were studied and considered for this analytical case study, but it seemed as though the most appropriate main methodology suited to the initial research question was Tagg’s ‘Checklist Of Parameters Of Musical Expression’ (1982). The Soundbox, Dockwray and Moore 2011), The Performance (audience, venue, performer, Frith 1996 and Pattie 2007), Semiotic Theory: Peirce’s Tripartite Model (1977), Cooke (1959), Tagg (1982) and Machin (2010) talking thoroughly about the Semiotic Resources in Sound and Machin’s Sound Qualities: Arrangement and Rhythm etc. Many methodologies and theories such as The Musicology of Production (e.g. Which of the possible methodologies will help to explore and pinpoint the analytic factors that make ‘Nakamarra’ a more sophisticated song in the realms of Popular Music? When choosing which are appropriate, the context of the question being asked is key.
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The question of which methodologies to use is an important one. This perhaps suggests that the level of compositional excellent the band have achieved makes it challenging for the average Popular Music transcriber. Interestingly, Nakamarra was one of the few Hiatus Kaiyote’s songs found to have be transcribed. Nakamarra, taken from Hiatus Kaiyote’s first album ‘Tawk Tomahawk’ is of particular interest due to it’s more complex choices of harmonic and melodic arrangement and its lyrical phrasing and content.
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Therefore, it seems advisable to study what Hiatus Kaiyote do beyond a more common description of Popular Music to take their songs to a more sophisticated and yet still popular level of composition. This band seem to have a level of sophistication in their song arrangements. It seems to pass by in a small fraction of that time.The aim of this case study is to find and apply methodologies suitable for study with regards to analysing one of Hiatus Kaiyote’s songs, with particular reference to sophistication in Popular Music. Even with the addition of a Q-Tip-enhanced version of "Nakamarra" here, the album is succinct at 35 minutes. "Nakamarra" is the least complicated of the bunch and is warm and relaxed enough to pass for a cover of a Soulquarians project, though it's hard to imagine even Bilal coming up with "We two will breathe, aqua queen/Though vast distance between us, heart sails with love." The stormy "Lace Skull" resembles Grace-era Jeff Buckley, especially though the jabs and spirals from Palm's guitar, while "Malika" has an alluring ebb-and-flow quality. The other five tracks are fully developed songs. "Ocelot" is wickedly choppy with Palm's voice left raw and imposing: "My, my, my ocelot tongue is sharp and I'll eat you up." The knotted "Boom Child" is funky enough to cause animated scowls, while the instrumentals "Rainbow Rhodes" and "Sphinx Gate" make for a twinkling, dreamlike succession. Five tracks are two minutes or shorter and leave lasting impressions. They're rooted primarily in decades-old forms of jazz, funk, and soul, yet they sound modern through abstract hip-hop twists and delightful weirdness. Led by singer, songwriter, and guitarist Nai Palm, whose slightly scratchy voice croons and howls one moment and then soothes and attacks the next, the band alternates between straight and crooked R&B. Tawk Tomahawk, homemade and self-released in 2012, also impressed Salaam Remi, who signed the band to his Sony-distributed sub-label Flying Buddha.
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KCRW's Garth Trinidad and BBC Radio 6's Gilles Peterson were among the first DJs to pick up on them, and the likes of ?uestlove, Erykah Badu, and Flying Lotus expressed enthusiasm. As with Sweden's Little Dragon, New Zealand's Electric Wire Hustle, and Denmark's Quadron before them, Australia's Hiatus Kaiyote gained notice through a loose network of figures that promotes and/or creates progressive R&B and hip-hop.