Lauv feat. Anne-Marie – ****, I’m Lonely

“This might be the most charming f-bomb I’ve ever heard in pop music.”

Tom: This might be the most charming f-bomb I’ve ever heard in pop music.

Tim: Oh that is nice, you’re right.

Tom: I think it’s the switch to quiet falsetto that makes it so charming. Every time Anne-Marie swears here, it sounds performative, deliberately designed to stand out and shock. But somehow, Lauv on his own manages to make the consonants sound so quiet and musical that it really fits the lyrics.

Tim: Yeah – it’s obviously rude, but comes across almost as an “I’m terribly sorry I have to use this word, but you see there’s really no other option left open to me”.

Tom: That said, the clean version, replacing the profanity with a single pinging synth, doesn’t sound that different to me.

Tim: Hmm, fair. It’s helpful that it’s there, really, because it’s an interesting highlight in a song I otherwise might skip past entirely, or certainly get bored with.

Tom: Anyway, then there’s the rest of the track: this is catchy, with the sort of minimalist production that can sound terrible if it’s not done really, really, well. Here, though? It works.

Tim: It really does.

Lauv – Getting Over You

“Gentle, twinkly synthpop”

Tom: Without knowing Lauv’s nationality, what would you guess?

Tim: Hmm…voice has a British sense to it, and the styling could be from here – in the right area?

Tom: A combination of the style, the voice and the name made me assume Lauv was from Norway or Sweden, but no. This is an American, whose LA-based team — as far as I can tell — are doing their best impression of the gentle, twinkly synthpop coming out of the Nordic countries.

Tim: Huh. Yeah, not a bad job – though I think the synthpop (which I flipping love, by the way) is becoming global enough now that, well, as we’ve just proved, assumptions can’t really be made confidently.

Tom: And they’re nearly there. Just one problem: this is about a minute too long. It’s a great sub-three-minute track that just doesn’t need to be extended for one more chorus and a long outro.

Tim: The chorus I don’t have a problem with – but yes, I’m fairly sure we could cut the song off nicely at 3:31 and it’d be a good’un. Otherwise, though: lovely.