Saturday Flashback: Gregorian – A Spaceman Came Travelling

“You remember Gregorian.”

Tim: You remember Gregorian – they’re from Germany, and typically do covers of songs in a medieval chanting style.

Tom: For once, I actually do remember them. They… left an impression.

Tim: You’ll be ASTOUNDED to hear that they’ve made a Christmas album, cunningly entitled Christmas Chants. It’s hard to pick a stand-out track, largely because most of them are tedious and forgettable.

Tom: Like almost all Christmas songs. And almost all novelty Gregorian chant covers.

Tim: Cynical, but very true. However, there are a couple of gems on there. Try this.

Tim: It’s safe to say this has always been a somewhat ridiculous (albeit excellent) track, what with the whole reimagining of Jesus being from space, and the idea that something weird like God aliens impregnating a woman does indeed happen every couple of thousand years (genuinely, it came from a poem and everything).

Tom: I think my main complaint about this track is the phrase “light years of time”. Light years are a distance, damn it.

Tim: Top marks for pedantry. Reimagining the song as a Gregorian chant (which it definitely is and I won’t have you convince me any other way) doesn’t really do anything to change the ridiculousness – in fact, the ah-ah-ah-ah-etc almost sounds more suited here than with Chris de Burgh’s original, which basically amounts to yelling.

Tom: If you ignore the lyrics, it almost sounds like a genuine religious chant. I’ll give them that. But aside from that: just no.

Tim: Either way, though, guess we need to start preparing for those aliens.

Cruz Beckham – If Everyday Was Christmas

“It’s all downhill from there.”

Tim: I finished off yesterday’s post with “nice work, everyone”. SPOILER ALERT: I won’t be saying that today.

Tom: The first few seconds are promising. And then there’s those autotuned “ooohs”. And it’s all downhill from there.

Tim: Now, I have no problem with people getting a leg up from famous parents – the world is a better place for having Wrecking Ball in it, for example – but, there has to be some notable talent there to begin with. This? This just sounds like he’s said “Dad, Brooklyn got to hang out with The Vamps, why I can’t do stuff like that?” and David said “oh, we’ve got loads of cash, hire a recording studio.”

Tom: I have a feeling that a few more managers and agents were involved than that, but yes, that’s not an unlikely story.

Tim: The output is bland, the lyrics are stupid (think about what Christmas every day would actually be like), and…

Tom: I mean, that didn’t stop Wizzard, and there have been enough hackneyed comedy routines about that already. You’re right that it’s bland — but that’s not stopped lots of other songs before. And while I agree that, overall, this is not a particularly good song, I will admit to actually liking the first three lines of the chorus.

Tim: Hmm…

Tom: I can’t believe I’m defending any of this song, but seriously: those three lines are really nice.

Tim: Well, I suppose technically you’re right, but I can’t help thinking, with the line ending “…with you”, that the song was written for someone else, maybe someone who’s not so young they’ve never been around for a decent Spider-Man film – and that someone else may well have done a more listenable recording of it.

To be honest, I can’t really think of any reason this version of this song exists other than to make one single toddler happy. And surely, that’s not why we should have music.

Matt Terry – When Christmas Comes Around

“Hmm, bit damp.”

Tim: Halfway through December, we’ve finally got a new Christmas track worth looking at! Matt won X Factor at the weekend, and became the first winner since Shane Ward back in 2005 to have an original single to release, in this case written by, and sounding like it was written by, Ed Sheeran.

Tom: That was so promising until those last two words.

Tim: So I caught up on the final, and my first thought when he started singing was “hmm, bit damp”.

Tom: You’re not wrong.

Tim: The drop into the chorus, for a start, is nowhere near what I wanted – so I picked my iPad up and started scrolling through Twitter and the like, and a minute or so later I realised that actually, I quite liked it.

Tom: It’s got that typical Ed Sheeran cadence in it that I’ve just taken against: lots of quickfire rhymes with a really simple rhythm all within one line. Lin-Manuel Miranda can pull that off. Ed Sheeran… well, it doesn’t seem to work quite so well.

Tim: It’s no big Christmas banger, obviously, but it’s not designed to be – it’s a have on in the background when you’re chatting around the table after a Christmas meal type song. And for that, I actually really like it.

Tom: I’m just not sold. 2000 Miles fits that description. Stay Another Day fits that description. This is neither of those songs. Actually, those are both songs written for people who’d died, so maybe that’s what this song is missing: death.

Tim: You know, I’m really not sure about that being a Christmas message I want in general. Instead, I’ll good with my view: nice work, everyone.

