Tim: So Faded ended up being a lot bigger than any track from an act called Alan Walker had any right to be. Sticking with the same vocalist, here’s the follow-up.
Tim: And…is it too harsh to call it basically the same song?
Tom: A bit harsh, certainly. Why do you say that?
Tim: The same synths, the same gentle vocal going into a suddenly calm first half of a chorus and the second half of that with the volume control going all over the place.
Tom: And I really dislike that “dip the synth for the drum hit” effect, by the way. Almost hurts to listen to, no matter whether it’s a deliberate choice or just overcompression.
Tim: See, I think that’s the main similarity – it’s just such a distinctive one that it’s hard to focus on anything else. Because yes, there are differences, of course there are, but I can’t help feeling that six months down the line I’ll have trouble hearing one of the tracks and confidently identifying it. On the other hand, if your debut was a big hit you’d be an idiot to mess with the formula for your immediate follow-up release, and it is a tactic that got Avicii two number one albums, several awards and an amazing LA apartment, so why not?
Tom: Worked for Kygo, too. Although this does seem different enough to me — I absolutely love the quiet pre-chorus, although the rest of it sort of slides past me without really making an impact. Why isn’t that “sing me to sleep” melody the main line? It’s the best part of the song.
Tim: Either way, it’s just as enjoyable the second time round, so I’m all for this as long as we have a bit of variety sometime soon please.