Tim: Her (by which I mean Martina) off Dragonette does a good feature, doesn’t she? Aside the obvious Hello for Martin Solveig, she was also the vocalist on Galantis’s two tracks.
Tom: Wait, really? Oh! That makes so much sense. How did I not notice that voice?
Tim: And now this. (It’s only online as part of this mix, but it’s the first track, starts a minute in.)
Tom: And an advance warning: there’s a really obnoxious sputtering-noise ident at the start of this: headphone users, beware.
Tom: Oh, those vocals! You’re absolutely right: she does a Good Feature. But let’s talk about the music behind it: this is really good, from the calm sections during the chorus, to the acoustic guitar that gets added in, to the sheer amount of constant, well-produced electronica behind it. Although…
Tim: I think we’ve reached the same the point – let’s get straight to that there elephant in the room, or rather the cow in the room that inexplicably makes itself known on a couple of occasions. I don’t know what it’s doing there, I’d be surprised if anybody does really, unless it’s some sort of subliminal advertising for Swedish beef, but there you go.
Tom: Yes, it’s an odd one, isn’t it? But given how strong the pure instrumental sections are, I’m not going to complain.
Tim: Absolutely not. And I’m going to be honest: I know nothing about most of the people behind this track – both Dada and Paul Harris are ungooglable, being primarily known respectively an art movement and a 1970s musician. Still, it’s a decent track, enjoyable enough, and I’ll never turn down some more Dragonette.