Discover Top Posts Tagged with #nate henricks

yeah its different every time you take me there

a million chapters of an ancient facsimile

chain smoking in an all night diner

you hear it like a faraway sound

hey just let me worship the ground

RAC - Back of the Car (feat. Nate Henricks)

RAC returns with his first original single in over a year, a bubbling and bright pop tune titled, 'Back of the Car'. The song features choice vocals from newcomer Nate Henricks and really encapsulates the carefree and nostalgic feel of summer. I was fortunate enough to catch a couple RAC DJ sets back in the day (2011 / 2012) and just saw him with his full live band at T5 this past fall for my birthday. It's been wonderful to watch his project grow and this new single shows things are only getting bigger and better for the talented Portland producer.

#Back of the Car #Electro #Nate Henricks #Oregon #Pop #Portland #RAC #Songs

Top 50 ‘15 Songs: 10-6

(Follow the rest of my year-end coverage here)

10. Miguel, “Leaves”: Sweet California. Sour California. Bitter California. I have been living here for over two months now, and I have already experienced these different tastes of the state. From the outside, the joke goes that Californians are soft, unable to deal with any climate other than sunny and above 60ºF. But living here, you start to realize what it can do to you, how easy it is to lose sense of time without distinct seasons, how the beautiful weather can become a cover-up for emotion (how could you be sad when it’s so nice out?). “Leaves” California can be: is it an endless summer, eternally sweet, or a perpetual flatline, unfeeling and bitter?

9. Lane 8, “Sunlight”: “Sunlight” is a gem from start to finish, and probably the most beautiful song on this list. According to a Reddit Q&A, Lane 8 says the vocalist “didn’t want to be named on the track because she’s focusing on her own solo career.” It’s a bit puzzling, because her understated yet captivating performance on “Sunlight” is the kind that could create fans. Like its namesake, “Sunlight” moves into view slowly, patiently building until the kick drum intensifies and pushes the song along. The singer finds herself on the edge of a meaningful connection, and wrestles with everything that comes with that. She vacillates, regretful and anxious on the verses, but fully willing to dive into the deep on the chorus. “Close to something I know, can we let go?” she asks, breath held for an answer.

8. Nero, “Into the Night”: A lot of festival music is designed to heighten emotion to its most extreme end, so it feels like that this is the most important moment of your life. “Into the Night” has a different outlook. It’s a charming duet that begins with the POV of a guy with Calvin Harris’ smooth-sleaze tone. He wants to leave the party and make the most of the night. Alana Watson doesn’t rebuff him outright, just states her desire to just take things slow and dance. It’s not tense or awkward; you get the sense that he’s more than fine with this. What follows is a pounding drop that evokes Daft Punk’s “One More Time” pumped with even more ebullience. “Into the Night” finds joy in pure dancing, in not feeling pressure to experience the world in one night, in going with the flow.

7. RAC ft. Nate Henricks, “Back of the Car”: In October, my mother and I road tripped from Chicago to Southern California. We both already loved “Back of the Car” for its driving pop-rock sheen, thanks to RAC’s hook-filled songwriting and Henricks’ shout-along chorus. But it became the trip’s theme song, mirroring perfectly the feeling of living on our own terms, coming face to face with just how expansive this country is, driving for hours on end without stopping, pushing 85 MPH on endless freeways that cut through flat plains and rolling hills, through tiny towns and kitschy rest stops. “Back of the Car” is also a song about freedom, and I couldn’t think of anything more symbolic as I moved out west, searching for a new life.

6. Perfume, “Toumei Ningen”: Perfume pulled out all the stops for their tenth anniversary single, the double A-side “Relax In the City”/”Pick Me Up.” Nakata’s usual maximalism was there, a well-oiled machine of dancepop with hundreds of moving parts, impeccably arranged. But the emotion at stake was palpable in the trio’s vocals; less the heavy modulation that was their signature in earlier work, they emoted more than ever. The B-side “Toumei Ningen” is their best song since “Hurly Burly,” in my estimation. Everything I loved in that song is here: intricate dance music with flashes of trance and a sharp pop sensibility. But instead of a party, the trio longs for escape from feeling invisible and insignificant. There are lots of reasons I love Perfume’s music; I never thought one would be “emotionally resonant,” but I’m happy to add it to the list.