Tim: Remember four years ago when drum ‘n’ bass was everywhere, and then people moved on, and I didn’t need to wear my “wake me up when dubstep is over” t-shirt? Well, apparently not everybody got the memo, or at least if they did they’ve since forgotten. BRING ON THE TWO-STEP, sort of, it’s weird.
Tim: And oh, that time signature jump here is just as weird and disorientating as it was when Norway tried it at Eurovision.
Adam: Oh wow, that track by Agnete is interesting! It has quite a drastic tempo change going in to the chorus though whereas in this it’s just dropping to half time.
Tim: It’s so bizarre, because the verses and chorus are like two completely separate tracks, split up stylistically as well as mathematically.
Adam: Which can actually work out pretty well. Bohemian Rhapsody does it and is one of the greatest songs of all time.
Tim: Well, that’s a debate for another time, and in any case there everything’s up in the air. Here, it’s more organised, and possibly the worse for it. Her voice goes from melodic to shouty, the instrumental from light pop to heavy drum ‘n’ bass, and it just doesn’t make sense.
Adam: I guess I can see where you’re coming from. It does feel like she’s come up with two separate ideas that might be good and has tried to stick them together.
Tim: Maybe – maaaybe – going into the chorus isn’t too bad, because you at least get an instrumental cut off for a bar, but that moment coming direct from two-step chorus to your standard 4/4 second verse at 1:19 is just AAARGH.
Adam: If you’re having a hard time with the meter changes in this song you should stay away from Pyramid Song by Radiohead because it might melt your brain!
Tim: Annoyingly, both parts are quite listenable – I’d easily take a whole song of that chorus, and probably a song based around the verse, though the chorus’d need to be beefed up. But WHY DOES THIS HAPPEN?
Adam: Woah buddy cool your jets. It’s just pop music!
Tim: ‘Just’ pop music? JUST??? Mate, we need to have words.