ZABO feat. Mery Granados – Vida Nueva

“I know its not even a good tune, but I find it unacceptably catchy.”

Tim: ZABO is from Argentina, but this has been sent in by our reader Gian, who says “I know its not even a good tune, but I find it unacceptably catchy.” Certainly an intriguing intro, so…

Tim: Well. First off, I can’t remotely be bothered to type all those lyrics into Google Translate, although I do know the title translates to ‘New Life’.

Tom: Full marks to them that actually hooking up a smart phone to a screen recorder for the video. I don’t think the minutes of introduction were required, but it’s an approach I’ve not seen before. And opening up Tinder, only to get a phone call from the person they’re (presumably) just dumped, is a really good ending.

Tim: Gian expects us to disagree about the catchiness, what with us not speaking Spanish, but I’ve got to say: it’s still catchy. Not necessarily in a good way, because he’s right about it not really being a good tune, but it’s certainly a song that’s got stuck in my head.

Tom: Agreed: it’s the first one you sent me this week where I’ve gone “I like this”. And I think that’s mostly because it’s a really simple pop song; there doesn’t seem to be much in the way of complexity there, but you know what? Sometimes there doesn’t have to be.

Tim: Fair point. I’m not remotely a fan of the verses – don’t think I would be even if I did speak Spanish – but that chorus actually is really enjoyable. I’d probably, in fact, be happy with the whole song if she was singing throughout.

Tom: You know it reminds me of? “Wasn’t My Fault“, which I loved. Similar instrumentation, similar melody, similar message.

Tim: So not all bad, then.

Måns Zelmerlöw – Primal

“I can’t imagine why that wasn’t one of the first tracks off the album.”

Tim: Yes, another one from Måns, just a few weeks after his last. It’s one he’s been performing live for a while, if YouTube recordings are anything to go by, but it’s only now out properly, as a track on his Chameleon album.

Tim: I’ll be honest: I can’t imagine why that wasn’t one of the first tracks off the album, or even the first – it’s light years ahead of Hanging On To Nothing, the vastly inferior lead single which you weren’t around for.

Tom: It is, but it starts very darkly. That’s one of the least promising introductions I’ve heard in a while: the synths sound like they’re from a year ago, the melody isn’t inspiring, and it’s a slow build.

Tim: Well, not much of that couldn’t be said about Heroes – it held up there, and I think it does here just as well (except for those vocal synths sounding like seagulls, but never mind those).

Tom: Yes, the first chorus almost redeems it, but I’m really not into it as much as you seem to be.

Tim: I was going through last Friday’s new music playlist, and this was the only one I wanted to replay immediately. It’s the first track I’ve heard off him since Heroes that’s made me go “oh, YES”.

Tom: Really? Even “Fire in the Rain”, which even now I’m still listening to occasionally? This just isn’t as good as that.

Tim: That was a very good tune, yes, but this just has everything – the instrumental, the perfect vocal and its fantastic melody in the chorus. I don’t often say this, but I don’t think I can fault this. Not at all.

Tegan & Sara – Dying To Know

“The beginning of it almost put me off”

Tim: This has been suggested to us twice, both times anonymously (not sure what to make of that), with one describing it as “Miami Vice with Puppets”. Intrigued?

Tim: And it’s an interesting video, certainly, and not a bad song to boot.

Tom: That cyan and hot pink 80s style is really in vogue right now, and I’m not sure it ever was during the actual 80s.

Tim: Well musically it’s certainly different from back then. The beginning of it almost put me off, and I’m still not keen on the instrumentation underneath the verses, but I’m glad I stuck with it because that chorus is really very enjoyable indeed.

Tom: I agree with you, apart from the bit where you say how enjoyable the chorus is. Which, when I look back on it, means I don’t really like the song at all. Ah.

Tim: Hmm.

Tom: One of the troubles with this format we’ve got, Tim, is that “growers” don’t get a fair shot. This might be a grower: but I’m not going to hit replay to find out.

Tim: Bit of a shame, because I really do like that chorus. I don’t really know what they’re going for with the video, to be honest, or how it fits in with anything else about the song at all, but why complain? Songs are mostly for listening to, and I’m mostly happy doing that.

Saturday Flashback: Paul Holt – Fifty Grand For Christmas

“It works better as a Christmas song than as a novelty song.”

Tim: It’s the X Factor final tonight! So let’s celebrate with this. I’d fill you in on the backstory, but Paul, a contestant on the first series who didn’t get further than his first audition, is happy to fill you in himself.

