Martin Garrix – Together

“I really wish I could jump around and dance to this.”

Tim: Tom, my neck still hurts from when I went trampolining over the weekend, and that annoys me.

Tom: You did land face first.

Tim: Well, let’s chalk it up to lessons for life: don’t attempt a somersault unless you’re confident you won’t injure your head and face and neck. Anyway, we’re getting distracted. Thing is, I really wish I could jump around and dance to this.

Tim: Swedish House Mafia style music has dropped away recently, which is very much a shame, because I’d take this over That Genre any day.

Tom: The thing is, it’s almost exactly the same. Dial down the intensity a bit, change the synth pads, and suddenly there are coconuts everywhere. And yet, now tropical house is so overplayed, this sounds like a breath of fresh air.

Tim: You could make that argument for a lot of things – subgenres are always closely related, and it’s the finesse (in this case, toned down beats and steel drum synths) that make tropical what it is. Here, that’s all gone, and as far as I’m concerned it’s better for it.

I could mention a criticism or two – structure’s odd, with it being split into two identical halves meaning it’s over far soon that it feels it ought to be, even if it has played out long enough, and the gap between the two halves is just long enough to be uncomfortably disconcerting.

Tom: Yes, that’s true: I do wonder if the requirement to have everything at or around 3-5 minutes sometimes stifles creativity. Chuck this in at two minutes in the middle of a set, and it’d be fine.

Tim: Other than that, though, this is great. I don’t know if I’m saying that just because it’s fresh and new, but I’ve missed dance music like this being released. And I love having it around.

Rebecca & Fiona – Shotgun

“It has everything.”

Tim: The new one of this reliable duo is, I’m pleased to inform you, more or less exactly what I was hoping for when I first pressed play on the new Icona Pop track.

Tom: I wasn’t sold on it until the pre-chorus: then I think my brain figured out what it was trying to do, and it clicked into place.

Tim: It has everything: loud but still melodic vocals, with the occasional bout of mild sincerity, planted gracefully on top of a hefty electro synth backing. I really like this a lot. I don’t, annoyingly, have much more to say about it – there are no spectacular moments, but also no obvious disappointing parts.

Tom: As with so many tracks we see, Tim, it’s… it’s okay. It’s not a bright moment of genius, but it’ll do.

Tim: All I have to say is: Icona Pop, move over. We’ve got another duo to take your place.

Saturday Flashback: Dan Black – Symphonies

“England had just drawn with the USA in the 2010 World Cup.”

Tim: When we looked at Ida LaFontaine’s track this week, you pointed out that the backing beat of Umbrella was a standard GarageBand loop. I remembered a bit later that I actually knew that, because I noticed it when this sublime piece of work appeared.

Tom: Oh good heavens, that is the Umbrella beat, isn’t it? No-one else can use it for anything else now. That said: good choir sounds, good strings; maybe a little downbeat but it’s a nice track.

Tim: And that’s been one of my favourite tracks for quite a long time, largely because of the exact moment it reminds me of – England had just drawn with the USA in the 2010 World Cup.

Tom: That is a very specific memory. It’s not like it was a big moment.

Tim: No, but I’d been watching it in a bar with a bunch of other British folk I worked with (in a Canadian call centre), and it was a fairly dull match so after that we grabbed a load of beer and a variety of savoury snacks and spent a lovely afternoon on a very sunny and warm beach, with music like this playing. Good times.

Tom: I’ve got tracks like that: I’m fond of them because of what’s associated with them, not because of the track itself.

Tim: Great times, in fact, and that’s why I love this track.

Icona Pop – Brightside

“Cutting back on the usual just to blend in? No thanks.”

Tom: That’s a bold title. “Brightside” as one word belongs to the Killers, surely? What’ve they done?

Tim: Well, here’s their recipe: take your typical Icona Pop track, realise any shoutiness needs to be toned down a bit to fit on the palm tree bandwagon, throw in a quick tropical post-chorus. Stir well, allow to settle until way after the party season’s over, because seriously, how is this still a thing, and press play to experience.

Tim: And I’m not happy, Tom. I mean, it’s not a bad track, but it’s not a great Icona Pop track, is it?

Tom: I guess not, but as someone who never really liked Icona Pop’s overly-shouty style, I think it might be better for it. Not that the half-assed coconuts they’ve added really help.

