“Just the sort of stuff Tone does quite well, really.”
Tim: We haven’t featured Tone Damli in yeeeears, so let’s correct that. This is, some readers may be relieved to know in advance, absolutely and entirely unlike yesterday’s track.
Tim: Just the sort of stuff Tone does quite well, really – light pop with a nice tinge of country on the side.
Tom: Yep: although that bass-drum heavy percussion is not what I’d expect from a song like this. It almost seems overpowering: this is the sort of song where, if I notice the percussion, the rest of the song isn’t really doing its job.
Tim: To be honest, I’ve not a lot to say about it, beyond “aww, bit of something nice, isn’t it?”, and I’ve mainly thrown it over as a way of calming us all down after yesterday’s track. I think it works for that, no?
“This is the point, it turns out, where I switch over from ‘well, at least that’s endearingly enthusiastic’ to just being grumpy at them.”
Tim: Summer’s here, in theory, so let’s have a dance track from these lads, shall we? Title translates to “what did you say were called?”, to be sung bleary-eyed the morning after.
Tom: Classy.
Tim: As ever, potty language dotted throughout.
Tim: And there it is, an entirely typical Samir & Viktor track.
Tom: This is the point, it turns out, where I switch over from “well, at least that’s endearingly enthusiastic” to just being grumpy at them.
Tim: Will they ever get bored of their schtick, the old pretending-to-sing-but-it’s-basically-drunken-yelling stuck over a dance backing with a bit of brass? Probably not. Does it matter? Absolutely and entirely not.
Tom: The track sounds like a cheap rip-off of Basshunter. The video’s animation looks like an Ikea instruction sheet. The message of the song is LADS LADS LADS. They really are the knock-off cheap version of Jedward, aren’t they?
Tim: God knows I couldn’t listen to an album of the stuff, but getting a new shouty dance track once or twice a year is kind of a tradition, really, and I wouldn’t dream of wanting to stop it.
“What do you get if you cross McFly with Lewis Capaldi?“
Tom: I’m going to level with you, the first time I saw this, I assumed it was someone called Emily covering Dua Lipa’s “New Rules”. Nope. Instead: what do you get if you cross McFly with Lewis Capaldi?
Tim: This, I’m guessing?
Tim: Huh, yeah – not a bad comparison.
Tom: They’ve been around for about a year, and they’re big enough to have a YouTube “artist channel” but not big enough for a Wikipedia article. And their sound is… hmm. “Surprisingly grown-up” is the term that came to mind, but then that’s because my expectations for a group with a name like this are still based on 90s/2000s boy-band sounds and not, for example, The 1975.
Tim: You know, I don’t know if it’s just because I’ve started listening to Radio 1 a lot more recently and so am having them pumped down my ears at least twice daily, but I’ve since become a fair old fan of The 1975 – and yeah, it’s a very similar sound.
Tom: As for the song: well, once you adjust those expectations, it’ll do, won’t it?
Tim: And I am fairly sure that the post-chorus here is exactly what was missing from last week’s Sigala track. It’s the exact same style, but higher pitched and therefore sounding chirpier. Thing is, though, I’m not quite sure how it fits this song, which seems to me to be having a slight identity crisis.
Tom: That implies it has any sort of identity at all. I couldn’t remember a damn thing about it once I’d finished listening, but that might well be because I drifted off into other tabs and other thoughts about three times during it. It’s what Coldplay sound like to people who don’t like Coldplay.
Why do you say identity crisis?
Tim: See, it’s structured like a regular pop song, obviously, and the verses and pre-chorus sound exactly like that as well, with nothing particularly dance-y about them, just a bit of low key stuff before the chorus comes along to cap it off. But then the chorus does come along, and suddenly we get a drum build underneath it, and the focus shifts towards that post-chorus, with a vague sense of “yeah, I know you were looking forward to this bit, but now I’d actually rather you paid attention to what’s coming along in a bit”.
Tom: Right! And if your attention’s being diverted that much…
Tim: And just to clarify, I don’t think either of the bits are bad, at all, as it’s a decent track – I just struggle to know what I’m meant to be paying attention to.
Tom: Whereas I’m having trouble paying attention to any of it. Which is a shame, really, because when I was actively listening I couldn’t really find anything to fault.
Tom: This is one of the bravest covers I’ve ever heard: but if anyone can pull it off, it’s the band that managed a decent shot at covering Don’t Stop Me Now.
Tim: Yep, I’m listening.
Tom: Important context: this was in 2005, when Mr Brightside was only about a year or so old, and before it had truly settled into the pantheon of Songs Everyone Knows. Plus, this was just the B-side of a single, back when singles had B-sides. So while this isn’t quite as bold a move as it seems, it’s still going to be an interesting listen for anyone who knows every note of the original.
Tim: Yeah – it sounds…weird. I don’t to say ‘wrong’, because I guess it isn’t, but definitely weird, although that’s likely just due to over-familiarity with the original.
Tom: The only thing that I think falls down here are the vocals. Not because they’re bad — but because they’re McFly, and those voices and accents are suited more for their regular style. “It was only a kiss” just doesn’t sound right: it’s not a patch on the melodramatic original, it’s just sounds a bit like someone’s recounting a night out to their mates down the pub.
Tim: Hmm. I think the could perhaps work if the original hadn’t been heard and hadn’t been such a big hit, because it can work like this, even with that feeling to it. It’s just, like you said, it’s not a patch on the melodrama that the Killers give it.
“This is the least predictable track I’ve sent over to you in a while.”
Tom: This is the least predictable track I’ve sent over to you in a while.
Tim: In that case I shall press play, and read ahead no further.
