{"id":42668,"date":"2021-04-27T11:01:00","date_gmt":"2021-04-27T15:01:00","guid":{"rendered":"https:\/\/www.audiofemme.com\/?p=42668"},"modified":"2021-04-26T12:06:49","modified_gmt":"2021-04-26T16:06:49","slug":"babygirl-losers-weepers","status":"publish","type":"post","link":"https:\/\/www.audiofemme.com\/babygirl-losers-weepers\/","title":{"rendered":"Babygirl Speaks to the Angsty Teen in All of Us on Debut EP Losers Weepers"},"content":{"rendered":"\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/www.audiofemme.com\/wp-content\/uploads\/2021\/04\/unnamed-17-1024x683.jpg\" alt=\"\" class=\"wp-image-42672\"\/><figcaption>Photo Credit: Kate Dockeray<\/figcaption><\/figure><\/div>\n\n\n\n<p>In a time when Taylor Swift is in the midst of re-releasing her entire catalogue, nostalgia is reigning supreme. Millennials long for the days of screaming \u201cLove Story\u201d with the windows down on the way to soccer practice or crying into their diary to \u201cYou Belong With Me.\u201d Let\u2019s face it, high school sucks, but it\u2019s looking a lot better than most of our current situations. Toronto-based duo Babygirl harnesses that same raw Y2K teen pop magic on their debut EP, <em>Losers Weepers.\u00a0<\/em><\/p>\n\n\n\n<p>Kiki Frances and Cameron Breithaupt bring combined influences of Hillary Duff, blink-182, Kelly Clarkson and Alvvays to create self-aware underdog pop for the angsty adolescent in all of us; although their melodies are soaked in nostalgia, their lyrics contain a contemporary exhaustion that feels all too familiar. \u201cNevermind\u201d encapsulates the residual saltiness that comes with the aftermath of a one-sided relationship. Frances sings, \u201cThought we were both in the deep-end\/But you\u2019re only in town for the weekend,\u201d capturing the non-committal aura surrounding most people in their 20\u2019s. The sun-drenched chorus feels like the sonic child of Sheryl Crow and Avril Lavigne, reminding the listener not to take anyone or anything too serious.\u00a0\u201cWe made an effort to offset some of the bummer lyrics by making the productions playful and sweet, almost hopeful. We always want to make it feel bittersweet,\u201d says the pair.<\/p>\n\n\n\n<p><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/4cPcczzPqetNpbCCDT1zkb\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/p>\n\n\n\n<p>While most of the songs hover around the context of love lost or found, \u201cMillion Dollar Bed\u201d also incorporates a reflection on the futility of chasing money or fame in search of happiness. The lyrics paint a picture of a heartbroken soul replacing love with possessions: \u201cChasing a daydream to forget we ever happened\/Pretty distractions\/I\u2019ll be happy when I have them.\u201d This is a deeply relatable sentiment for someone (me) who has turned to online shopping as a coping mechanism during the pandemic, hoping the next box will be the one to restore peace and balance in life.\u00a0<\/p>\n\n\n\n<p>There is not a line on this record that isn\u2019t perfectly crafted to stick to your brain like that awkward thing you said in 2007. It makes sense, then, that Frances and Breithaupt met in music school and bonded over their obsession with making top 40 music. \u201cWe had similar tastes when it came to pop music and that made us want to try working together,\u201d says Frances. \u201cWe were just like, how do we write a hit song? You seem to care as much as me. Let\u2019s figure it out,\u201d adds Breithaupt. The band explains that they have to agree on <em>every<\/em> part of a song for it to make it out of demo-mode, which makes for a long and sometimes arduous writing process. But despite their calculated approach to writing, Babygirl\u2019s songs don\u2019t come off as try-hard or cringe, but more like a conversation you\u2019d have with your best friend, or yourself.<\/p>\n\n\n\n<p>In \u201cToday Just Isn\u2019t My Day,\u201d Babygirl presents a familiar internal monologue &#8212; \u201cI\u2019m all out of steam\/I\u2019m all out of weed\/Today just isn\u2019t my day.\u201d The song allows the listener to stew in self pity while reminding them not to stay there forever. Simple guitars, percussion bells and wells of strings keep the song from feeling too dark, like laying in bed all day in a sunny room. If the band\u2019s organic arrangements set them apart from most modern popstar hopefuls, their intuitive melodies are what bring them back to center.\u00a0<\/p>\n\n\n\n<p><em>\u201c<\/em>One of the earliest physical copies of an album I remember having was a cassette of Backstreet Boys\u2019 <em>Millennium<\/em>. That was definitely melodically really important for me,\u201d says Breithaupt. The band recreates the accessible lyrics and melodies of late &#8217;90s, early 2000s pop while leaving most of the melodrama behind. There\u2019s something about hyper-cute lyrics sung in a nonchalant falsetto that just <em>works<\/em>, and Babygirl seems to get that. Although, their \u201cdream band\u201d would not be as low key:\u00a0 \u201cLet\u2019s just take Coldplay, make Lindsay Lohan the lead singer, have Ne-Yo write the songs, have Kanye executive produce them, and call it a day,\u201d says Babygirl.<\/p>\n\n\n\n<p><em>Follow Babygirl on <a href=\"https:\/\/www.instagram.com\/babygirlband\/\" target=\"_blank\" rel=\"noreferrer noopener\">Instagram<\/a> and <a href=\"https:\/\/www.facebook.com\/babygirlband\" target=\"_blank\" rel=\"noreferrer noopener\">Facebook<\/a> for ongoing updates.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In a time when Taylor Swift is in the midst of re-releasing her entire catalogue, nostalgia is reigning supreme. Millennials long for the days of screaming \u201cLove Story\u201d with the windows down on the way to soccer practice or crying into their diary to \u201cYou Belong With Me.\u201d Let\u2019s face it, high school sucks, but [&hellip;]<\/p>\n","protected":false},"author":74,"featured_media":42672,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[573],"tags":[12103,550,2522,12104],"acf":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.audiofemme.com\/wp-content\/uploads\/2021\/04\/unnamed-17-e1619453002820.jpg","_links":{"self":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/42668"}],"collection":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/users\/74"}],"replies":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/comments?post=42668"}],"version-history":[{"count":2,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/42668\/revisions"}],"predecessor-version":[{"id":42673,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/42668\/revisions\/42673"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/media\/42672"}],"wp:attachment":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/media?parent=42668"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/categories?post=42668"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/tags?post=42668"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}