Author: tom

Sigrid – Schedules

“Brash, rude and a rather messy video”

Tim: Brash, rude and a rather messy video: nope, it’s not a presidential news story from 18 months ago, it’s Sigrid’s latest track.

Tim: How often does it happen, Tom? Two people meet each other, but the timing’s not quite right. You’ve just found someone new, or been through a messy breakup, or given birth, or who knows? Sigrid doesn’t care, though, because when she and her new squeeze hit it off, they really hit it off.

Tom: I was expecting this to be a gripe about two people who are trying to have some sort of relationship, but their diaries mean they have to schedule everything a minimum of three weeks in advance. Maybe that’s just a London problem.

Tim: Like I said, it’s brash and it’s rude but it gets the point across, which plenty of nice wo-oahs going on to accompany it.

Tom: There are lot of things that should grate in here — the samples, the repetition, the whoops, and that middle eight. But somehow it doesn’t.

Tim: I don’t really know if I like this or not – I think I do, and I guess I’ve happily listened to it several times already, so that probably counts for something. Call it six out of ten.

Saturday Flashback: Alex Ross feat. Dakota, T-Pain – Dreams

“Oh, it’s that Dreams!”

Tim: Funny how coincidences happen: yesterday we discussed Jonas Blue kickstarting the tropical-covers-of-classic-pop trend, and yesterday afternoon I heard this for the first time in bloody ages.

Tom: Oh, it’s that Dreams! I thought it was going to be a Fleetwood Mac cover. Or a Cranberries cover.

Tim: In fact, probably the first time since it was a first released last March, actually, since who the hell jumps on a bandwagon six months after everyone else has stopped, launches a summer track in the middle of flipping March and then expects it to get played? Well, Alex Ross, apparently.

And credit where it’s due it’s not a terrible rendition of the song, at least given the questionable target it’s aiming for.

Tom: Interesting choice adding T-Pain in there, too; this didn’t need his middle eight, but I’ve got admit it actually improves what was originally a fairly dull song to cover. You’re right: this hits the target.

Tim: We may not approve of that target (nor, indeed, may anyone else in their right mind), but since FastCar came along it’s right there and ready to be hit. In fact, if I’m perfectly honest, if I were to remove my ‘tropical covers are unnecessary and frequently awful’ blinkers, I might even approve of it as a remix.

Tom: I think I’m with you there. I think I might actually like this?

Tim: Because it does sound nice and summery; it’s a listenable enough version of the track; it’s entirely inoffensive; and occasionally if it comes on in the background you’ll think “huh, this is quite nice”. At least, that’s what I did yesterday.

Helene Fischer – Flieger

Tim: Challenge for you: get even halfway through the song before giving into temptation and clapping your hands above your head.

Tim: You said on Friday that it’d be terrible if all songs were like this, but would it really though? Like, really?

Tom: Theodicy is the attempt to explain why, given the assumption that there is an omniscient, omnibenevolent God, there is still evil in the world. Many theologians and philosophers have dealt with it over the years, and one of the lesser-fronted arguments is the idea that evil exists to provide a contrast to good: that without the darkness, there cannot be light.

Tim: And it’s an argument that I’ve always despised, because I knew that a rare porterhouse steak was delicious years before they’d even invented Coke Zero Sugar Peach, but fine.

Tom: On those lines: if all music were like this, Tim, how would we appreciate it?

Tim: Simply this: I was out for Pride on Saturday and mate, the club I went to was LIT, with wall to wall bangers like this and every single person in there was absolutely loving it.

Tom: I’m genuinely sorry I missed it.

Tim: Now, clearly that is absolutely a crowd from which we can extrapolate to the entire global population, so I think the moral there is that actually all music should definitely be like this, and nobody would be unhappy. WHY DO YOU WANT PEOPLE TO BE UNHAPPY, TOM?

Tom: BECAUSE MAYBE THEN THEY WOULDN’T UNDERSTAND WHAT HAPPY EVEN WAS.

Tim: AND THAT IS WHY IT’S A TERRIBLE ARGUMENT and now we’re doing that American Chopper meme, good work everyone.

Zayn – Can’t Help Falling In Love

“Zayn can, quite frankly, do one.”

Tom: This is one of the most covered songs in history. It is a Standard. Elvis codified it. UB40 made it reggae-pop. A-Teens made it teen-pop, but perhaps that’s better forgotten. Ravers Choice rewrote the lyrics and turned it into a happy hardcore classic.

