It’s a good thing that Brooklyn sad-pop trio, EXNATIONS, have a song on their new EP titled “John Hughes Movie Soundtrack” because one listen to their shimmering eighties-inspired synthpop and you’ll literally feel like you’re standing next to Molly Ringwald in a scene from Pretty In Pink.
Speaking of all things pink, the band’s new EP, Pink Haze – the follow up to their 2018 debut, Tiny Sound In The Dark – is glimmering with neon emotions, longing, and 80’s movie vibes for days! Comprised of Sal Mastrocola, Taylor Hughes, and John O’Neill, EXNATIONS are a vibrant and promising addition to your list of music obsessions with the motto of “It’s sad but we’re still dancing” to get behind.
We asked the band to break down their new EP, Pink Haze, in this TDL exclusive track-by-track commentary and trust us when we say that once you read through it all, the EP somehow becomes more magical. Enjoy and don’t forget to buy Pink Haze, available now here!
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“Tether”
Taylor: Tether is actually a byproduct of us trying to give an old song a face lift, and it quickly turned into an entirely new song. It was a really exciting accident but also a sign that we were growing into a different sound. It was written around the same time I was deep into refocusing our last single “Knife” – it felt the like the perfect bridge from Tiny Sound in the Dark to the Pink Haze era.
“Floating on a Pink Haze”
Sal: This song is sort of the other side of the coin of “Tether.” New love can come into your life fast and furious, turning everything upside down. But love that lasts changes and grows over time – becoming something entirely new from where it began.
“John Hughes Movie Soundtrack”
Sal: Is there anything that depicts American adolescence for babies of the 80s and 90s more wistfully than John Hughes movies? Since we started EXNATIONS, several friends and fans have told me our songs sound like something out of a John Hughes movie. So we decided to lean into that compliment. And to get even more meta with it – we spun a story of a protagonist longing for a past that never existed – hiding away in detention with the kids from The Breakfast Club and the lovebirds of Sixteen Candles when the real world beats her down.
“Slow Erosion”
Sal: One of the only political tunes on this record, this song uses the slow fade of a toxic relationship as a metaphor for what’s going on in our country at the moment. Walking on eggshells, piling on the concealer, attempting honest connection with someone who’s skin is thin as paper. Day in day out, the luster wears off as you become more and more worn down. I think we’re collectively navigating something just as toxic and debilitating as a nation.
Taylor: “Slow Erosion” challenged me to be minimal with my drum + synth layers, in turn I was more conscious of the tones while I was programming. This might be the most spacious feeling track on the album. I love the gradual build and overall feeling of desperation that hovers over your head when you’re listening.
“Modern Kids”
Sal: The first song we wrote for the record. “Modern Kids” is a celebration of youth. It touches on a few of those milestones that make us who we are as kids – first crush, first fist fight, first backseat makeout, first high. There’s something so universal, so innocent and pure about these experiences, and I wanted to share my perspective on them – with guitars.
“Dreaming Still”
Sal: This one is a direct result of my obsession with new wave as of late. I’ve been binging on bands like Tears for Fears and The Blue Nile – I wanted to write something that evoked the feeling of those bands, within the context of who EXNATIONS is. And it’s about seeing visions of a dead loved one in your dreams. What could be more nostalgic than that?
Taylor: Let me start by saying the demo made me cry in public after hearing it the first time. This track allowed me to live out my love for classic hip-hop grooves and textures, lots of 808’s and low end. It was a really fun build, my computer started freezing after track 58 if that gives you any idea of how many synths and drum samples embody “Dreaming Still.”
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