I need somebody to talk to about the influences in Djo's music, I feel like I'm going crazy.
Like, there's this part in "I Want Your Video" where he sings:
"So, I need you, baby, feeling alright, ooh/
Yes, I need you, baby, overnight/
Yes, I need you, baby, feeling alright (ooh)"
And just! That "Ooh" he does, the way Djo specifically sings it reminds me so much of the little Oohs that The Beatles sing in "I Saw Her Standing There" (not the mono version, fuck the mono version). And then, also, thinking about how "I Want Your Video" and "I Saw Her Standing There" have the exact same amount of syllables (which could genuinely mean nothing). Both of these songs are love songs for a specific kind of woman, too—women who both are seemingly down to earth or not swarmed by egotistical traits, both of which are lit up as the day/night progresses, both of these songs talking about dancing or partying in some way.
Anyway. I just think it's neat to hear him talk about The Beatles in his interviews as one of his favorite bands—favorite band, even—and to see the little moments in his music where the influence flows within the lyrics. It's just so cool to me.
There's also the break in "On and On" where it's got the people talking on a broadcast (tv or radio, it's hard to discern) and it reminds me so much of the backtrack in "I Am the Walrus" where you can hear people chattering over some sort of staticky broadcast/talking in general.
But then the rock break in "Flash Mountain" is interesting, too! The bass is boosted slightly in this section, which reminds me of the bass heavy beats of Justice's track, "Genesis". Which, if I'm remembering correctly, I believe Joe Keery has mentioned Justice being one of the inherent influences on his music creation. ALSO, The Beatles's song, "Come Together" has this excellent little rock break around 2:00 minutes or so into the song—the way it's performed, that shout into the break and cleanliness of the guitar, reminds me of the break in "Flash Mountain". Another band/artist I'm hearing in this song specifically is Cage The Elephant—with a hard focus on their song, "Spiderhead". The bass on that particular track is also boosted, there's the artistically shouted lyrics, the wideness in Cage The Elephant's vocals—which is something I have also heard in Djo's vocals and I absolutely adore it.
I also really enjoy this one way Djo enunciates his lyrics, very staccato, to the point, every word has the correct sharp emphasis each needs. My favorite tracks he's done this style of singing on have been, "I Want Your Video", "Gloom", "Fool", and a bit in "Total Control". It's a certain clean, purposeful sort of emphasis. It's not struck so hard that it's a brutal, violent beating to the eardrums. It's not messy and loose, sprawling and done unnecessarily throughout his songs. And when his vocals are wide, elongated, open from the back of his mouth, they aren't smearing the page or bleeding over the instrumental—the vocalization isn't a pool of ink from the tip of a permanent marker, ready to stain and ruin. There's a concentrated enunciation to his music, a kind that isn't cock-blocking the other vocalizations from being heard—he's not muddying a backtrack or croaking over a soft, heartfelt minor note.
Anyway. I'm really passionate about music and I just love over-analyzing everything I listen to. And also I'm really excited for the next Djo album, I'm more excited right now than I was for Christmas this last season. Something excellent is coming and I am so fucking sure of it.