Tim: Funnily enough, just as I started writing this it got sent to us by our reader, who described it as “very Robyn-esque”; not sure I entirely see the resemblance, although maybe if Robyn actually PUT OUT ANY PROPER MUSIC AT SOME POINT GET ON WITH IT PLEASE then it might be.
Tom: Specifically, that introduction verse sounds a bit like the chorus of Dancing On My Own.
Tim: Absent any new Robyn stuff, though, it’s still very enjoyable – elements of a whole lot of good things, such as a toned down Icona Pop and a very on point Ellie Goulding, and really just a whole lot of good Lorde.
Tom: I see what you did there. You’re right, though: she’s got a unique voice that means she couldn’t be replaced by just another session singer, and while the production stays in comfortable territory, that’s not really a problem.
Tim: Great vocals, great chorus, great everything, really. Great track.
Tim: You may or may not remember Perfect Day, the Lou Reed cover that the BBC put together back in 1997 that had just about every artist in the world in it.
Tom: Remember it? I think it was the first single I bought. Charity and all.
Tim: Well, they’ve gone and done something similar with this Beach Boys track seventeen years later. This got broadcast on every channel and station last night (except Radio 3, who were busy playing Brahms) both to promote the new BBC Music thing and to raise money for Comic Relief. Shall we?
Tim: Hmm.
Tom: “Hmm” is right.
Tim: Well, I think the first question we should all be asking is what on Earth is going on with Louis and Niall’s hair –
Tom: I was going to mention that.
Tim: – but musically I’m going to say…ehhh. It’s a track, certainly, and it’s musical, for the most part it’s very enjoyable.
Tom: But it’s not Perfect Day. Am I looking back with rose-tinted spectacles? Possibly, but I can remember being absolutely blown away by Perfect Day when it first appeared on TV — here, they seem to be dazzling with ridiculous CGI rather than just good music.
Tim: The only criticism I have is that I’m really not sure the orchestral/chorus break sounds right. I get that they want to indicate that it’s about all types of music, but I think if you want to do that, make it longer.
Tom: Right! Yes! Perfect Day is busy, but it never approaches anywhere near “cacophony”. There’s not room enough to breathe in here. The instrumental break of Perfect Day was one very good solo: here, we’ve got loads of instruments and vocalists, and each one gets a pause to itself. And Brian May crowbars his trademark guitar sound in. It doesn’t work.
Tim: I’m usually the first to complain that a track’s too long, but you’re barely pushing two and a half minutes there, and I don’t think anyone’d begrudge you an extra minute to fit it together better.
Tom: Also, let’s be clear about that video: Brian Wilson has the haunted look of someone who has no idea what’s going on.
Tim: Still, gets the point across, and it’s good enough to listen to. Makes the right point about how important music is to them, and at a time when people are having a go at the BBC right, right and further right, it’s nice to have them showing off what they can do. And beg for our support, which I suppose is a more cynical and probably unfair way of looking at the lyrics. So I’ll close by saying: great idea, not quite so great execution, but good enough for me.
Tim: That is indeed what it’s called, yes. The friend who introduced me to this song told me Lorde was French; she’s not, she’s from New Zealand, but let’s have it anyway because it’s nice.
http://www.youtube.com/watch?v=Pe4BSUjqLxs
Tim: Well, fairly nice.
Tom: She sounds like… well, a lot of this decade’s female singers. That’s not a bad thing, it’s just that a lot of people are going to think she’s someone else. It’s a bit slow and dark for me, but I can see the appeal.
Tim: It doesn’t really go anywhere, but it doesn’t really need to, I don’t think, because that chorus is really rather good.
Tom: Pity about that “yeah” sample; it stands out like a sore thumb to me, even through all the synths.
Tim: Really? I dont have a problem with it.
The verses don’t have much to them – the rhythm of the vocal in their second halves is good, though, moving along quickly contrasting with the slowness and near non-existence of what’s underneath – but that really just serves to say “pay attention to the chorus”. And that’s good – the lyrical momentum is kept up nicely, the instrumentation builds up a big and we’re given a chorus that just kind of works, even if there is a sudden disjoint between the end of the loud chorus and the beginning of the teeny tiny verse. I like it.
Tom: And I don’t mind it. Between us, that’s practically an endorsement.