Tom: I know, American dance producers aren’t really what we’re “supposed” to cover here, but did you see any of that coming? Casual guitar intro isn’t normally followed vocoded lyrics. And then it turns into something that sounds a bit like Daft Punk if they turned the “bass” setting up to 11.
Tim: Yeah, it’s certainly interesting – and as for comparisons, it’s no coincidence that three of the recommended videos next to it for me are deadmau5, and two more being Porter Robinson.
Tom: And… it’s good! Like, it’s easy to make comparisons to Daft Punk, there’s a lot in common here, but what’s usually missing from folks doing that shtick is actual songcraft: making something catchy, making something that people actually want to listen to.
Tim: And yet this manages it. Well, sort of – I’m not saying I’d choose to listen to it, it doesn’t really do anything for me, but I know that people absolutely would.
Tom: Yes, it probably outstays its welcome a bit: perhaps a few different chords in the back half or a bigger final chorus wouldn’t have gone amiss. But then, that’s applying pop logic to dance. I’m just happy this turned out to be both novel and good.
“I don’t think I’ve heard a track this good from them since that first album.”
Tim: Sometimes, an entirely decent album track from last October’s excellent Don’t Know What’s Cool Anymore. Now, updated for the summer, by dialling it up. Everything up.
Tom: That’s lovely! That piano sounds like it’s coming out of a solid piano-dance track, but instead it’s backed by some properly uplifting Alphabeat harmonies. I don’t think I’ve heard a track this good from them since that first album.
Tim: Blimey, that’s a hell of compliment, and while I’m not certain I’d agree it’s definite up there with the best. Thing is, I don’t know if it’s just the wooden backing on the artwork here, but right now I’m imagining them standing on a big stage leading a barn dance. The twanging from the guitar helps, I think – the original had a slight country vibe to it, just about coming in at the end, but here it’s right in from the opening verse.
Tom: The production is spot on, the melody’s lovely. You can sing the chorus after one listen, but it’s never been irritating. This is a really good song.
Tim: I’m writing this immediately after seeing yesterday’s garbage dumpster of a video, but OH MAN this has put me right up there in a fantastic mood. Talk about ‘don’t bore us, get to the chorus’, this knows exactly what it’s doing, and does it so so well.
Tom: Right! I actually went back to listen again, which is high praise from me, and was surprised by that opening chorus: I don’t know why. Of course you lead with it, obviously you lead with it. Give the public what they want.
Tim: SHINE A LIGHT. SHIIIIINE INSIDE. COME IN THROUGH MY WINDOW KEEP ME UP ALL NIGHT. That positivity’s right there from the off, and hangs around like a much needed…I dunno, something that we all need. This track, say. This track hangs around like this track. Nope, that doesn’t work, I don’t care, I’m too busy shouting along. SHINE A LIGHT etc.
“Okay, new site policy: as of tomorrow, a total ban on videos with VHS filters applied.”
Tim: Okay, new site policy: as of tomorrow, a total ban on videos with VHS filters applied. This here is why.
Tim: Decent enough song, right? Happy and chirpy, though admittedly there’s that godawful middle eight and the lyrics don’t entirely fit with the tone.
Tom: The talky part of the middle eight is genuinely awful, although the recovery back into the final chorus might well be the best part of the song. There are a lot of good things in here! Overall, well, I can see what they were going for.
Tim: But that’s nothing important really because OH GOD that filter.
Tom: Random timecodes in the bottom! A fake “Play” icon that wouldn’t actually appear after the first couple of seconds of playback! Footage degradation that’s way beyond what actually happens on VHS tapes! We get it.
Tim: Like, you’re even showing us from the main camera that the handheld one you’re using is digital! It says HD in big letters! What is this fashion, who first came up with it, and can we shoot them please because GOD. Like, if you really really want us to think this is home footage, stick a red circle and a REC in the corner. Don’t just pointlessly degrade the footage, it adds LITERALLY NOTHING. IT’S SHIT. I HATE YOU. IT MUST STOP. PLEASE.
“I expect a Sigala track to have an element of joy in there”
Tom: I briefly thought Sigala was going to cover a song from Jesus Christ, Superstar. That’s “Heaven On Their Minds”. This is, obviously now, different.
Tim: Yes, yes it is.
Tom: Anyway, Becky Hill’s off the first season of The Voice UK.
Tim: Oh yeah, forgot that about her. Nice how it hasn’t stood in her way, mind.
Tom: And I can’t help feeling this needs a bit more Sigala. To me, he’s always associated with Big Happy Summer Tracks, and this doesn’t quite hit that mark for me.
Tim: Hmm, that’s fair – recently he’s betting getting a bit Galantis-y in his style, and you’re right that this isn’t quite as upbeat as you’d expect from that.
Tom: There’s nothing actually wrong with this; it’s a more-than-competent dance track, and I don’t think it’d empty the floor in a club. But it feels like it’s missing something: I expect a Sigala track to have an element of joy in there, and this just seems like… a regular song. Any ideas why?
Tim: No, actually. And particularly once you’ve got the titular heaven in the lyrics, maybe you’d be right in expecting something higher pitched, with less dark intensity to it. As it is…yeah, doesn’t quite feel right.
“Remember when Avicii largely ditched the electronic dance stuff and went all drum ‘n’ brass?”
Tim: Remember when Avicii largely ditched the electronic dance stuff and went all drum ‘n’ brass? Here’s Victor to continue the good work.
Tom: It took me a few seconds to realise that you said drum ‘n’ brass, there. You’re right: it’s very Avicii. There’s just something in the instrumentation and vocal techniques he uses.
