Tim: Remember 2016’s theme of Tropical Fridays? Well, it’s obviously too early to suggest they might be making a comeback, but for now, let’s BREAK OUT THE PINEAPPLES.
Tim: It’d be a good start, no?
Tom: It’s not bad! That “loyalities, insecurities and priorities” line stands out as being a really well crafted lyric: I don’t know the rhythm terms to explain what’s going on there, but it’s certainly catchy. As is most of the song, unexpectedly.
Tim: Admittedly I’ll always have a slightly rose-tinted view of Sigala, partly because he’s from Norwich, much like me, and also because his name is Bruce, which is an astounding name for a 27 year old Brit to have. Even so, I think this is a very good track to come out with.
Tom: You’re not wrong there. I am properly surprised by this: I expected this to be another regression-to-the-mean standard dance track, but there’s something in there that really stands out.
Tim: It’s his first new track since he put out his album last year, and that post-chorus breakdown, whilst being entirely devoid of coconuts, is astonishingly good. It is, in fact, entirely reminiscent of early ’00s dance tracks, and I absolutely love that.
Perhaps it’s a little lazy to immediately assign a ‘yes please’ to a track just because it brings back good feelings of times gone past, but I don’t care. Those are memories of music I loved, and never stopped loving, and it’s fantastic to hear it all over again. Especially when it sounds this damn good.
Tim: Second half of 2016, and despite all that might be going bonkers politically, we still have tropical house to keep us sane.
Tom: I’m not entirely sure that’s valid, but sure, let’s go with it.
Tim: Matoma’s Norwegian, Becky’s from London, and that’s about all you need to know. So grab yourself a 🍍, and use it to whack the play button.
Tim: And that is…perfectly plausible for a middle of the set, the middle of the compilation disc.
Tom: See, I was about to agree with you there, but I can’t actually find anything wrong with it to say why it seems “plausible, middle of the set” rather than anything better. Maybe the verse is a bit slow, maybe it seems a bit long? Either way, every individual part seems good.
Tim: It’s pretty good throughout, but of particular note is her vocal which is just great, and especially notable as such when it’s just on its own like at the start or after the first instrumental chorus. And as for that instrumental chorus: also very good. All in all, I’m very happy with this. Nice one.
“It ticks all the boxes required of a track like this.”
Tim: It is SUMMER, Tom. SUMMER.
Tom: I’ll avoid the cliché British complaining.
Tim: Watermät is a French DJ, Becky Hill was a semi-finalist on The Voice UK (first contestant to score a number 1, as it happens) —
Tom: Wait, anyone scored a Number 1 after being on The Voice?
Tim: Well, a semi-finalist did – no winners have made it yet. TAI, meanwhile is an English/German DJ; nice bit of variety for you, so what do you think of the emergent product?
Tom: It ticks all the boxes required of a track like this, but I can’t say there’s much beyond that.
Tim: I was quite surprised, given the intro, how far back that initial summery/beachy vibe was pushed – this starts out as something unusual, straight out to beach clubbers, then ditches that entirely becoming becoming a fairly standard house track.
Tom: And only 2:40 for the radio edit, which is about all I think I could take of it before wanting it to get crossfaded into something else. You’re right: it’s fairly standard.
Tim: Not necessarily a bad thing, as it’s a very good standard house track, but I can’t help thinking that if it hadn’t had that initial intro I wouldn’t have bothered sticking with it. Quite glad I did stick with it, though, but I wouldn’t have minded more of that intro style.