Otto Knows feat. Lindsey Stirling & Alex Aris – Dying For You

“It’s rare for me to immediately sit up and pay attention in the first verse.”

Tim: Otto, the guy who had that “eh-eh-eh-eh-eh oh-oh-oh-oh-oh” hit Million Voices a few years back; Lindsey, a violinist who had that dubstep thing going on for a while; Alex, a guy who according to Google is a Burmese civil rights campaigner so that’s probably a different one.

Tom: Well, that was a heck of a paragraph. Still sort of hoping he’s the civil rights campaigner.

Tim: You, though, a self-confessed “sucker for a string section,” so have a listen.

Tim: And that there would be a fairly enjoyable pop track if it wasn’t for the excellent idea of having all that violining on there; as it is, though, it has all that violining on there, so it’s a really enjoyable pop track.

Tom: That’s a good-sounding introduction — it’s rare for me to immediately sit up and pay attention in the first verse. I think that the pre-chorus — or, maybe the vocal chorus? I don’t know what you call it with a structure like this — is actually the weakest point.

Tim: Hmm, perhaps – I’d say it doesn’t help that the song is clearly keen to get to that post-chorus that it’s not so bothered about what happens first; hell, the verses are better, vocal-wise. And speaking of vocals, Alex, it turns out, is a very competent vocalist; Otto has also shown previously that he knows what he’s doing on the production side of things – basically, we’ve got a load of people who are good at what they do, all working together to make an almost entirely very good song. Nice work.

Saturday Flashback: Lindsey Stirling – Elements

Tim: I found this from the sidebar videos next to the Adrian Lux track we did a few days ago, and was intrigued by the description in the title of ‘Dubstep Violin’. Have a listen.

Tom: Ah! Lindsey Stirling. YouTube star, with astonishingly good production values.

Tim: And you know, I actually quite like it, in the sense of, “Ooh, that works. I’d not thought it would.” It’s a weird combination, but arguably no more so than symphonic metal, and that’s brilliant if you’re in the mood for it. Maybe it’s the novelty that keeps me listening, but the violin has a fairly soothing effect on top of the harsh dubstep grinding so I can listen to it easily enough.

Tom: It doesn’t last for me. Maybe I’m just used to pop tracks with vocals? It’s nice, I guess, but it needs to be the soundtrack to something else.

Tim: Perhaps, and I suppose that might be where the aforementioned production values come into it – if you’re standing in pouring rain, or surrounded by fire, or in the middle of an ice cave, you could just let the music accompany the scenery.

She herself was on America’s Got Talent a few years back; got through to the quarter-finals even though apparently Piers Morgan wasn’t a fan, and has since then gone on to do lots – she even has her own iPhone app, so that told him.

Tim: True, but so does T-Pain. That’s no guarantee of quality.

Tom: Hmm. Fair point, so as an actual indicator of quality, you could know that along with quite a lot of original violin dubstep stuff, she also does regular violin covers of various songs, some of which are worth a listen, and apparently does funny videos as well, though I’m not interested enough to check those out. So there you go.