Tim: You know, I had a listen to the A-Teens cover so I could try to comedically defend it. But no, I really can’t. I will happily take that Ravers Choice version, though.

Tom: And Zayn…

Tom: Zayn can, quite frankly, do one.

Tim: Yeah – and I’m suddenly thinking quite favourably about A-Teens.

Michelle & Matthias Reim – Nicht verdient

“BANGER. Or, if we’re being honest, BANGER AND A HALF.”

Tim: Advance notice for our reader: tomorrow’s flashback is a PROPER TUNE and I was having trouble finding anything from the standard Scandinavian area that didn’t sound complete bobbins in comparison. So, I turned to Germany, and, well:

Tom: Ha! That is the most schlagery first verse I’ve heard in a while. Possibly since the last time we talked about Matthias Reim. And happily, the first verse led exactly where I expected.

Tim: BANGER. Or, if we’re being honest, BANGER AND A HALF, from two people who, despite the ambiguous crediting, aren’t actually siblings.

Tom: I know it’d be terrible if all songs were like this, Tim, but sometimes I can’t help feeling that pop music peaked with this genre.

Tim: It is a fantastic genre, isn’t it? Lyrics are basically that he/she doesn’t deserve you, so get with me because I totally do deserve you. I don’t *think* they’re singing at each other, because with that enthusiasm you’d think they’d hear each other, bin off their currents and mash their faces together.

Tom: Perhaps that growled “Baby komm zurück!” that leads out of the middle eight put her off a bit. Honestly, that nearly gets into Bloke From Aqua territory.

Tim: René, and I suppose that’s a possibility. Maybe they’re both singing at the same person, who’s simultaneously with two other people, with them trying to break up one threesome to form another? Or, and here’s a crazy thought, maybe some lyrics don’t really work as duets. Of course, all that only matters if you try to put way too much effort into analysing them, and who on Earth would possibly do that? Nope, let’s DANCE and DANCE and DANCE AGAIN. Because that, I think, is really the true message of this song.

M-22 feat. Medine – First Time

“Whether you like it comes down, largely, to whether or not you like that post-chorus vocal.”

Tim: First unveiled in Sweden six months ago, but only now getting some international traction, most likely due to its summery and rather coconutty vibe. Added to that: a music video. This one, in fact.

Tim: Not a hugely exciting video, perhaps, but it’s nice to see a fair bit of effort nonetheless.

Tom: I mean, it’s not a hugely exciting track, either, is it?

Tim: I’m fairly sure that whether you like it comes down, largely, to whether or not you like that post-chorus vocal.

Tom: I have a suspicion that this might be a grower: there are a lot of good elements in here, and by the end of a first listen I’d got over a couple of my initial objections.

I still think it’s a bit dull, but then by the time of the build back from the middle eight I’d started to like it. Still not convinced about that vocal, or the chorus, or any bit of it other than the production, though.

Tim: I’ve grown to like it quite a lot, but I’m not sure if that’s because I’ve heard it a lot, both on the radio and as scene-setting music in summery TV shows. It fits nicely, really – fairly gentle, fairly laid back, perfectly for lazing around in the sun and not doing much to.

Of course, it’ll probably be around for ages, and still be getting played four months from now when it’s pouring with rain and not even slightly appropriate, but for the next month or so at least, it’s good. Really good.

Wiktoria – Perfect Memory

“This had charmed me by the end of the introduction.”

Tim: Somehow, she’s still getting away with using Wonder Woman’s symbol as a logo; I’m not complaining, though, when the music’s this good.

Tom: Maybe I’m just in a really good mood or something, Tim, but this had charmed me by the end of the introduction.

Tim: Perfect memories are nice things when they come along, aren’t they? Probably aren’t many of them, but you look back every now and again, and you think, “yep, that time was good, and I would change nothing about it.”

I’ve got a few I can think of off the top of my head, and I’m fairly sure that if I had a voice that could even slightly hold a tune, and someone came along and said “I’ve written a song about them, fancy singing it?”, I’d be “hell yeah”, and I’d hope it could sound this great.

