Track by Track: L.A. Exes unveil their debut album ‘Get Some’
The alt-pop group give it their all on the debut album
Image: Molly Adams
L.A. Exes is the American alt-pop band composed of drummer Steph Barker, singer and guitarist Jenny Owens Young, singer and bassist Sam Barbera, and guitarist Rachel White, who released their debut album last week.
Skinny Dipping was the second single released by L.A. Exes, and I couldn’t think of a better song to be the first on the tracklist of their debut album. Not only does it perfectly capture their style and tone, but it is the ultimate earworm. I can’t count the number of times I broke out into “cause it’s Saturday, Saturday, Saturday” or “Let’s go skinny dipping / Starting with the breaststroke” while doing chores around the house.
Fun Fact: the implementation of the laugh into the background music after that lyric was the genuine laugh of Kate, wife of L.A. Exes producer Jake, (yes, the same Jake), which helps to add to the sense of genuineness to the song. The pun is an excellent example of the clever humour and personality that can be found dripping over all the songs on Get Some.
But what about the music? Listening to Skinny Dipping, you just want to get up and dance; with its funky drums and 60’s style guitar riffs, that are reminiscent of something the Beach Boys would have produced back in the day. The music perfectly captures that feeling of sunny days by the pool or parties on warm nights, which makes perfect sense knowing the inspiration behind the song.
Compared to other songs on the album, Skinny Dipping is the most upbeat and, while still open and honest, doesn’t seem to have the same emotional vulnerability as the other songs. Instead, being inspired by the “ruckus-filled, largely queer-based parties that Jake used to have” according to vocalist and bassist Sam Barbera.
When it comes to Totally Worth It, we can see how all members of L.A. Exes being queer women has impacted the writing process. It allows them to be honest, share their own experiences, and develop ideas together about shared experiences, in a way that may not otherwise be possible.
Listening to Totally Worth It seems to highlight the experience of what it’s like for a queer woman in early life; navigating love, sex, and identity. The song’s story frames this idea of a young queer woman hooking up with a straight friend at a party.
“Once there was a girl I knew / She was only half-way into me / Her boyfriend left the party in a hurry”
Believing it to be the start of something meaningful, only to have her feelings dismissed. Leaving her confused, hurt, doubting their decisions or, perhaps, even their own sexuality.
Whilst my interpretation is coming from the perspective of someone who isn’t a queer cis woman, listening to the lyrics, I can’t help but picture someone trying to find herself and navigate relationships during early adulthood. Yet another example of the honest, almost autobiographical storytelling that can be found in many of the lyrics on Get Some.
West Keys was the first song ever written by L.A. Exes and came about when Sam’s girlfriend broke up with her the night prior to L.A. Exes first writing session. It is probably the slowest song on the record with Sam on lead vocals and Jenny performing many of the backing vocals.
While being an open and emotional break-up song, West Keys is still dripping in that trademark wit, that is sure to make L.A. Exes famous. For example, “I’ll be swimming in the West Keys / You’ll be drowning in neuroses”.
It’s clear when listening to West Keys that the central theme or thesis statement behind the song is that it’s meant to be a positive break-up song; saying how while yes, I am hurt, I’ll be OK, it’s you who has made the mistake.
The music perfectly highlights this central theme for me. The tone of the song reflects the feeling of heartbreak. It’s slow, and the melody plods forward, empathising the feeling of ‘no way though’, when in a negative emotional space. The absence of drums in the first verse adds to the feeling of isolation and loneliness. It’s not until the chorus and second verse that the drums come in, completely changing the song’s tone. The increase in tempo gives a more hopeful sound to the music, things may hurt now but they will get better.
Due to Get Some’s opening lyrics, you may think it’s a song about a booty call or something similar, but here is another example of the humour that can be found in L.A. Exes songs:
“I just wanna hang out with my ex / and get some / I just wanna hang out with my ex / and get some resolution.”
We’ve all been in the situation, romantic or otherwise, where something in our life has come to an end without offering any closure, leaving the wound open until time heals or it scars over. Get Some perfectly captures this frustrated, almost desperate need for an explanation, hoping that the ones who hurt us are being punished or are at least regretful.
For me, what contributes to this emotional feeling, much like in West Keys, is the guitar. It has a very repetitive twang to it, almost like it’s stuck repeating the same notes over and over again, mirroring how people can repeat the same behaviour over and over again as they wait for closure.
Considering the honest, vulnerable nature of the songs on the album, I can see why Get Some was chosen as the name. It could be argued that the album is a way for the members of L.A. Exes to get some resolution or closure to certain moments in their lives.
