• Kristopher Kesoglides

Krewella Gets Wet

Krewella released their first full album Get Wet on September 24th, 2013. In the three years since they decided to drop everything and pursue their musical endeavors, the trio has come a long way. From initially getting booed off stages in Chicago to touring worldwide and playing shows of the highest caliber, it has definitely been one hell of a journey. Krewella has built up a fan base, found and acknowledged their own sound and recently began headlining their own North American tour.

None of this would be possible without the collaboration of two talented, singing sisters and an edgy producer/ instrumentalist. Yasmine, one-third of the trio, told ASCAP.com a little bit about their writing process, “Either Kris will send us a rough beat and we’ll write over that or me and Jahan will write a song a cappella or over just guitar or piano chords.” Writing an a cappella first is definitely an interesting approach to the songwriting process, and it is recognized throughout the album, as many of the tracks begin with just vocals of Jahan or Jasmine.

Come and Get It and Enjoy the Ride are just two examples of this approach, but impressively, they go in two completely different directions. Come and Get It delves into the drum and bass genre and comes up with a catchy arcade-game rage anthem. The illusive outro juxtaposes libido and innocence. Enjoy the Ride holds all of the elements to a progressive house track, illuminating vocals over an inspiring piano riff, sending the track into a hands-in-the-air melodic drop. Krewella shows off their songwriting versatility by throwing in this radio friendly feel-good track.

In Dancing With the Devil, the trio tapped into their punk rock roots, recruiting Patrick Stump from Fall Out Boy and drum genius Travis Barker from Blink-182 for collaboration. For the first time on the record, harmonies are explicit, as the vocalists clash to produce a frightening melody, one that can easily become Halloween’s new ballad. Travis ices the cake with heavy head-banging fills to blur the lines of the song’s genre.

One of the most e

xperimental tracks on the album, Human, begins with a light-hearted acoustic finger picking intro. It then layers a soft piano progression that leads into a vocal bridge before a mysteriously spacey drop. The synth is a cry for help, cleverly matching the speaker in her desperation “I could use a hand sometimes, I am only Human.”

Krewella finishes off the album ironically with a track called This is Not the End. The record comes full circle as the song drops heavy dubstep, a signature Krewella element.

I am most impressed by the group’s ability to produce tracks with a wide range of beats per minute and complex drum patterns, something that the electronic dance music scene (EDM) lacks. Jahan and Yasmine set the bar high for EDM songwriters as well, taking their fans on an emotional journey of love, friends, partying, sex and angst. I would love to hear more harmonies on the next album, though. Now go Get Wet!

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