Soundscapes: Kiley Adams describes her immersion in music


Author: Erin McAuliffe '17

“Attaboy” — Yo-Yo Ma, Stuart Duncan, Edgar Meyer, Chris Thile
“Parts of this song feels like they’re going through me. It’s a very close, intimate song. Anything with a lot of string instruments is complicated to follow, but at the same time, if I remove myself from it, it’s very simple and paints a beautiful picture. But if I focus on it too long, I get really lost in how many things are taking place at once. I can’t tell what color it is — it’s a warm song, no blues or greens. But there are so many levels of red, orange, yellows and pinks that I can’t tell what is what.”

“#88” — Lo-Fang
“My favorite sound ever — the little flip! It rolls! BaaDiii! I kinda feel like I’m floating this whole song, I have a very physical reaction to it. I love this guy’s voice — it’s smoky gray. I pay more attention to the instrumental part, I could maybe sing it back to you — but I don’t care about anything but the sounds. I’m listening to the sound and the color, but I have no idea what they’re saying at all. If someone says, ‘This song has really good lyrics,’ I’ll probably have to listen to the song 12 times in a row to hear and understand them.”

“Cake Boy” — Hoodie Allen
“These first three seconds, on good speakers, freeze my diaphragm. The bass is so low. It’s so heavy, I feel like I can’t get a full breath of air. Wait, don’t pause it yet — ‘Get up in my XBOX cus I’m well kinectedddd.’”

“Always This Late” — ODESZA
“I love the album’s cover art, it’s the same color scheme as the song. I can do almost anything to this song, actually: I could sleep after listening to this song, I could do work to it, run. It’s just very visually appealing. All the textures are really soft and glowy. Nothing’s sharp, nothing’s sticky or puffy. It has no mass, it’s kinda like watching the Northern Lights or a really pretty sunset that changes constantly.”

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