One of the darker songs on the album, Cocaine Girl, seemingly telling the tale of someone wrestling with the decision to let go of a partner who’s addicted to cocaine. It reflects an experience that I’m sure many are familiar with: having to cut ties with someone we love because they have developed toxic behaviours.
The vocals seem to capture that feeling of hoping that someone you care about will let you help them; that final futile attempt to help. However, I think the saddest aspect of the song is how the lyrics seem to fade out at the end as if the singer has finally accepted that all their words and attempts to help have been in vain.
There appears to be a truth to the lyrics as if the story is coming from a real place, which serves to make the song even more impactful.
Baby Let’s Pretend was the final single to be released before Get Some, and it feels like a spiritual sequel to Totally Worth It. It seems to tell the story of a queer woman trying to convince her partner to leave her boyfriend for her. Hell, the characters featured in the song may even be the same people.
Stylistically, I found Baby Let’s Pretend shared a similar sound to Skinny Dipping and Temporary Goodbye with its funky beat, guitar, and the blending of main vocals with the backing vocals. It is yet another song you just want to dance to.
The lyrics also share that honest, unique perspective that can be found within other L.A. Exes songs. For example, sharing the experience of what it’s like to be a queer woman dating another woman who isn’t out yet and wants to keep their relationship a secret. Or, alternatively, is a woman in a straight relationship and wants to keep them a secret. Yet, the song accomplishes all this without losing that humorous perspective on the experience.
When it comes to Baby Let’s Pretend, the funky sound, funny and honest lyrics make for an enjoyable listen.
If I’m honest, I Got Half a Mind is one of my least favourite songs on the album. While there’s nothing obviously wrong with it, it just doesn’t make as big an impact as its counterparts.
The slow tempo of what feels like a samba inspired style is quite fitting. Upon first listen, I was expecting it to pick up in tempo later in the song and when it didn’t, it left the music feeling slightly lacking. However, when considering what is my interpterion of the narrative of the song; a story of someone going into a relationship half-committed, it makes sense even if it did not float my boat this time round.
The first single released by L.A. Exes and the very first song of theirs I heard: Temporary Goodbye. While it’s not the first song on the album, it does seem to share a spiritual similarity to Skinny Dipping. It is most certainly a song to dance to, more so than Baby Let’s Pretend.
Though unlike Skinny Dipping — which is most certainly a feel-good summer song — Temporary Goodbye has (what I call) an optimistic existentialism tone to it. It seems to perfectly capture that feeling of just needing a break, a short reprieve when all the chaos and meaningless madness of the world becomes too much.
“I don't wanna die / But I wouldn’t mind / Disappearing for a while.”
Yet for fear of repeating myself, Temporary Goodbye manages to find the humour in this idea: “Drugs are expensive / So’s therapy / Someone help me please.”
For me, this is where the optimism comes in, I interpret it as, ‘yes, this is all overwhelming, and I need help, but that doesn’t mean I can’t make jokes about it; things will get better. I just need some time to recompose myself’.
When I first listened to Temporary Goodbye’s boppy beat and guitar, I knew it would be a new favourite of mine. All the pieces fit together so seamlessly. The vocals and the music work together to create the song's tone and feeling; those moments where it all becomes too much, and you just need a break.
Like I Got Half a Mind, Not Again is not up there in my list of favourites on this album. However, I do prefer it to I Got Half A Mind as I find the chorus to be more memorable. When it comes to the lyrics, I find it challenging to connect with what it’s about.
On repeated listens, it appears to be about being in a controlling, toxic relationship, with lyrics including:
“Oh not again / All the anticipation is making me stop / I can’t breathe I am shaking / I am sick and tired of you always dictating time.”
This would make the song about someone finally getting away from this toxic, unhealthy relationship and not going back or allowing this person to continue to treat them this way.
Either way, the vocals definitely create that sense of being fed up, putting your foot down and saying enough no more.
What’s there to say about Linger? The Cranberries meet L.A. Exes, what’s not to love? The only song on the album not to be originally written by the band themselves, Linger was originally written by the iconic Irish group.
While keeping true to the original song’s style and tone, L.A. Exes still managed to put their own unique spin/interpretation onto the piece. For example, changing the original toned-down drums to a more drum and bass, electronic beat. I believe this helps to modernise the song, while the original is very much a fragment of the ‘90s. By doing so, the cover can introduce new audiences to this beautiful song while still respecting the original.
Read our introduction to L.A. Exes here — we interviewed Jenny and Sam about the band!