
God help me now
God help me now
God help me now
 
The love
We make
Repeat
Replace
The signs of life
On a strangers face
I’d die to find
A simple place
Where you tell me your mistakes and I love you anyway
 
I think too much
I’m all out of fucks
The worlds on fire
I’m just getting drunk
The fear is real
Tell me how to feel
Tell me how to heal
Tell me how to -
 
God help me now
God help me now
God help me now
God help God help
 
I confess
I can’t face it
There’s solace in a
sorry state and
I hurry through another day
And flood all of my nights away
 
And try to find an easy pace
Cause being bored’s a safer place
Just show me love I swear I’ll change
I’ll be better, something great
 
God help me now
God help me now
God help me now
God help God help

    Lead vocalist of heavy wild, Wolfgang Harte, explained “Dope Gods,” “I wrote the song on the back of getting the news last January that an old friend had died. We were best friends around the ages of 15-17 and had so many crazy times wrapped up in that period of adolescence.” The project is based in London.
 
“Dope Gods” by heavy wild

Instagram: https://www.instagram.com/heavy.wild/
Linktr.ee: https://linktr.ee/heavywild

“The Moth” by Les Deux Love Orchestra - A Song Feature

 

     The tempo was slowed and the vocals made more deliberate. For the Season 2 Finale of Mr. Robot (2016), “The Moth” was covered by Les Deux Love Orchestra, with Bobby Woods featured on vocals. The original by Aimee Mann is appealing, but the lyrical message of “The Moth” is more compelling with the arrangement of the cover. 
 
   The story of the moth and its attraction to a flame is well known for its representation of a person who is irresistibly drawn to someone or something that is potentially harmful. In the song “The Moth,” the person repeatedly returns to and is burned by a relationship. It’s not purely an urge of self-destruction:  

The moth don't care if the flame burns low

The moth believes in an afterglow

And flames are never doused completely

All you really need is the love of heat

 
     “The Moth” by Les Deux Love Orchestra

Lyrics of “The Moth” by Les Deux Love Orchestra
The moth don't care when he sees the flame
He might get burned but he's in the game
And once he's in, he can't go back
He'll beat his wings 'til he burns them black
 
No, the moth don't care when he sees the flame
The moth don't care when he sees the flame
 
The moth don't care if the flame is real
The flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
 
No, the moth don't care if the flame is real
The moth don't care if the flame is real
 
So come on, let's go, ready or not
'Cause there's a flame I know, hotter than hot
And with a fuse that's so thoroughly shot
(Away)
 
The moth don't care if the flame burns low
The moth believes in an afterglow (afterglow)
And flames are never doused completely
All you really need is the love of heat
 
No, the moth don't care if the flame burns low

“Overload” by Culk – A Song Feature

 

     “Take a sad song and make it better.” It’s a matter of perspective as to whether “Overload” is a sad song – Sugarbabes (the composers) explained that “Overload” reflects the angst that's almost inherent to a teenage crush on a boy. The reference to "strange fear" in the first verse represents the “tummy butterflies” that accompany an anticipated teenage romantic relationship.  Still, the Culk cover is better, since it’s unquestionably richer and more textured. Moreover, the mixing enhances the drive in the infectious rhythm, and Culk adds engaging Shoegaze guitar to the original R&B and Hip Hop-like stylings.
 
     Culk is based in Vienna, Austria. The members are Sophie Löw (vocals, guitar, synthesizer, artwork), Johannes Blindhofer (guitar), Benjamin Steiger (bass, guitar), and Christoph Kuhn (drums). In “Overload,” Löw’s vocals are purposeful and committed to the lyrical message. Instrumentally, the highlight is the tremolo guitar that is featured during the bridge at 2:23. An interesting description of the cover from the press materials:
  “Culk manage to intertwine the catchiness of the poppy original with their own distinctive post-punk spirit, arising from a bass-driven, distortion-laden, shoegazy soundscape and the determined and haunting vocals of band leader Sophie Löw.”
 
     It should be noted that the “Overload” is the exception for Culk, which typically writes its own material. The band’s discography can be streamed and purchased via the Bandcamp site https://culk1000.bandcamp.com/. “Overload” was released via Ink Music (Vienna, Austria).
 
