Tim: I’m not going to lie to you, Tom – there are some very interesting instrumental choices in this upcoming song.
Tom: You’re not wrong there, but oddly I think it might… work?
Tim: You think? Because, is that just the sound of girders being whacked together? Or maybe something smaller – “Hey mate, synthesiser’s gone wrong, I was gonna call a plumber to get get some copper pipes, any other suggestions?” It’s utterly bizarre.
Tom: The actual melody instruments seem to have some odd cameos in there too: there’s what sounds like a brief appearance from an upright bar room piano at about 1:33, which is back and distorted in the middle eight. Against the odds, I find it charming, but there is so much going on that it feels overloaded — coming out of the middle eight into that cleaner pre-chorus felt like a breath of fresh air.
Tim: Yeah, you’re not wrong – there’s so much in there that it does become almost distracting after a while, and I really just want to hear her sing.
Tom: It’s a surprising choice given the stripped-down, bare production that’s in fashion right now. But when I normally turn away at overproduced wall-of-sound stuff… for some reason, I liked this.
Tim: The rest of the song’s okay – no Body Talk, as YouTube keeps reminding me with its tedious autoplay function, but perfectly good as far as Foxes goes – except now I’m hearing that particular noise it’s just such a distraction. Why? WHY? WHYYYYYYY?????
Tom: Maybe it’s a Bob Blackman reference.
Tim: Ermm, yeah. Maybe.