Tim: Believe it or not, it never actually got to number one, peaking at the disappointing for Paul, but not remotely surprising for anybody else, position of 35.

Tom: Believe it or not, I actually smiled. I didn’t expect that. For the first verse and chorus.

Tim: I’m to glad to hear that, and I reckon I can guess your reasoning: weirdly, it works better as a Christmas song than as the novelty song it was designed to be. Christmas-wise, it sounds exactly right to fit on a compilation between Wizzard and Elton John without causing offence – but as a novelty? It falls into the trap that so many do, which is not knowing when to stop.

Tom: You are exactly right. This is a brilliant one-minute sketch. It’s the sort of thing that should have gone over the end of an episode of TV Burp, or something like that. The retro-Christmas-music pastiche is perfect, his voice is actually pretty reasonable, and even the lingerie-elves are forgivable as taking the mickey out of the past, rather than actually revelling in it.

But then he just keeps going. And it’s the same joke. For more than three minutes.

Tim: Ironically, then, this could have been a mildly decent performing single – they just needed sensible lyrics.

Born Stranger – Be Someone

“How about something to make you get up and about?”

Tim: End of the week, how about something to make you get up and about this weekend?

Tom: Methylphenidate? No? Okay.

Tim: Got this for you, from a duo consisting of David (on vocals) and Raife (on electronic bits).

Tim: In their words, this is “a wake up call; a realisation, a message to say ‘you’re better than this, get out there and do it'”, and I’ll take that. My initial thought was that that first drop was a bit weak, but then the main one came along and all was right with the world.

Tom: Agreed: not sure about those bass synths in the chorus, but everything else about it is good.

Tim: Beat was there, strong vocals (particularly the lengthy drawn out ones over the chorus, and its always nice to have a guy hit the high notes), and, yeah – a strong message.

Tom: That’s a very British indie singer voice, too, and it’s interesting to hear that over the top of something electronic rather than just guitars.

Tim: Yeah – not a million miles away from him off Bastille, really. I like this a lot.

Otto Knows – Not Alone

“We’ve got another ah-ah-ah-ah-ah going on.”

Tim: You remember Otto, or at least you’ll remember his work – Million Voices, that eh-eh-eh-eh-eh ah-ah-ah-ah-ah that was around for most of 2012. Earlier this year he had a hand in Dying For You, successful in Sweden. And here’s another!

Tim: Well, we’ve got another ah-ah-ah-ah-ah going on, but I don’t know if I want to criticise it for that because (a) it’s entirely different and (b) the rest is very good – the vocal chorus in particular is great, with the “it’s a long long way” section having a lovely melody.

Tom: It does, and it’s a melody that I’m sure I’m certain I’ve heard before, but I’m damned if I can remember where.

Tim: I had the exact same feeling, but can also not place it, so never mind. Second verse is good, building on the groundwork the first one did but beefed up a little, and quite where that middle eight came from I’ve no idea, but I do like.

Tom: Yes! This track seems… inoffensive. There’s nothing that particularly stands out for me, apart from that joyous exit from the middle eight, but there’s also nothing wrong with it.

Tim: Well, I could criticise the track by suggesting the first chorus is probably twice as long as it needs to be, because it does get a bit tiring by the end – on the other hand, I’ve no issues with this at all. Nice one.

Sigala & Digital Farm Animals – Only One

“Strong echoes of Galantis”

Tim: Brilliant fact I’ve just discovered: Sigala comes from my wonderful hometown of Norwich (strapline: A Fine City). But anyway, I’d like you to push play on this lyric video, and then close your eyes so you can’t read the words. Just for the first fifteen seconds or so.

Tom: Your garlic sea?

Tim: Actually, I was more wondering exactly where that ultra light beam was staring, but if you don’t hear it then I won’t spoil it for you. But misheard lyrics aside, this is very good, not least because it has strong echoes of Galantis lurking around in there.

Tom: About thirty second in, I forgot this wasn’t Galantis. It feels very much like their style — albeit with a lot of Sigala’s synth patches applied to it.

Tim: In fact, that’s the main reason I like it so much – we’re into the time of the year where we can look back, and I can safely say that Love On Me is at least top five of 2016 for me.

Tom: Mm, that’s not unreasonable. There is a minor trend for these sort of happy, fun tracks, and I’m on board with it.

Tim: Right – this brings out some of the same emotions and feelings, and with very similar instrumentation it’s not hard to see why. But I don’t care that it’s markedly similar – all I want to do is enjoy the song, and I very much do.