Tim: New one off the pairing, who released their first proper album last month.
Tom: They should have just called themselves “Two Thirds of Swedish House Mafia”.
Tim: Doesn’t exactly roll off the tongue, though.
Tim: I like that. It’s got strong lyrics, with a couple of people who have big aspersions, and ideally the means to make them happen. If they don’t, of course, then I guess they’ll be eternally disappointed, but let’s not focus on that.
Tom: It also sounds a bit like they’ve got the string section from Coldplay’s Viva La Vida popping up a couple of times, but let’s not focus on that either.
Tim: The good dance beat and production we’d expect from these guys, and the vocals – well, is it just me, or do basically all male dance vocalists sound the same? Admittedly I’m fairly sure I could recognise Aloe Blacc, who was the one off Wake Me Up, but Trevor here styles himself as a solo artist, has appeared on only one other track that we’ve featured here and yet I think I’d struggle to pick this voice out of an aural line up made of any number of other ‘feat.’ vocals.
Tom: That’s true of a lot of vocalists, male and female. Not just for music, either: it’s the same reason that every YouTube video essay sounds the same.
Tim: Fair point, I guess, and maybe that’s the idea – keep the vocalists generic to focus on the dance music – but it still seems a bit weird. Anyway, good tune here.
Tom: It’s not bad. But, as ever, it’s no “Don’t You Worry Child”. Maybe they should have kept the other third.
Tim: Their new one, and I’l be honest: you know what you’re going to hear.
Tim: A standard vocal on top of a sturdy dance beat, an almost a capella pre-chorus, quick vocal chorus and then we’re ALL IN for the dance heavy part.
Tom: And it is very standard. None of it stands out for me; it’s a middle-of-the-night track. I can’t see many people shouting “yes, this is my song”.
Although, to be fair, I haven’t heard the transition from lyrics to synth happening in the middle of a line before. That’s at least a bit interesting.
Tim: It seems that two verses and two choruses, give or take a bit, is just the way dance tunes seem to be coming these days, which is a damn shame, because I do love a good middle eight, but there you go, guess we’ll have to cope.
Tom: There is technically a pre-chorus in there that could sort-of be a middle eight, I guess, but you’re right: traditional pop song structure is being abandoned here in favour of ‘whatever sounds good’.
Tim: And I know I started this off by setting the expectations as standard, but that’s only because standard Axwell Λ Ingrosso is very good stuff. I’d like a bit more of it, but I’ll take it as it is.
Tom: Although why you’d take an early-1990s video camera to a 2017 dance concert, I’ve no idea. This “slap a 90s filter on everything” is getting old.
Tim: Tom, you are going to have the exact same complaint here that you had with Something New – namely, that despite being four and a half minutes, it’s only part of a song.
Tom: GET OFF THE TRAIN TRACKS. THERE IS A TRAIN COMING, YOU DICK. Anyway. Sorry. Oddly, I don’t actually have that complaint on this one — it sounds like a complete track to me, and not a bad one.
Tim: Huh, fair enough. I think for me mostly it’s the repeat to fade, because who the hell ever heard of that in a dance track?
Tom: No-one since about the mid-90s. Which, actually, is a bit what this sounds like to me.
Tim: With the exception of the post-chorus (which I would happily ditch entirely as I find it frankly quite unpleasant), it’s a great tune, though.
Tom: Once it finally kicks in, yes; that long first verse has sudden sparks of inspiration in it that keep me going, but it still felt like a long wait.
Tim: I’d love to hear a properly finished version of it, because now THE SUN IS SHINING, and, whoever ‘you’ is, I’m fairly sure that they are as well. WE’RE ALL SHINING, in fact, because that’d be nice wouldn’t it?
“One of the meanings of lambda is binding constructions in lambda calculus”
Tom: That is an uppercase Greek letter lambda in the credit, something that every music site seems to be copying and pasting without comment. Normally I’d replace it with “feat.” or “and”, but given that one of the meanings of lambda is binding constructions in lambda calculus, I’ll allow it.
Tim: I canot BELIEVE more music sites aren’t commenting on that.
Tom: ANYWAY. Two-thirds of Swedish House Mafia here…
Tom: …which is fitting, because this is a brilliant first two-thirds of a song.
Tom: It’s clearly building: at the end of that “we belong to something new” I was expecting a big drop, and after the second instrumental build I was frankly expecting something ASTONISHING.
Instead we got a few bars of a first-chorus-quality drop, and then… it was pretty much it. Either it was back to the verse, or it was the end of the song.
Tim: Huh. Not entirely sure I agree with you there. Yes, if this was a stock song structure there’d be a middle eight and closing section after that, but I think it also works as an outro. Would I say no to some more? Absolutely not. But I don’t think it qualifies as particularly lacking – that’s a perfectly good dance section, and shouldn’t be dismissed as just a build.
Tom: I can only assume that the other one from Swedish House Mafia was generally responsible for providing some sense of LOUD BANGING CHOON CLOSURE and the other two didn’t know what to do without him.
Tim: Except write lyrics at 2:40 talking about Pret a Manger.
Tom: What do you… oh, for crying out loud. I can’t hear that any other way now.