Origins is a recurring new music feature where musicians are presented with the opportunity to explore deep into the depths of influences behind their latest track.
Beginning this Thursday at South by Southwest, the Brooklyn Bowl Family Reunion is taking over Austin, Texas’ Historic Scoot Inn. Consequence of Sound is your scheduling master for day one, bringing the likes of Artist of the Month Alice Phoebe Lou, Reignwolf, The Beths, Laura Jane Grace & The Devouring Mothers, and The Get Up Kids to the stage. But there are plenty of other awesome acts to catch at the BBFR later in the weekend, including Nashville’s own LUTHI.
Ahead of their run of SXSW dates, the self-described “Cumberland Funk” seven piece is today sharing a new track called “Sleepwalkin”. Taken from the first in a new series of 7-inches, appropriately dubbed Episode One, the track is a snappy ode to the woman of your dreams — literally. She keeps me company up late at night/ Sliding from dream to dream,” sings Christian Luthi. “Sleeping’s never felt so right/ I’ve been waking up all hungry like.”
Take a listen to the grooving, rolling tune below.
Episode One, which features a studio version of LUTHI’s live staple “Out of This World” on the B-side, is out March 29th. For more on “Sleepwalkin”, the band has broken down the song’s Origins, which you can read below.
Also, be sure to RSVP to Brooklyn Bowl Family Reunion here.
Dreams:Honestly, we had a bass line and then the melody came to me while I was sleeping. So it kind of worked itself out. Well not while I was sleeping, but you know… somewhere between sleep and full consciousness. It’s ok to be perplexed by dreams. That’s why they’re dreams. I think it’s fun and interesting to read into your dreams and try to interpret the weirdness. Try to learn something from them but don’t beat yourself up over them. I always wanted to write a song about the subconscious because you can’t feel guilt for things that are out of your control. — Christian Luthi, Singer/Songwriter.
Steely Dan and Co:
I’ve always loved the late ’70s Steely Dan/Michael McDonald era records that saw the blending of NYC jazz and LA pop production. There’s always that one chord that’s almost off, but just feels so good. That’s what I wanted to find in the bridge section, to get that one chord to sit just right and take it somewhere different than a straight-up dance party. The string/vibraphone sound from Blackbird Studio’s Mellotron and the singable horn line made it just that, for me. — Luke “Boots” Iverson, Keyboards.
Waking Up Alone:
Being a person dating in the creative scene, I find myself asking, “Why can’t I wake up with somebody?” again and again. It is sort of a mantra for anyone who is hopelessly single. That being said, we all know what we want in our mind’s eye in a partner so when we find it, it can feel like a dream. — Amber Woodhouse, Vocals/Saxophone.
’90s West Coast Hip Hop:
Some of my favorite things about “Sleepwalkin” are all of the monophonic synthesizer parts. Little flourishes here and there added so much texture to the verses and the doubled line with the chorus vocals really puts me in that 1990s-era west coast hip hop space. I think the whole band draws a lot of influence, subconsciously or not, from the likes of DJ Quik, Daz, and Dr. Dre. — Taylor Ivey, Bass.
We really leaned hard on the internal rhymes and alliteration in a way that made it feel sexy to sing. The pre-chorus and chorus words just ended up rolling off the tongue with ease and swagger that you don’t often get when you try too hard. — CL
We also used the same chord progression for most of the song, something we’ve only done once or twice before. It really leaves room for small changes in what we’re playing to have a greater weight over the course of the song. — TI