Tim: Yep, still out there, still hunting that elusive bass.
Tom: I sort-of assumed he’d have retired or gone into the production side of things by now. Instead, turns out he’s touring the UK. He can’t still be producing good stuff though, surely?
Tom: Well, what do you know? Six composers listed on the track, and unless he’s had a significant change of voice he’s got a session singer in, but sure: this somehow manages to provide a bit of early-2000s cheese and late-2010s dance at the same time. That’s impressive.
Tim: It is: that’s a really good 2019 dance track! What we’ve got here, I think, is a perfect example of maintaining your existing sound while also adjusting it enough to keep it fresh and sounding modern. Part of me was concerned it’d be the same as all his old stuff – after all, Northern Light came out several years after his heyday and sounded exactly the same. Seven years on, though, and something different is needed, and it’s here, and it’s one thing in particular: the effects on the vocal line. The echoing, the layering, the drop to nothing underneath it every now and again.
Tom: Yep. I can’t really fault this. Maybe it’s too schlagery, too bubblegum-Eurodance in melody to be mainstream? That’s not really a problem for me, though.
Tim: Not even slightly. And come the main part, though, the big dance melody: that’s all him, and he’s still here. Or, back here, whatever. Here, anyway, and just a little more modern sounding.