Basically, "Apache" has been stuck in his head ever since.
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#MARY MARY CANT GIVE UP NOW INSTRUMENTAL HOW TO#
The breakbeat influence in this, for those hip-hop heads in the audience, is just straight up " Apache." Mark used to run the sound at a youth center in Houston, where a crew of breakdancers would teach young kids how to B-boy. So what you're hearing in this song is a reflection of Middle-Eastern music, particularly from pre-Revolution Iran. But this time around, we wanted to draw from more of our obsessions. We were eating, sleeping and breathing it when we wrote that album. Our first album, The Universe Smiles Upon You, was a musical reflection of our total obsession at the time with Thai funk. And, like most tracks born after a long dry spell of writer's block, it's one of our favorites. This was the first song we wrote for this album. "There can be a natural conversational element to our music sometimes, because the songs usually are sort of a conversation between the three of us," Khruangbin says. So there can be a natural conversational element to our music sometimes, because the songs usually are sort of a conversation between the three of us. Usually we start with a drum loop, then Laura Lee freestyles some bass over it, then Mark comes in and riffs on guitar over that. Our creation process is actually quite similar to improvised dialogue. And the song sort of became this ode to bickering couples. We thought it sounded cool, so we started messing around with it, then added a few melodic tones from an argument in Romancing the Stone.
![mary mary cant give up now instrumental mary mary cant give up now instrumental](https://www.udiscovermusic.com/wp-content/uploads/2017/02/Loves-Theme-438x438.jpg)
One of those tapes is the '90's cinematic masterpiece Clueless, and one day, while listening to the argument between Dionne and Murray, Mark started playing a little call-and-response guitar over it. The remote Texas farm where we record has only an old VHS player for entertainment, so we often end up watching the same few movies on repeat while we're writing music. We think that's what makes our sound unique all three of us come from such different backgrounds, it's the balance between us and what we contribute that creates something new. Since we're primarily an instrumental band, we try to convey our emotions through the music rather than words, but we also try to leave enough space to let our songs reflect the listener's own feelings, rather than forcing our own meaning upon others.ĭespite the connection to Laura Lee's grandfather, the music on this track was primarily written by DJ. We hope it captures the melancholic nostalgia of missing someone deeply. He was an extraordinary influence on her life, so this song is a tribute to him.
![mary mary cant give up now instrumental mary mary cant give up now instrumental](https://i.ytimg.com/vi/FmQBshQ11uo/hqdefault.jpg)
When she was a little girl, her grandfather would always ask her, "How much do you love me?" or " Cómo me quieres?" And the only answer he would accept was, "With all the world," or " Con todo el mundo."
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This song was named for Laura Lee's grandfather. The band tells that story here in their own words. From the loving kindness of Lee's Mexican-American grandfather and the bickering couples in Clueless and Romancing the Stone to a group of breakdancers who gave "Maria También" its beat, it's a record that draws from memories and makes them present. That the three members put all of themselves into Con Todo El Mundo becomes even more apparent as they share the stories behind each song. There's the pre-Revolution Iran boogie of "Maria También," the slithering cool of "Rule" (inspired by Persian guitarist Kourosh Yeghmai) and the breakbeat chop of "Evan Finds The Third Room," a tribute to the late-'70s proto-zouk coming out of the French Antilles.īut this being Khruangbin, a global soul swirls all around these songs like disparate frequencies in search of a jam. On Con Todo El Mundo, the band's second album, Khruangbin expands its international reach at a moment when so much of the world seems intent on closing borders. Somewhere along the way, Laura Lee's soulfully funky bass lines, Mark Speer's lyrical, liquid guitar and Donald "DJ" Johnson's superbly crispy drumming gave Khruangbin's songs narrative shapes - not "cinematic," the trait often ascribed to post-rock bands, but vibrantly drawn from life, with elastic sketches that vibrate off the page. The Texas-based trio Khruangbin got its start digging on '60s and '70s Thai funk, gospel, R&B, surf, psychedelic rock and dub, creating chill instrumentals seemingly tailor-made for groove-seeking beatmakers and blissful dancers at outdoor festivals. Like a look from a lover or the clench of a fist, there is sometimes more (e)motion in the flick of a riff or the hum of an organ than words can supply. Khruangbin's Con Todo El Mundo is out now.