Tom: Each bit of this is individually… pleasant, I guess, is the word for it. At least until the first half of the middle eight, which doesn’t work for me, and actually, that “perfect memory” end to the chorus doesn’t work either. Augh. Okay, before I talk myself out of liking this, yes, it’ll do, it’s fun enough. Like you said, it sounds great.

Tim: I mean, it has to sound great, really, because that title’s a lot to live up to. But it does – it’s happy, it’s loud, it’s summery, and basically it’s a bloody brilliant pop song. Nice one.

Sannex – Faller

“Dansband Friday?” “Dansband Friday!”

Tim: Dansband Friday?

Tom: Dansband Friday! Seriously, it may not be cutting-edge pop, but when you send over something like this, it’s generally going to make me smile.

Tim: For a good week or so after it was released, this Swedish band’s song didn’t appear on YouTube; I gave it one last search yesterday and now it’s turned up! I put an exclamation mark there because, despite it starting out with a twanging banjo, it’s something to celebrate!


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Tom: I’m glad you warned me about the banjo. That managed my expectations nicely, so I was pleasantly surprised when the guitars kicked in. Sometimes uncomplicated, by-the-numbers music like this can just be… nice, y’know?

Tim: I’m not sure which way round it is, singer or recipient – tediously, the lyrics don’t seem to be online anywhere – but it’s talking about one of them falling for the other, which funnily enough is exactly what Wes said to Laura on Love Isla–

Tom: NO.

Tim: Ugh, fine, but just know that Cupid hates you. Whatever the case, it’s sounding very, very good: I hardly need to tell you what my favourite part is (and oh, it works so so well), but even without that it’s top stuff. The verse is consistently above average, the pre-chorus ends with a perfect lead in to an even better chorus, with a fabulous hook and all backed up by great instrumentation (particular incredibly specific highlight: the descending electric guitar bit at 1:44).

Tom: It is absolutely unchallenging, it’s pleasant to listen to, and sometimes that’s all I need.

Tim: I loved this the first time I heard it; I still love it now six weeks on.

Astræa – You’re Not Alone

“This doesn’t even slightly offend me.”

Tim: Astræa, Greek goddess of innocence, and stage name of a British singer who seems to have specialised in, erm, Lloyd’s Bank adverts. Here’s this, from the current one, and while I don’t normally have much time for John Lewis-ification of dance tracks, take a listen.

Tom: John Lewis-ification. You’re not wrong. I’m still frustrated that Calum Scott’s Dancing on my Own beat the original.

Tim: Ugh, please don’t remind me. I hope you’ll like this more.

Tim: I think it helps that the vocal in the original was already fairly understated, because rather pleasingly this doesn’t even slightly offend me.

Tom: You’re right: it almost feels like a remix (de-mix? unplugged?) rather than a cover version. This is reinterpreting a song done right. The string section helps, mind.

Tim: Right – when that beautiful, wonderful, lovely collection of violins explodes in for the chorus, the song reaches whole new heights, and I’m almost preferring it. Proof, as we suggested, that piano ballads can be absolutely fabulous, just as long as there’s a bit more than piano there. Which might ruin the name a bit, I don’t know. Either way, this is entirely delightful, and I adore it.

Aqua – Rookie

“You probably have several questions about Aqua releasing a new track.”

Tim: You probably have several questions about Aqua releasing a new track. The answer to every single one of those is, “YES, so listen to it.”

Tim: Most people think of Aqua, they think of the Aquarium album – Cartton Heores, Barbie Girl, Doctor Jones, that era. They don’t think of the early 2010s Megalomania era, and while it’s a shame, it’s unsurprising – Aqua were never fashionable as a standard pop group, only as purveyors of somewhat novelty singles, so no-one wanted to hear standard pop. Nonetheless, those standard songs were good, very much like this is.

Tom: It’s good, isn’t it? Better than it has any right to be.

Tim: We’ve a decent la-la-la-la-la hook, a nice combination of René’s and Lene’s vocals, which sound much better together than they really ought to, and a bit of rudeness thrown in for the grown-ups.

Tom: I’m not convinced by that la-la-la-la-la: opening a chorus with that always makes me think they’ve run out of ideas. And I’ll admit that first grunt from René surprised me: both vocalists have voices that it takes a while to get used to. But by the end of the track, yep, I was on board with this.

Tim: All in all, this is a great track, and a lot better a one than many groups come back with after a five-year break. No idea if there’s a new album coming out, but here’s hoping.