Tim: I woke up to this last Thursday, and I thought it was great so I scribbled it down to listen to later. Then I remembered that I did the same thing with the latest JLS song, and realised I might be letting myself in for a fall. And then I listened to it and found there was nothing to worry about whatsoever. (But feel free to skip the first 30 seconds, and everything after 3:30.)
Tim: Piano dance has been huge this year – occasionally overly so – but it’s rarely been done this well. So often it’s seemed like producers thought, “Hey, that’s a decent synth line, let’s put a piano on it because everyone else is doing that,” but here it seems different – more like the piano has set the way and then everything else has been built around it. It’s a lovely melody that we hear on its own to start with, and then the pounding stuff happens, but then when the vocal comes in you realise “oh, so that’s what they were doing”, and I like that a lot.
Tom: It’s not entirely led by the piano either, which helps.
Tim: True – they’re not afraid to drop that a bit and let the synths carry the weight. But since I think I’m in danger of romanticising this a bit too much and becoming overly eloquent, I’ll move to say that the heavy pounding stuff on it is RIGHT GOOD and BANGING and AMAZING.
Tom: Can’t disagree with that.
Tim: The nerdy part of me also appreciates that it’s set at 128bpm, because it means if part of it ever does get boring we can relax in the knowledge that at every thirty second mark precisely something different will come along.*
Tom: Ha! You’re right – that’s exactly on the 30 second mark, each time. It’s as if they were writing music for schools TV.