Tim: I don’t know how much of the toning down the shoutiness I mentioned above was something that went through their heads when they were writing it, but if it was that’s a big disappointment, because I’m properly bored now of bands jacking in their usual style just so they’ll fit on some bland Tropical Beats playlist and get all the streaming money when people put it on an a party because it’s got a couple of their current favourites on it.

Tom: That’s harsh, but not unwarranted. I doubt that’s the conscious motivation, but yep: this seems very much ‘chuck in what’s popular right now’.

Tim: I hear the words ‘Icona Pop’, I want either their usual or heading out it a new direction. Cutting back on the usual just to blend in? No thanks. Really, no.

Robin Veela feat. Kazi – People

“Yep, it’s the Other Synth Patch of 2016.”

Tim: This has lyrics about it being the weekend, and it’s quite the banger on top, so normally I’d wait for tomorrow; unfortunately it’s not quite tropical enough, and in any case I have a particular rant saved up for tomorrow.

Tom: Mm. It’s a bit generic, isn’t it?

Tim: A bit, yes – we certainly have the slight tropical beat under the vocal, but it doesn’t go full on coconuts in the chorus like I was expecting it to. Instead we have the other overused dance effect that’s hanging around at the moment, which is one that annoys me because I don’t actually know what it is – I think it’s just a distorted vocal?

Tom: Ah, the “Sia effect”. Yep, it’s the Other Synth Patch of 2016. I wonder if people will be using this in thirty years’ time to make “retro 2010s music”?

Tim: In any case, it’s a sound I’ve at least got used to, and I think can dance to. Well, might dance to. Or, quite possibly, realise I need another drink. I don’t know. Dance track, just about verging on acceptability.

Tom: Are you… are you OK?

Tim: I…think I’m just really tired. I’m going to bed now, I’ll see you tomorrow.

Robbie Williams – Love My Life

Tom: It’s time to follow the pattern of Robbie singles! Bash out the weird one to get attention first, follow it up with a regular affirming ballad that’ll play on Radio 2. Bodies, then You Know Me; Candy, then Different. Party Like A Russian, then…

Tom: Yep. Boxes ticked.

Tim: Boxes ticked indeed, and that’s a song I want to sing to my parents every time they tell me I should get a better job.

Tom: Of course, they’re very good boxes, and this’ll deserve its inevitable playlisting on Heart. That said: could that chorus not get kicked up another notch or two?

Tim: Ooh, I don’t know, it’s bigger than I thought it’d be in the lead up to it. You really want more from it?

Tom: It’s a tough balance to get: add more distance between the verse and chorus, and you could find yourself losing the listeners during the quieter parts. But here, his voice seems a bit buried in the mix.

Tim: Hmm, possibly – but those two combined are an argument for tonight down the instruments, so I’d avoid that. It’s interesting that he switches the reassuring vocals from second person in the verses to first person in the chorus; yes there’s the initial “you’ll say to me” so narratively it makes sense, but it’s still a tad jarring. Mind you, it’s the chorus that people will remember and sing. Well, if it hangs around, anyway.

Tom: Lose those weird ethereal synths, give the vocals a boost, add… I don’t know, maybe a brass section for the final chorus? It’s close, it’s just not a classic.

Tim: Well, I’d never turn down a brass section, but I think it works as it is, particularly when he jumps up an octave in that last chorus. That bit’s lovely.

Ida LaFontaine – Cold

“It’s certainly not a miss, although I’m not sure it’s a hit either.”

Tim: Quick note in advance: I’m fairly sure you’ll like the audio here, but be prepared that the video comes with some proper Hollyoaks-level drama, so you might want to make sure your emotions are in check first.

Tim: There are some singers you know you can rely on, that you’re almost certain won’t bring out a duff track. Until yesterday, Ida was four for four here, and I’m happy to make that five for five.

Tom: It’s certainly not a miss, although I’m not sure it’s a hit either.

Tim: Well, there are negative points: the beat underneath the verses, for example is largely uninspiring, and so reminiscent of Umbrella that I can’t quite work out if it’s a sample or a loop that’s just far enough away not to get sued.

Tom: Fact: that loop from Umbrella is actually a stock loop from Apple GarageBand. The synths they’ve used here don’t help the comparison though.

Tim: There’s also the utter pointlessness of texting someone to tell them you’ve got a new number but not say who you are.

Tom: I couldn’t work out if you were using “Hollyoaks-level” as a compliment earlier, but now I know.

Tim: On the other hand: I love that chorus, I really really do. It’s fantastic, and I will SLAY anyone who says otherwise.

Tom: I’m… I’m not sure how you’re using that word, but okay.