     “Overload” (Sugababes Cover) by Culk

Facebook: https://www.facebook.com/culkmusic
Instagram: https://www.instagram.com/culkmusic
Bandcamp: https://culk1000.bandcamp.com/
Linktree: https://linktr.ee/culkmusic

Lyrics of “Overload” (Sugababes Cover) by Culk
Strange fear I ain't felt for years
The boy's coming and I'm close to tears
Oh my God, I can't say no
 
Imagination's playing round for free
In my world I take him out for tea
Oh my God, I can't say no
 
Skipping school, go walk for air
I just had to get out of bed
I'm on overload in my head
 
Train comes, I don't know its destination
It's a one-way ticket to a madman situation
Train comes, I don't know its destination
It's a one-way ticket to a madman’s situation
 
Life in a dream, time does come true
And in my sleep I think of you
Feather bed by myself
 
Basically probability
Says that fate's come side with me
It's been so long on my shelf
 
Train comes, I don't know its destination
It's a one-way ticket to a madman situation
Train comes, I don't know its destination
It's a one-way ticket to a madman's situation
 
The tension is incredible, boy I'm in charge
You know how I feel for you
Will you stop, or will you just keep going?
Please don't say no, no
 
Train comes, I don't know its destination
(I  don’t know…)
It's a one-way ticket to a madman situation
(Situation)
Train comes, I don't know its destination
(I know, I know)
It's a one-way ticket to a madman's situation
(Situation)
 

In Search of Complete Song Crescendos

     In January 2024, “A Man as Alive as the City” was released by The Boxer Rebellion. The song features numerous energy increases, without corresponding decrescendos. It’s not a “slow burn,” since it is energetic from the start.
 
     “A Man as Alive as the City” is one of our favorite singles of the year, and it triggered searches for other songs characterized by stepped intensity increases. The increases can be triggered by changes in tempo, expansions in instrumentation, vocal climbs….
 
     Below are the current results of the searching. They vary in qualifying as song-long crescendos. Even “A Man as Alive as the City” has a qualification flaw, since the conclusion is a decrescendo. But the conclusion is four minutes into the song and is preceded by intensity jumps at 0:58, 1:13, 2:23, and 2:38, as well as prolonged crescendos.

     “A Man as Alive as the City” by The Boxer Rebellion

     Shearwater’s “You as You Were” is 12 years old, but it withstands the test of time. The band is from Austin, Texas.

     “My Backwards Walk” is a cover of a Frightened Rabbit single. It was released on a fund-raising album for Tiny Changes, a mental health charity started in memory of Frightened Rabbit’s frontman Scott Hutchison.
 
     “My Backwards Walk” by Manchester Orchestra

     “Summer in America” by Dreamer Boy was released in May 2024.

Lyrics of “Summer in America” by Dreamer Boy
Who do I listen to?
Does anybody have a clue?
When you rip through your dancing shoes
And you're tiptoeing through everybody else's news
Say, "What you chewin' on lately?"
Elastic attention with no definition
No clear intention
I puddle jump, I puddle jump, reflection to reflection
Till I feel connection, my ego is a weapon
 
And I
Got the sun on my back, and it's summer in America
And I
Got the sun on my back, and it's summer in America
Oh, I
La-la-la, yeah
La-la-la
La-la-la
(Yeah, I told 'em I said)
 
I got a bad case of envy, been getting pretty skinny
I'm like a buck forty soakin' wet, need therapy within me
I'm a face and a body, a human, a human
"Oh boy, you need Jesus, what the hell are ya doin'?"
And I was going to the party, where the DJ would play
And Jonny said, "More parties in the USA"
 
And now I
I stumble the streets, and it's summer in America
And I
No, I can't feel a thing, and it's summer in America
Oh, why?
La-la-la
La-la-la
La-la-la
(I was walking home)
 
The parking lot is vacant
Except a single car with two young lovers making vows on the tar
And I take a photo walking by, memorize their shape
It's a blurry mess of love and jest, it's all I'm left to trace
 
And now I
I stumble the streets, and it's summer in America
And I
The sun's on my back, and it's summer in America
And I
I can't find love, and it's summer in America
(Somebody take me in)
La-la-la
La-la-la
La-la-la
La-la-la

     “All My Friends” by LCD Soundsystem 

     “Stay Alive” by José González

     “Known” by The Dramatics