Tim: Norwegian producer Alan had a bit of success about eighteen months ago with Fade, an instrumental dance track; now he’s gone and done an Avicii on it, presumably hoping for similar levels of success.
Tim: And I do like that a lot, actually.
Tom: Crikey, it’s like 2010 got some slightly updated synths. I’m not sure whether that’s an insult or not, though, because it’s really quite listenable.
Tim: I agree – very listenable indeed. It appears to be tricky, adding vocals onto a track that was originally designed as an instrumental – the places you’d put the attention-seeking chorus are the ones where you’ve already got the attention-seeking main dance melody. Like Bromance, though, a very good compromise seems to have been made, and this works really, really well.
Tom: I’m not a fan of the compression that’s on there as they try to fit everything in: there’s some weird volume-fading going on that’s unfamiliar enough to my ears to sound like error rather than deliberate choice. That said, it might just be coming into fashion and I haven’t heard it enough: that’s what I thought about dubstep.
Tim: Ah, dubstep.
Tom: Huh. What happened to dubstep? I remember it being The New Thing We Didn’t Like, and then it was The Current Thing We Enjoy Now, and now it’s The Old Thing We’re Not Using Any More.
Tim: Oh, I’m sure something equally divisive will come along soon enough. Back to this, though, and weirdly the quiet piano line bits on this remind of me exactly the same song that Bromance reminded you of – Lisa Miskovsky’s Still Alive. Whether that’s coincidence, deliberate theft or possibly even homage I don’t know, but I do know that the more I hear it, the more I love this track, and here’s hoping he does succeed.