Seeb, Highasakite – Free To Go

“I like his style, therefore I like the track.”

Tim: We’ve not featured Highasakite before; they’re a Norwegian indie pop band with dancey undertones, and their lead singer, Ingrid, is featured here, with very dancey overtones.

Tim: Decent dance track, that. Standard Seeb style, and…well, there’s not much else to be said about it, is there?

Tom: I mean, you can sing the hook from Sigma’s “Nobody To Love” over that instrumental chorus, sure, it’s basically just a standard dance track.

Tim: We can note that it does have a middle eight, though, and part of me is tempted to keep track of to how rare that’s becoming; the entirety of the rest of me, mind, is screaming that that’s an entirely pointless and tedious thing to do. But yes, it’s a Seeb track, through and through. I like his style, therefore I like the track. Others may disagree, but I guess that’s subjectivity for you, no?

Seeb, Bastille – Grip

“I find it incredibly creepy!”

Tim: I have a LOT of time for this video.

Tom: I find it incredibly creepy! It was creepy when CBBC did it, and it’s creepy now.

Tim: Maybe – I mean, sticking googly eyes on fruit and then putting them in a blender is almost as horrifying as that Pixar short that was played before The Incredibles 2, where the woman realises she’s been eating sentient dumplings, but at least the blender gets reversed each time so there’s a sort of happy ending.

Tom: Nope. Not happy with it. It’s just deeply unpleasant. Which I suspect my have coloured my view of the music, too.

Tim: Ah. Well, when I can bring myself to tear my eyes away from the video, I think it’s pretty enjoyable – standard Bastille stuff, with some standard Seeb bits thrown around here and there.

Tom: Mm. I agree that it’s very definitely a mixture of two styles — but it doesn’t work for me in the way it worked for Bastille and Marshmello. Although to be fair, that one may have just grown on me through endless radio repetition.

Tim: Well, maybe this one will as well.

Seeb x Dagny – Drink About

“Those are two names that promise a lot.”

Tom: Those are two names that promise a lot.

Tim: Question: if you’re dropping f-bombs fairly prominently in the chorus, and making no attempt to hide them, is there actually any point whatsoever in censoring them in the lyric video? Seeb has chosen to find out.

Tim: Sure, you could argue that it means you don’t have to slightly redo it if you ever wanted to put out a version with edited audio, but why not just do that to start with?

Tom: I’d say ‘money’, but honestly, it doesn’t really doesn’t take much effort by a motion graphics designer to change out one word. Although, they would be changing it in a lot of places.

Tim: It’s a pity, really, because that line could work perfectly with a ‘hell’ or a ‘damn’ or even just using a longer ‘I’ sound, but oh well, it’s done now. Nice dance track, mind, despite that, with a memorable hook and, I suppose, lyrics. Good production, good vocals – all well done, really.

Tom: Yep, it’s a competent middle-of-the-playlist dance track that does exactly what it’s supposed to. Not spectacular, but not terrible either.

Tim: Just a shame about the rudeness.

OneRepublic & Seeb – Rich Love

“Those are promising names.”

Tom: Those are promising names up there.

Tim: Seeb, the Norwegian trio known originally for making Mike Posner listenable and more recently for reworking Ed Sheeran, produced their own What Do You Love last year, which did fairly well. Now they’re up with OneRepublic, with this delight.

Tom: Delight? I mean, it’s not bad, don’t get me wrong, but delight?

Tim: I think so, and that’s largely because it has pretty much everything I want from a song. Good vocal, check. Good melody and beat behind that vocal, check, both in chorus and verse. Flipping GREAT dance breakdown after the chorus, massive check.

Tom: I must be burned out on music again, Tim, because I just don’t hear any of that. I mean, it’s good, don’t get me wrong, Seeb know what they’re doing, but it’s still just a middle-of-the-road dance track.

Tim: Ooh, big disagreement here, then. I do have one complaint about it, though: what on earth does “broke as a bottle of wine” mean? I’ve never heard it before, can’t find any examples of usage of it, and it’s quite annoying, because it spoils what it otherwise a perfectly decent narrative in the lyrics.

Tom: I… guess someone broke a bottle of wine? I mean, it’s a thing you can break. But you’re right, it’s weird.

Tim: Flip side of the lyrics, though: I love the ‘hey man, nice to meet you’ distorted vocal in the chorus, really hits the spot for me. I love most of it, in fact. Just, aargh, what does that seemingly very important line mean?

Seeb feat. Jacob Banks – What Do You Love

“This is going to be good, surely?”

Tom: I’d have skipped past it, but I recognise that name: Seeb are the Norwegian production team who turned Mike Posner’s whinefest into a big club hit. This is going to be good, surely?

Tom: Yes. Yes it is.

Tim: It is indeed.

Tom: I’m not entirely convinced by those pitch-shifted vocals, but it seems to be Seeb’s trademark and I can deal with it, because the build up into that chorus — the first of the two hooks — is just absolutely glorious.

Tim: That whole chorus is good – I wasn’t sure at first on the wisdom of repeating the same line four times, but then I realised it was all there just to drum it right in, so that come the second chorus, with the more sensible two occurrences, we could chant right along with it.

Tom: I was clapping along and dancing in my seat on the first listen. I immediately hit replay at the end. For me: this is a good track.

Tim: Track: yes. Video: unforgivable. If you’re having a video focusing on a line being drawn, moving around, it’s basically the law that at the end you pull out and show a finished picture, that you’ve cunningly been drawing all along. I realised it was probably going to be this way when it started again for the second verse, mind, and definitely when it all went 3D, but still, NAUGHTY.