Eric Amarillo – Sambofet

“Leave the airhorn out of it.”

Tim: Mr Scott, I have two versions of this song for you. There is the radio edit, which comes comes with some lovely strings and a triumphant fanfare, or the club edit, which has an airhorn and wonderful chiming bells. Which would you like?

Tom: Well, I’ll put the radio edit in – it’s got the chiming bells too – but the club edit is here, if our reader prefers.

Tim: Music: lovely, because it’s all about that chorus, with the one word repeated heavily so that we all know what the song’s about (sort of – see below), but it’s the music behind it that really plays a blinder here, and it works well in both versions. Whether it’s the bells, or the strings and the fanfare, it always sounds wonderful (though I could happily leave the airhorn out of it).

Tom: Why does this sound like a discount version of the Killers to me?

Tim: I don’t know, because it doesn’t at all to me.

Tom: I’m not sure why – I think it’s the choice of instrumentation and the vaguely anthemic sound. I don’t mean that to seem like an insult: it’s just that the Killers do this thing so well that it’s hard not to sound a bit like an own-brand knockoff. It’s still a pretty damn good track.

Tim: As for the words and meaning, since you were a bit snarky last week about my not doing lyric research, I checked these out with Google Translate and everything, although there’s a slight issue (just slight) in that Google doesn’t know what ‘sambofet’ itself means.

Tom: Ah, now that I can translate myself. “Sambo” is a term that means simply ‘living together but not married’ – there’s no simpler direct translation in English that doesn’t have some subtext attached to it. And “fet” is, well, “fat”. Translated literally, it’s the weight you put on when you’re in a relationship.

Tim: Well, that sounds about right, because the rest of it is along those lines – “sure, he’s fit and exercising and doing Thai boxing at the moment, but that’s because he’s young and single – just you wait until he’s older when he’ll be drinking beer, playing on his PlayStation and piling on the relationship fat”.

Tom: It’s basically a pledge from Eric to continue keeping fit until he has a heart attack, which is lovely. Not sure whether you could insert it into a pre-nup, though.

Tim: I’m sure someone in California has tried.

Tom: In short: music that’s wonderful and lyrics that are fun but not legally binding.

Eric Amarillo – 50kvm

“Is this the way to… oh. No. Sorry.”

Tom: Is this the way to… oh. No. Sorry.

Tim: Yeah, no. Last time he was synth-heavy and somewhat mushed-up (go with it). This time? Well, let’s find out.

Tom: Ooh, I do like that opening. That’s… well, am I being blasphemous if I say that opening is a bit Pet Shop Boys? I mean that as a compliment.

Tim: No, I don’t think so. This song certainly sounds more connected than the previous one – there’s a tune and a melody, and he’s singing with it properly. This is a good thing, and I like that. We see an interesting tactic when he decides not to bother with lyrics or words or anything and just goes with a somewhat generic ‘ha-a-aah-ahh-ah-ahh-uh-uhh-uh’ thingy, which does at least help with the whole language barrier thing.

Tom: It does change up properly for the middle-eight, although the return from it is a bit lacklustre. It seems to have a chorus that’s uplifting in tone, but delivered in a fairly calm way. Perhaps the lyrics could help?

Tim: Well, perhaps they could, but, I’m not entirely sure what this is about. Google helps out a bit, but completely falls down on the choruses, arguably the most important part. Apparently ‘kvm’ means ‘square meters’, but I have no idea if this is too much, or too little, or entirely unconnected to the guy’s feelings. Still, who care? It’s good music, so I’m happy.

Eric Amarillo – Om Sanningen Ska Fram

Sounds a bit weird.

Tim: This, to me, sounds a bit weird. It sounds to me very much like an existing dance track that some bloke’s decided to sing over, and almost like he’s written the lyrics without really knowing what the tune is. It might be less so if I knew what he singing, but it reminds me of when someone tries to sing the lyrics of one song to the tune of a different one – sort of, get the words in wherever they’ll fit and hope it all comes together in the end.

Tom: In deference to that, I’m going to be typing my part of this review while touch-typing and staring out of the window of the train I’m on, in the hope that any resulting typos will convey that kind of dissonance. One part of my brain will be trying to review the music: the other half will be watching the pretty Enlgish countryside roll by at 125mph.

Tim: Well, that’s clearly a good idea. But regarding the music, whether or not that actually was the case, fortunately the music and words do all come together in the end.

Tom: It takes a long time to get there though, doesn’ tit? And it goes all a bit ‘Tragedy’ by Steps half way thorugh, with the strange descending-chimes bells.

Tim: And that is something I have no problem with whatsoever – a triumph of the late ’90s, that was. Overall, I think we’re left with a rather excellent and danceable track, if only because it just doesn’t let up and so you never get an opportunity to stop dancing.

Tmo: True, although I think we’d have taht even if ti wasn’t for the lyrics.