Tim: No, I’m not sure about that capitalisation either, but apparently this is right.
Tom: It’s like Apple decided to launch a pop star. Who is she?
Tim: She’s a new Swedish artist who is bringing us “blues and soul – all wrapped up in an edgy rock inspired sonic landscape”. Shall we have a listen?
Tim: Hmm. Not so sure about the blues or soul bit, as I’d just stick an electropop label on it, but the rock-inspired is hard to deny.
Tom: That’s true: I think that chugging bass chord progression is probably meant to filed under ‘blues’, but it’s a bit different from normal.
Tim: I feel we should have a thing – label or sticker or something – that we can slap on tracks that don’t really do anything on the first listen until the last chorus but then on subsequent listens suddenly become okay, because this is the second time this week, after The Fooo Conspiracy, where that’s been a thing.
Tom: The “Uptown Funk” Effect? Maybe that was just me.
Tim: No, that’s actually started growing on me as well. First time with this, though: ehh, that chorus is okay, I guess, but nothing much; middle eight and then came back with the final chorus and it seemed a whole level above it. I have no idea why, as sonically it’s identical, but somehow it seemed a whole lot more enjoyable, and I didn’t mind that it wasn’t just a reworded Anything Could Happen.
Tom: I wasn’t going to point that out.
Tim: Second, third, all the other times I’ll now hear it – it’s great. Why is that please Tom?
Tom: Mirror neurons getting used to new patterns. Sorry, I don’t know if you wanted an actual answer to that.
Tim: No, I did, thank you very much. Every day’s a school day.