Tim: I also love that middle eight (despite it not finishing with a key change, as anyone sensible knows that it should). In all, those vocals, those choruses and that middle eight more than – vastly more than – make up for any shortcomings. It’s great.

Dolly Style – Young & Restless

Tim: I’ve lost track of who plays the part of which Dolly (Molly, Polly and Holly, you’ll recall), because they seem to have a higher turnaround time than the Sugababes. Nonetheless, here’s their new one, with a message that’s very à la mode (a prominent line in the pre-chorus being very much so, and it’s the Tinie Tempah one you’re thinking of).

Tim: And that there is pop music, owing a lot to Katy Perry, and others.

Tom: Particularly in the vocals in that first chorus: the vocal quality is really similar. The track’s less bubblegum-pop than they’ve done before, as well.

Tim: But all on its own it is pure, unadulterated pop. It is not ashamed to be that, rightly: it is well aware that pop music is frequently looked down upon, but also that those who do look down just have a colossal lack of a sense of fun.

I’d call this textbook, but it’s not. This is to textbook what the 20 volume Oxford English Dictionary is to that Chambers Pocket thing lurking in a school rucksack.

Tom: There’s a reference from twenty years ago, Tim. Sorry, you were on a metaphor.

Tim: It takes what’s in the textbook, explores it in vast amounts of detail, and then takes in so much more. We’ve discussed previously the idea of ‘perfect pop’ – tracks that go alongside What Makes You Beautiful, Lovekiller and Exclusive Love on a pedestal of greatness – and my God, it’s a shame that these girls aren’t well known outside Sweden. Because damn, this track wouldn’t be too far out of place.

Saturday Flashback: Jonas Blue feat. Dakota – Fast Car

“It took me a while to get used to it.”

Tim: Yesterday’s song reminded me of this track, and I ummed and ahhed a lot about whether to link to Tracy Chapman’s original or this cover; in the end though, it was Friday, so it had to be tropical.

Tim: And yes, I’m well aware that many people think of this in the same way sensible people think about Calum Scott’s version of Dancing On My Own – namely, that anyone who even considers playing it should be hung, drawn and quartered. I, though, disagree.

Tom: It’s changing the emotion, sure, but at least it’s not changing it to Mopey Bloke With A Guitar.

Tim: It’s arguably a not too distant predecessor of the covers of Never Gonna Give You Up and Africa, and for me this is very much on the Africa side of the spectrum, in that I like it. It took me a while to get used to it, mainly because the original was forcibly drummed into my head several times a day on a family holiday in France when it was my sister’s favourite.

Tom: There’s a long history of remixes and covers changing the mood: on a first or second listen, that synth does seem to get in the way rather a lot. It’s loud, it’s reedy, and it’s not entirely pleasant.

Tim: Ah, but after a while, though: it’s good. It has the similar melancholiness to it, but a contrasting beat underneath which helps distract from the incredibly depressing lyrics. And that’s always helpful.

The Veronicas – On Your Side

“And now someone’s given them some tropical synth pads.”

Tom: You mentioned this last week, but I thought we should cover this — because it’s a band we’ve talked about before, and one that’s been going for twelve years.

Tom: And now someone’s given them some tropical synth pads.

Here’s what I’ve noticed about songs like this, where an otherwise-mainstream artist has suddenly hooked into this style a bit too late: they never write a decent chorus with it.

Tim: Hmm…maybe.

Tom: It’s almost like they write the synth melody, figure that it’ll do, and then someone insists they put some vocals in the chorus too: so they sort of mumble something in the background. A pop track doesn’t have to be singalong, of course, but it rarely hurts. In this case, all you’ve got is a few notes of a hook. It’s not a bad hook, as these things go, but it’s not all that catchy.

Tim: I don’t know; you’re certainly right that there’s no shortage of tracks where it seems the composer’s written a dance song and only afterwards remembered that pop tracks are meant to have vocal choruses. Here, though, I think it’s slotted in okay. It’d work just as well if the vocal cut off after “Even if you believe it”, but I think it works as is. Catchiness, I’ll agree with you – the only part that stays in my head “Life isn’t pretty…”, and that’s only really because it comes straight from Fast Car.

Tom: Even at under three minutes, this feels like it outstays its welcome a bit.

Tim: And there I definitely disagree. Whatever you may think of the vocal, the instrumental part of the chorus is a lovely melody. I think I recognise that from somewhere as well, but I don’t mind. It’s great.