Sigala, Ella Eyre, Meghan Trainor feat. French Montana – Just Got Paid

Tom: I remember talking, last week, about a track that sounded like Sigala. Let’s see if Sigala still sounds like Sigala.

Tim: The second time he’s teamed up with Ella Eyre, following last year’s brilliant Came Here For Love, and stylistically…

Tim: …it’s very very similar, and I have no problems with that whatsoever.

Tom: Yep. Although that is, rhythmically, a very odd, offbeat introduction and first verse. Go on, listen to it a couple of times, and then try and sing it exactly in time.

Tim: Hmm..huh, yeah, that is tricky. Both he and Galantis seem happy to share this particular sound, and, as I’ve said so many times before whenever it’s cropped up: I love that sound. Admittedly, this isn’t quite as great as previously: Ella’s vocal grates a little when there’s very little melody to actually sing in her parts of it, and as ever I’d happily take a version without any rapping.

Tom: “When you hear the haan” might be the worst rap middle eight lyric I’ve heard in a long, long time.

Tim: Stylewise, though: it’s still great.

Tom: Not the greatest message in the history of music, but there’s plenty of precedent for it.

Tim: Debut album’s about next Friday, though since 12 of the 16 songs on it having been already released as singles it’s more like an official playlist. Nonetheless, given all this I’m looking forward to the other four.

Sigala & Ella Eyre – I Came Here For Love


Tim: Last time we came across Bruce (yep), we pointed out that he had basically produced a Galantis song. His latest is slightly different, in that it actually sounds more like classic Galantis than current Galantis does, so I don’t quite know where that leaves us.

Tom: Better than actual Galantis?

Tim: Ermm…not…hmm…oh. Well.

Tim: Actually, the main thing it leaves us with is a bloody good song, and let’s be honest, that’s really all that matters.

Tom: It should be all that matters. I don’t think it’s massively memorable, but I also don’t think that matters for a track like this — it just sounds good.

Tim: It starts out great with that repetitive but very good synth hook; the chorus is an utter joy, both vocally and instrumentally; and the video is colourful, cheerful and joyously infectious with all its dancing.

Tom: There’s also enough interesting stuff going on in the chord progressions and melody that it doesn’t sound like a completely generic dance song. Even at three minutes it does feel a bit long, though.

Tim: I love this track very, very much, genuinely can’t think of anything bad to say about it, and, with no trace of hyperbole, can’t get enough of it.

DJ Fresh feat. Ella Eyre – Gravity

“A pretty damn good cake.”

Tom: DnB producer DJ Fresh has a couple of notable hits under his belt, but in my head he’s mostly noted for the ridiculous Dibby Dibby Sound. This time, he’s gone for what I can best describe as “euphoric vocals”.

Tim: Yep, “euphoric vocals” works for me.

Tom: So, I’ve previously established that I’m a sucker for Americana, road-trip music videos, but in this case I had this playing in another tab — I didn’t even notice that until half way through, and it was the icing on a pretty damn good cake.

Tim: Indeed – as the actual Ministry of Sound states below the video, “Big track, great video! Thumbs up all round ” and who are we to disagree wit the government?

Tom: Now, I’ll grant you that it’s a bit by-the-numbers: there’s nothing unconventional or surprising in here. But: those are excellent numbers to go by. One more chorus and it’d outstay its welcome — it doesn’t have much replay value — but at three minutes this is a properly good track that’d fit nicely in a DJ set.

Tim: It is, especially as you don’t get that many opportunities to dance to a pipe organ. Like it a lot.